Posts Tagged ‘This Weeks Essential New Releases’

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New releases for this week Kamasi Washington 4LP set, we’ve not managed to give it a full listen yet but what we’ve heard so far sounds really good. There is a brand new Nine Inch Nails album is also out tomorrow, we’ve heard just one track but can’t wait to get stuck into it tomorrow. If you missed out on the limited green vinyl for the Sleep album, now’s the chance to get the black vinyl LP version, it’s now in stock.

Also out are new albums from Panic At The Disco, Princess Nokia, Gang Gang Dance, Soulwax, and our favourites The Wave Pictures, an EP from Stella Donnelly . The best of the weeks releases are some really good reissues out tomorrow too from The Cure, Garbage, King Crimson, The Pogues. 

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Stella Donnelly –  Thrush Metal EP

The Thrush Metal EP originally came out last year, self-released by the artist on tape and digitally. Stella Donnelly quickly became one of Australia’s buzziest young singer-songwriters and now Secretly Canadian release the EP on Vinyl. Boys Will Be Boys is the standout track. Atop delicate, singsongy acoustic fingerpicking, Donnelly confronts a man who raped her friend and takes to task the accompanying victim-blaming. “Why was she all alone? / Wearing her shirt that low / And they said boys will be boys / Deaf to the word no,” she coos in the chorus, a slight vibrato flaring up at the corners of her lovely voice.

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 Warmduscher. – Whale City

The second album from Warmduscher. South London recidivists Warmduscher include members of Paranoid London, Fat White Family and Childhood. There is power in repetition. Longtime Warmduscher biographer Dr Alan Goldfarb describes Whale City as “a rock opera so vast in magnitude that – were in not for my being strapped naked to a chair in a garage – could send a man hurtling towards the outer perimeters of uncharted space.” It’s difficult to argue with. The characters that inhabit Whale City are, as the title suggests, larger than most aquatic life forms. A cast of millions. Pretty Lilly, Whale Jimmy, Uncle Sleepover, Ice Cream Keith, Disco Minny. The people you walk by late at night with bottles in their hands and money in their pockets. The woman with bright red lipstick and straight razor smiles. Thrill seekers to a person. Powerful. Intoxicated. Intoxicating. In the words of Clams Baker, Whale City is “a playground for the people that have stepped above and beyond their comfort zone.” What are you waiting for? If you love the repetition of the Fall, the chaos of Fat White Family and own a Pebbles or Nuggets compilations – then this a must have.

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The Wave Pictures  –  Brushes with Happiness

As one of the UK’s most prolific and beloved bands, it has become expected – nay, the fans have demanded – that The Wave Pictures release several albums a year. This year, they are releasing two albums and they’re kindly letting us know well in advance, so that we can set our calendars and save our pennies in anticipation. Starting with the spontaneous, recorded in one-day, minor-key, epic masterpiece that is Brushes with Happiness in June, the trio of Jonny Helm (drums), Dave Tattersall (guitar and vocals) and Franic Rozycki (bass), will be following up with a more up-beat party album, Look Inside Your Heart in October. Brushes With Happiness sees The Wave Pictures in contemplative and expansive mood. Mellower and more reflective than last year’s rock’n’roll surf-garage-rock collaboration with Charles Watson from Slow Club, as new band The Surfing Magazines, or 2016’s blues driven Bamboo Diner in the Rain or 2015’s Billy Childish produced Great Big Flamingo Burning Moon. This album is more akin to 2016’s acoustic release A Season in Hull, which, like Brushes With Happiness, was recorded live in one room in a single January day.

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Nine Inch Nails  – Bad Witch

Nine Inch Nails release Bad Witch, completing the trilogy that began with 2016’s Not The Actual Events and 2017’s Add Violence., Nine Inch Nails will launch COLD AND BLACK AND INFINITE NORTH AMERICA 2018 on September 13 with support The Jesus and Mary Chain. The band will bring their “musical, visual, emotional sensory onslaught,” as hailed by The New York Times, to some of the most iconic venues in the USA.

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Pete Yorn and Scarlett Johansson  –  Apart

Pete Yorn and Scarlett Johansson’s 5 Track EP Apart is the follow up to their critically-acclaimed 2009 album Break Up. The EP features four brand new recordings and a new version of Tomorrow, a song that originally appeared on Yorn’s last album, 2016’s ArrangingTime. Scarlett Johansson adds, “Being able to revisit this project with Pete in a totally different context but within the same creative parameters is a unique artistic opportunity for me. It is always a pleasure to sing with Pete because I think our voices and stories complement each other.”

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The Cure  –  Mixed Up

A reissue and remastered version of the Cure’s 1990 remix album Mixed Up. Featuring 11 remixes of their hits including; Lullaby, Close to Me, Pictures of You, Love Song and Why Can’t I be You?

3CD – Expanded Deluxe Edition with a second CD of long deleted remixes from 1982 to 1990 and a third CD containing 16 brand new Remixes done by himself, Torn Down: Mixed Up Extras 2018.

CD – Standard CD Version.

2LP – Double 180 Gram Vinyl housed in Gatefold Sleeve with Download. Half Speed Double Vinyl Mastered by Robert Smith and Tim Young at Metropolis Studios, London.

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Cream –  Live In Detroit ‘67

Cream, live at the Grande Ballroom, Detroit, MA on October 15th 1967. White-hot from two months of touring the US, Cream played this remarkable show shortly before the release of Disraeli Gears. Regarded by some as the finest live document of the trio in existence, it typifies their explosive chemistry, with some outrageous wah-wah from Clapton, thunderous bass from Jack Bruce, and virtuoso drumming from Ginger Baker. This show from Detroit’s Grande Ballroom on October 15th 1967, originally broadcast on WRIF-FM, is presented in full here, together with background notes and images.

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Spacemen 3  – For All The Fucked Up Children of This World We Give You

Space Age Recordings are pleased to announce the first official limited edition vinyl release of the album For All The Fucked Children Of This World We Give You Spacemen 3 (Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized). For All the Fucked Up Children from the neo-psychedelic trio Spacemen 3 was first released as a bootleg record in 1995. The record consists of Spacemen 3’s first ever recording session from 1984. The music itself sounds like a primitive version of what the group were to become; the dominating sound of the record is a slow, droning psychedelic blues performed with sparse instrumentation. A drum set is matched with a pair of distorted electric guitars, all of which provide a swirling foundation for Jason Pierce’s vocals. The album’s liner notes replicated here are actually an early review of the band by Gary Boldie, where he contemplates the city of Rugby and finds it an odd source for this new sound, and he declares Spacemen 3 as the “all singing, all dancing answer to the problems of a grey 1985.”

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Sorry  –  Showgirl

Sorry are back with a new 7”, following their previous 7” singles, Wished / Lies from last year and2 Down 2 Dance earlier in the year. The ferocious Showgirl is the third and last instalment of the band’s early singles period, produced by Frank Ocean and James Blake collaborator Sean Oakley, who also helmed the band’s 2017 debut single, Lies. Showgirl is a sordid and seedy 90’s sounding nugget with breathy and addictive vocals and spidery guitar work. Sorry just keep getting better and better.

Today also saw the announcement of the new Mogwai album

There’s also new albums coming from Death Grips (with an indie stores only limited clear vinyl LP), The Jayhawks, The Pineapple Thief, The Internet, Menace Beach, Pram,Villagers, Bellini, Rise Against, Helena Hauff, Tirzah, Kate NashThe Amity Affliction, Wild Nothing

There are five Flaming Lips albums coming back out that have not been on vinyl for years. We have the next Tom Waits reissue out on 13th July with ‘Foreign Affairs’ . There’s a set of Moody Blues 180g vinyl reissue coming soon, some of which will feature bonus tracks for the first time. and U2 wade in with three strong albums in ‘Achtung Baby’, ‘Zooropa’ and ‘The Best Of: 1980-1990’.  Also coming soon are reissues from Mick Ronson, REMand a ‘Best Of’ fromThe Libertines.

This Week’s Releases

The Cure – ‘Mixed Up’ black vinyl 2LP reissue
The Cure – ‘Torn Down’ black vinyl 2LP reissue

Stella Donnelly – ‘Thrush Metal’ 12″ EP
Richard Edwards – ‘Verdugo’ limited coloured vinyl LP
Richard Edwards – ‘Verdugo’ LP

Field Division – ‘Dark Matters Dream’ silver vinyl LP
Gang Gang Dance – ‘Kazuashita’ limited red vinyl LP
Garbage – ‘Version 2.0’ limited deluxe 3LP box set
Garbage – ‘Version 2.0’ orange vinyl 2LP reissue

King Crimson – ‘Discipline’ LP reissue
Danni Minogue – ‘Neon Nights’ 2LP reissue
The Nextmen vs Gentlemen’s Dub Club – ‘Pound For Pound’ LP
Nine Inch Nails – ‘Bad Witch’ LP
The Orb – No Sounds Are Out Of Bounds’ 2LP
Panic At The Disco – ‘Pray For The Wicked’ LP

The Pogues – ‘The Best Of’ LP reissue
Princess Nokia – ‘A Girl Cried Red’ limited red vinyl LP
Sleep – ‘The Sciences’ black vinyl LP
Soulwax – ‘Essential’ 2LP
Spacemen 3 – ‘For All The Fucked Up Children Of  This World’ LP reissue
Various Artists – ‘The Songs Of Elton John & Bernie Taupin’ 2LP
Kamasi Washington – ‘Heaven & Earth’ 4LP set
The Wave Pictures – ‘Brushes With Happiness’ limited coloured vinyl LP

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Happy Easter! Welcome to this week’s essential new Easter releases, As befitting a major public holiday weekend, there are lots and lots of great albums released tomorrow. You can choose from Cabbage, The Vaccines, Ben Harper, Haley Heynderickx, Trembling Bells, Frankie Cosmos new favourites Sons Of Kemet and much more besides. Plenty of reissues too out tomorrow , A really nice collection and very limited of The Damned singles box set, this will be gone soon so if you are looking for a copy, grab one now – other re-releases include the albums, Spacemen 3 and some a fab Supremes set on CD only.

Some very nice pre-orders available now including the two biggies which are both are actually reissues, though it’s doubtful that many of you have one of these in your collection. The Pink Floyd ‘Pulse’ 4LP set is getting a re-release on the 18th May and a reissue of The Floyd’s ‘Relics’. Also on the reissues tip is the very wonderful looking  Supremes box set; ‘Supreme Rarities’ is coming out as a 4LP set from of all places Third Man Records. Already selling well is the forthcoming re-release of ‘Version 2.0’ from Garbage, with an orange 2LP version or a deluxe box set.

Have a great Easter weekend (don’t eat too many of those Chocolate Eggs!)

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Cabbage  –  Nihilistic Glamour Shots

Cabbage have finally released their highly anticipated debut album (not counting the Record Store Day release), following on from a trio of EP’s, released under the delightfully tactful ‘‘Young, Dumb & Full Of…

We start off with the thrashing garage rock of ‘Preach To The Converted’ with twanging distorted guitar and the sort of snarling vocals you could imagine being venemously spat from the edge of the stage before launching into the fuzzy off-kilter rock of Arms of Pleonexia, reminiscent of a younger Ty Segall swagging around the stage before a baying croud after one too many bottles of corner-shop white lightning. Things continue at this frenetic pace with ‘Molotov Alcopop’ providing a bit of nuanced rhythm before the gothic rock of ‘Disinfect Us’ suggests a more mature suite of influences, from the militant march and languid blues overtones of early White Stripes.

Further on, we get syncopated guitars over a meandering drum machine on the brilliantly swaying ‘Pendurabo’ and jangling hazy indie, topped with a curiously (but effectively) distorted vocal affectation over the top.

Brilliantly varied, but held together with a persistent narrative thread, ‘Nihilistic Glamour Shots’ lives up to the hype of the earlier 3 EP’s, with a willingness to experiment but a knowing nod to all of their numerous influences.

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Frankie Cosmos  –  Vessel

New York-native songwriter Greta Kline has shared a bounty of her innermost thoughts and experiences via the massive number of songs she has released since 2011. Like many of her peers, Kline’s prolific output was initially born from the ease of bedroom recording and self-releasing offered by digital technology and the internet. But, as she’s grown as a writer and performer, devising more complex albums and playing to larger audiences, Kline has begun to make her mark on modern independent music. Her newest record, Vessel, is the 52nd release from Kline and the third studio album by her indie pop outfit Frankie Cosmos. On it, Kline explores all of the changes that have come in her life as a result of the music she has shared with the world, as well as the parts of her life that have remained irrevocable.

Frankie Cosmos has taken several different shapes since their first full-band album, 2014’s Zentropy, erupted in New York’s DIY music scene. For Vessel the band’s lineup comprises multi-instrumentalists David Maine, Lauren Martin, Luke Pyenson, and Kline. The album’s 18 tracks employ a range of instrumentations and recording methods not found on the band’s prior albums, while maintaining the succinctly sincere nature of Kline’s songwriting. The album’s opening track, “Caramelize,” serves as the thematic overture for Vessel, alluding to topics like dependency, growth, and love, which reemerge throughout the record. Although many of the scenarios and personalities written about on Vessel are familiar territory for Frankie Cosmos, Kline brings a freshly nuanced point of view, and a desire to constantly question the latent meaning of her experiences. Kline’s dissonant lyrics pair with the band’s driving, jangly grooves to create striking moments of musical chemistry.
Vessel’s 34-minute run time is exactly double the length of Frankie Cosmos’ breakout record, Zentropy, and it is an enormous leap forward. Typically, albums by artists at a similar stage in their careers are written with the weight of knowing that someone is on the other end listening. Yet, despite being fully aware of their ever-growing audience, Kline and band have written Vessel with a clarity not muddled by the fear of anyone’s expectations. Vessel’s unique sensibility, esoteric narratives, and reveling energy lace it comfortably in Kline’s ongoing musical auto-biography.

Vessel was recorded in Binghamton, New York with Hunter Davidsohn, the producer and engineer who helped craft Zentropy and Next Thing, and at Gravesend Recordings in Brooklyn with Carlos Hernandez and Julian Fader. It features contributions from Alex Bailey (formerly of Warehouse, and now part of the live configuration of Frankie Cosmos), Vishal Narang (of Airhead DC), and singer/songwriter Anna McClellan, all of whom have played on bills with Frankie Cosmos and collaborated on-stage with the band.

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Haley Heynderickx –  I Need to Start a Garden

Haley Heynderickx’s highly anticipated debut album. Haley has a wonderful voice and the lyrics are poetic and heartfelt. Musically it’s sometimes reminiscent of early Velvet Underground in that many of the songs quickly build into frenetic and emotive climaxes. The difference here is that these crescendos dissolve into tender moments of unabashed vulnerability, rather than fragmenting into splinters of drug-fueled confusion. It’s beautiful and heartfelt. For fans of Velvet Underground, Angel Olsen and Cat Power.

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Amen Dunes  –  Freedom

Over the course of 10 years, Damon McMahon aka Amen Dunes has transformed continuously, and Freedom is the project’s boldest leap yet. The themes are darker than on previous Amen Dunes albums, but it’s a darkness sublimated through grooves. The music, as a response or even a solution to the darkness, is tough and joyous, rhythmic and danceable. It’s a sound never heard before on an Amen Dunes record, but one that was always asking to emerge. Eleven songs span a range of emotions, from contraction to release and back again. Blue Rose and Calling Paul the Suffering are pure, ecstatic dance songs. Skipping School and Miki Dora are incantations of a mythical heroic maleness and its illusions. Freedom and Believe offer a street tough’s future-gospel exhalation, and the funk-grime grit of L.A. closes the album, projecting a musical hint of things to come.

In creating Freedom, McMahon brought in a powerful set of collaborators and old friends. Along with core band members, including Parker Kindred (Antony & The Johnsons, Jeff Buckley) on drums, came Chris Coady (Beach House) as producer, and Delicate Steve on guitars. This is the first Amen Dunes record that looks back to the electronic influences of McMahon’s youth with the aid of revered underground musician Panoram from Rome, who finds his place as a significant, if subtle, contributor to the record. The bulk of the songs were recorded at Electric Lady in New York, and finished at Sunset Sound in Los Angeles, where McMahon, Nick Zinner, and session bass player Gus Seyffert (Beck, Bedouine) fleshed out the recordings.

Yet, if anything, these eleven songs are a relinquishing of all of them through exposition; a gradual reorientation of being away from the acquired definitions of self we all cling to and towards something closer to what’s stated in the Agnes Martin quote that opens the record, “I don’t have any ideas myself; I have a vacant mind” and in the swirling, pitched down utterances of “That’s all not me” that close it.

“Miki Dora was arguably the most gifted and innovative surfer of his generation and the foremost opponent of surfing’s commercialization. He was also a lifelong criminal and retrograde: a true embodiment of the distorted male psyche. He was a living contradiction; both a symbol of free-living and inspiration, and of the false heroics American culture has always celebrated. With lyrics of regret and redemption at the end of one’s youth, the song is about Dora, and McMahon, but ultimately it is a reflection on all manifestations of mythical heroic maleness and its illusions.”

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Camp Cope  –  How To Socialise and Make Friends

Camp Cope’s new album How To Socialise and Make Friends is the current Australian buzz band. The follow up to their 2016 self-titled debut kicks off with the instantly remarkable bass line of The Opener, an explosive diatribe against the sexist double standards of the music industry at large. What follows the lead single are a collection of songs that anchor on the cycles of life, loss and growth through resilience and those moments of finding and being yourself. Throughout the nine songs on How To Socialise and Make Friends it becomes clear that if their debut was the flame, this is Camp Cope rising from the ashes, stronger and more focused than ever. For fans of Courtney Barnett, Bettie Serveert and Liz Phair.

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Dead Meadow  –  The Nothing They Need

Since their widely-acclaimed self-titled debut album released in 1999 Dead Meadow have released seven studio albums – three via Matador records (Shivering King and Others (2003), Feathers (2005), and Old Growth (2008)) and two live albums which includes Three Kings, a feature length live film and soundtrack. Their unique marriage of Sabbath riffs, dreamy layers of guitar-fuzz bliss with singer Jason Simon’s melodic croon has won over psychedelic pop/rock and stoner rock fans alike and with their new album The Nothing They Need (Xemu Records) the band show that in 2018, they continue to fuse their love of early-’70s hard rock and ’60s psychedelia into their own distinct sound.

The album was recorded in Dead Meadows’ studio/rehearsal space, The Wiggle Room and it celebrates twenty years of the band with eight songs that feature everyone that has been musically involved with the band over the years. Jason and Steve Kille are joined by original drummer Mark Laughlin, Stephen McCarty ( the drummer throughout the Matador years), and current drummer Juan Londono. Cory Shane joins them on guitar for some Feathers era dual guitar interplay.

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No Joy / Sonic Boom  –

No Joy / Sonic Boom is Jasamine White-Gluz and Pete Kember. You know Jasamine from her eight-years (and counting) stint as a founding member and principal songwriter of Canadian shoegaze / noise-pop band No Joy. And Pete Kember is Sonic Boom, of Spacemen 3, Spectrum, and E.A.R. While neither can accurately recollect how they met, the pair first touched on the idea of working together in an exchange of emails during the fall of 2015. No Joy had just finished touring on the back of LP More Faithful (their third full-length on the Mexican Summer imprint, and their heaviest to date), and Jasamine was eager to walk a new path. “No Joy functioned as a four-piece ‘rock band’ for so long,” she says. “I wanted to pursue something solo where I collaborated with someone else who could help me approach my songs from a completely different angle. Pete is a legend and someone I’ve admired for a long time. Being able to work with him on this was incredible.”

What started as a sonic exploration between two friends—passing songs back and forth intercontinentally, with Jasamine writing and producing songs in Montreal and Pete writing, arranging, and producing in Portugal—soon grew into a project of substance, the result being four glistening tracks that dance along the lines of electronica, trip-hop and experimental noise. “I wrote some songs that were intended for a full band and handed them off to Pete, who helped transform them. I barely knew how to use MIDI so I was just throwing him these experiments I was working on and he fine-tuned my ideas. There are barely any guitars on this album, because I was focused on trying to find new ways to create sounds.” The No Joy / Sonic Boom EP begins with the 11+ minute epic “Obsession,” a disco-y dream trance jam that ebbs and flows, before “Slorb” slinks in, casting its seductive spell. “Triangle Probably” rings triumphant, an industrial beat thumping below, the track interwoven with Jasamine’s silvery vocals. “Teenage Panic” begins in celebration, brimming with hope and excitement, and then—a full stop—before striking back in the form of a droning loop that gathers more and more layers as it spins out into the infinite void.

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Holy Wave  –   Adult Fear

El Paso’s Holy Wave will release their new album, Adult Fear via The Reverberation Appreciation Society. The band have always differentiated themselves from the psych pack with their keyboard-forward sound that rarely falls into standard trippy tropes, and the album’s title track is a good example of that, with a grooving bassline and nice harmonies in the chorus.

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The Damned  –  Stiff Singles 1976 – 1977

BMG proudly present this limited edition set comprising of 5 x 7″ vinyl singles including the famed first ever punk single New Rose and all the other early hits from the impressively chaotic punk quartet. All singles have been recreated with their original artwork, including the ultra-rare, previously fan club only Stretcher Case Baby. These are all packed in a superb box, collaged with original press cuttings from back in the day. Also included is a Damned embroidered patch, exclusive to this boxset. It was the summer of 1976 when Dave Vanian, Rat Scabies and Captain Sensible recruited guitarist and songwriter Brian James, they played their first gig supporting the Sex Pistols at the 100 Club and quickly signed to Stiff Records and began writing the very first chapter of the punk rock history books. Their debut 7” – New Rose – was written by Brian James and backed by a proto-thrash version of The Beatles’ Help. It was recorded by Stiff’s in-house producer, Nick Lowe and set the punk dream alight at exactly 9.00am when record shops opened for business on 22 October 1976, stealing a march on the Pistols by becoming what is widely acknowledged as the very first punk record ever released.The band really came into their own with their second single – Neat Neat Neat – which had two cuts on the B-side, Stab Yor Back and Singalongascabies. Produced, like New Rose, by Nick Lowe, the vinyl had a message from one band member scratched in the run-out groove: “this is your captain speaking…” So what were Captain Sensible’s favourite acts on Stiff, one journalist asked him in 2007? “I wasn’t interested!” he insists. “It was mainly pub rock in the early days, which we despised and sneered at in our young and snotty way…” After a special 7” – Stretcher Case Baby – cut to give away at gigs celebrating the band’s first anniversary, they went back into the studio, this time with Pink Floyd’s Nick Mason at the controls. Third single Problem Child was written by Brian James with Rat Scabies and featured new recruit Lu Edmonds on guitar. An incendiary two minutes of the band in their prime, it failed to crack the UK top 40 but did make number 27 in NME’s alternative singles chart. By the end of 1977, the Damned were ready to part with Stiff, just as Brian James and Lu Edmonds were ready to part with The Damned. Their last single was Don’t Cry Wolf, backed with another Nick Mason-produced track, One Way Love.

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Spacemen 3 –  Playing With Fire

Every once in a while a record comes along that somehow manages to define an era. in the late 80’s there can be no doubt that one such record was released – and that record was Playing With Fire by Spacemen 3. Fuelled by narcotic indulgence and an overwhelming sense of darkness it was rightly hailed as a classic at the time and is still considered to be one of the greatest albums of the time by many today. Its mesmerising beauty and sublime originality are still recognised as a genuine triumph to this day.

2CD – Double CD with live versions of Suicide and Repeater and recordings of Che and May the Circle be Unbroken. Not only that but they’ve also included a second CD full of studio out-takes and demos, including the Spacemen 3 version of Any Way That You Want Me – the song which went on to become Spiritualized’s debut single.

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Jade Bird  –   Something American EP

Jade Bird’s debut EP Something American – originally released in 2017 gets a limited physical release. Across the 5 tracks, her voice has arrived like a total breath of fresh air in the current musical landscape – putting her own positive, refreshing spin on a richly complex personal and musical heritage. Within the EP, Jade manages to twist huge themes including disillusionment, divorce, cheating and sorrow into the realities of an independent-minded modern British teenager. Produced by Simone Felice (The Lumineers, Bat For Lashes etc), the EP was recorded at Clubhouse Studio in Rhinebeck, NY and features Matt Johnson (Jeff Buckley, St Vincent) on drums, Will Rees (Mystery Jets) on guitar and Sara Lee (B-52’s) on bass.

This Week’s Full Releases list

Alfa 9 – ‘My Sweet Movida’ limited clear vinyl LP
Anthroprophh – ‘Omegaville’ swirl vinyl LP

Barbarossa – ‘Lier’ limited turquoise vinyl LP
The Bug Vs Burial – ‘Flame 1’ 12″
Cabbage – ‘Nihilistic Glamour Shots’ LP
The Cars – ‘Heartbeat City’ limited coloured vinyl 2LP reissue
The Cars – ‘Shake It Off’ limited coloured vinyl 2LP

Chris Carter – ‘Chemistry Lessons Volume 1’ coloured vinyl 2LP
The Cavemen – ‘Nuke Earth’ LP
The Cavemen – The Cavemen’ red vinyl LP reissue

Frankie Cosmos – ‘Vessel’ limited blue vinyl LP
Graham Coxon – ‘The End Of The F***ing World: Original Soundtrack’ 2LP

Czarface & MF Doom – ‘Czarface Meets Metal Face’ LP
The Damned – ‘Stiff Singles 1976-1977’ limited 5×7″ singles box set
Dead Meadow – ‘The Nothing They Need’ LP
FACS – ‘Negative Houses’ LP
Fever Ray – ‘Plunge’ deluxe 2LP
Ben Harper & Charlie Musselwhite – ‘No Mercy In This Land’ LP
Micah P. Hinson – ‘At The BBC Broadcasting Corporation’ LP
Hollywood Sinners – ‘Khome Kakka’ LP
Interrobang – ‘Interrobang’ limited orange vinyl LP
Major Murphy – ‘No.1’ LP
OST – ‘Mr Robot: Volume 4’ limited coloured vinyl 2LP
Max Richter – ‘Hostiles: Original Soundtrack’ 2LP
Sonny Rollins – ‘Saxophone Colossus’ LP reissue

Steve Reich – ‘Pulse/Quartet’ LP
Shit & Shine – ‘That’s Enough’ 12″ EP
Sons Of Kemet – ‘Your Queen Is A Reptile’ 2LP
Spacemen 3 – ‘Playing With Fire’ black vinyl LP reissue
The Streets – ‘Original Pirate Material’ 2LP reissue
The Streets – ‘A Grand Don’t Come For Free’ 2LP reissue

The Third Eye Foundation – ‘Wake The Dead’ LP
Trembling Bells – ‘Dungeness’ LP
The Vaccines – ‘Combat Sports’ limited orange vinyl LP

There are some storming new release’s tomorrow. There’s albums out from Franz Ferdinand, Ezra Furman, Joan As Police Woman, Brigid Mae Power, MGMT, Son Lux,GoGo Penguin, Fu Manchu, Susanna and a ‘Best Of’ from Bring Me The Horizon (with a very limited red vinyl version still available). Reissues? Of course! How about coloured vinyl from Lords Of The Underground ,Or the first three Ramones albums? Or a fantastic compilation of Nina Simone early recordings?. 

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Brian Fallon – Sleepwalkers

SLEEPWALKERS sees Brian Fallon once again pushing timeless rock ‘n’ roll into the modern era, recasting British Invasion rock, first generation UK punk, and American pop and soul into a near irresistible sound he’s dubbed – with a nod and a wink towards The Who – as “Heavy R&B.”

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Ezra Furman  –  Transangelic Exodus

Transangelic Exodus Ezra Furman’s second album for Bella Union, is a new landmark for the American singer-songwriter: “not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” according to its author. “A personal companion for a paranoid road trip. A queer outlaw saga.” The music is as much of an intense, dramatic event, full of brilliant hooks, with an equally evolved approach to recorded sound to match Furman’s narrative vision. In honour of this shift, his backing band has been newly christened: The Boy-Friends are dead, long live The Visions. In other words, the man who embodies the title of his last album Perpetual Motion People is still on the move… Or in the vernacular of the new album, on the run. His musical DNA remains intact – a thrilling, literate form of garage-punk rooted in The Velvet Underground, Jonathan Richman and ‘50s rock’n’roll.
Standout tracks include the album’s lead single Driving Down To LA, a sparse, but explosive, mix of doo-wop and digital crunch. Another is the haunting Compulsive Liar. Transangelic Exodus addresses another kind of coming out, as Furman addresses his Jewish faith on record much more openly than before, from the shivery ballad God Lifts Up the Lowly (which includes a verse in Hebrew) to the exquisite Psalm 151 and the line “I believe in God but I don’t believe we’re getting out of this one” in Come Here Get Away From Me, a heady blend of rock’n’roll rumble and ghostly clarinet. Crossing between love, gender, sexuality and religion, and singing in solidarity with the innocent, persecuted, oppressed and threatened, Ezra Furman has soundtracked the current fear and loathing across America like no other, while pushing ahead with his own agenda, always on the move.

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Jay Som –  Jay Som

Jay Som is the moniker of San Francisco-based musician Melina Duterte who, at 22, has already self-released a debut album: a collection of finished & unfinished songs titled “Turn Into”, signed to Polyvinyl Records, and is opening for Mitski across the US and Canada. “Turn Into” sees a wide release this July via Polyvinyl (and vinyl/CD later this year). “Turn Into” was recently described by Pitchfork as “deceivingly textured and intricate pop songs—flush with nimbly intertwined guitar melodies and distressed fidelity”. While Gold Flake Paint said of Duerte: “Melina Duerte is a wizard. Quite how she manages to eek such lustrous, iridescent wonder out of a collection of scraps (“finished and unfinished songs”) is proof that what lies in her songwriting is something mystical, an intangible force of feeling that floods the rooms and walls within which it finds itself”.

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MGMT – Little Dark Age 

MGMT release their fourth album Little Dark Age – the follow-up to their 2013 self-titled album is released via Columbia. It features production from Patrick Wimberly (formerly of Chairlift) and Dave Fridmann (Flaming Lips, Spoon, Tame Impala). MGMT are back and more creative, robust, toned and energised in years. The best songs have that eccentric edge but with the pop layer of 2008 debut Oracular Spectacular. Opener She Works Out is a mangled, sunshine pop take on Air’s Sexy Boy whilst You’re Small is an Alice in Wonderland take on the Beatles Across the Universe. It’s a record that embodies a whole world of vulnerability, confusion and unsteadiness without losing shape. Little Dark Age is back to MGMT’s crowd pleasing best.

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Twin Peaks – Sweet ’17 Singles

Throughout the second half of 2017, Chicago’s Twin Peaks released a run of a half dozen limited-edition 7″ singles the band affectionately dubbed Sweet ’17. Only 300 copies of each 7″ were made, and subscriptions sold out almost immediately. But due to popular demand, Twin Peaks have compiled all of the songs from the series onto a LP release. Sweet ’17 Singles follows in the footsteps of Down In Heaven, the band’s 2016 full-length release, which expanded on the garage-inspired sounds of 2014’s Wild Onion.

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Bat Fangs –  Bat Fangs

NC/DC superghouls Bat Fangs pick up where Roky & the Aliens blasted off — cranking acid-soaked ’80s hard rock for the living and the dead. Making heady heavy music for third eyes and stiff upper lips, Betsy Wright (Ex Hex) shreds ‘n’ howls over Laura King’s (Fleshwounds, The Moaners) deep-thunder drums. Let the Bat Fangs sink in!

Ron Wood & Ronnie Lane – Mahonneys Last Stand OST

What do two Faces do when their lead singer (bon vivant Rod Stewart) doesn’t show up for the Ooh La La recording sessions? They work on a soundtrack for an obscure film by actor and friend Alexis Kanner (most famous for his guest roles on the late-’60s TV series The Prisoner), and draft the uppermost rank of British rock royalty to play on it!

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Franz Ferdinand – Always Ascending

Always Ascending’ is nothing short of a rebirth. The album’s ten songs are a triumphant recasting of one of everyone’s favourite groups, bursting with fresh ideas and vigorous sonic experimentation. Always Ascending is the new album from Franz Ferdinand. the album’s 10 songs are a triumphant recasting of the group, bursting with fresh ideas and vigorous sonic experimentation. Always Ascending recorded at RAK Studios, London and Motorbass in Paris, with the help of French producer extraordinaire Philippe Zdar (Cassius, Phoenix, The Beastie Boys), the mutual affection between band and producer seeping into every dazzling groove. Always Ascending shows Franz Ferdinand broadening their palate, as exuberant as it is euphoric, creating a sound that singer, Alex Kapranos, refers to as “simultaneously futuristic and naturalistic.”

Joan As Police Woman – Damned Devotion

A new album from Joan As Police Woman, which sees a return to the darker, sensual sound of her celebrated early releases. ‘Damned Devotion’ finds Joan Wasser at her rawest yet. Brand new album from Joan As Police Woman, which sees a return to the darker, sensual sound of her celebrated early releases. A beautiful soul-searching record and the one that Joan has spent her whole life building up to.

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Various Artists Revolutionary Spirit – The Sound of Liverpool 1976 – 1988

Extensive 5CD / book set exploring the ‘second wave’ of music on Merseyside, from 1976-1988 Features classics, rarities, album tracks and previously unreleased gems from Echo And The Bunnymen, Teardrop Explodes, OMD, The La’s, Frankie Goes To Hollywood, Dead Or Alive, China Crisis, A Flock Of Seagulls, Wild Swans, Big In Japan and many more. 5CD and 56 page A5 book format contains many artists’ own sleeve-notes, previously unseen photographs and essays from key observers and participants in the city’s music scene – Bernie Connor, Mike Badger, Yorkie and Joe McKechnie. Curated and designed by the people who brought you Scared To Get Happy, Still In A Dream, Manchester – North Of England, Silhouettes And Statues and many more extensive box sets. A remarkable journey through the music of a generation inspired and enabled by punk rock to step out from behind the shadow to the Fab Four. Packed with first-hand artist sleeve-notes, insightful essays, imagery and brilliant, essential music, this is a story long in need of telling.

Robert Plant – Live At David Lynch’s FESTIVAL OF DISRUPTION (DVD)

Eagle Rock Entertainment release Robert Plant & The Sensational Space Shifters Live At David Lynch’s Festival of Disruption. Filmed as part of one of Los Angeles’s most anticipated cultural events, David Lynch’s inaugural Festival of Disruption took place at the Ace Hotel Theatre, LA in October 2016, raising funds for The David Lynch Foundation.

Performing with The Sensational Space Shifters since 2012, Robert Plant continues to shift the musical goalposts, blurring the lines between rock, blues, folk & world music and finding new life in exotic beats and African rhythms. With a set including a new take on beloved Led Zeppelin classics, stripped down versions of ‘Black Dog’ and ‘Whole Lotta Love’ are met with a rapturous response from the packed theatre audience, with whom Plant enjoys a genuine rapport. Also included are ‘Babe, I’m Gonna Leave You’ and ‘Going to California’, alongside solo standouts ‘Turn It Up’, ‘The Enchanter/Rainbow’ and ‘Little Maggie’. This is a rare opportunity for fans to witness the legendary frontman as they’ve never seen or heard him before. This David Lynch curated event aims to feature artists with ‘knowledge and mystery’, undoubtedly Robert Plant has an abundance of both

9th February
Bring Me The Horizon – ‘2004-2013’ limited vinyl 2LP
Bring Me The Horizon – ‘2004-2013’ 2LP
Don Broco – ‘Technology’ limited picture disc 2LP & CD box set

Europe – ‘Out Of This World’ limited blue vinyl LP reissue
Brian Fallon – ‘Sleepwalkers’ 2LP
Franz Ferdinand – ‘Always Ascending’ limited coloured vinyl LP
Fu Manchu – ‘Clone Of The Universe’ LP
Ezra Furman – ‘Transangelic Exodus’ coloured vinyl LP
Gogo Penguin – ‘A Humdrum Star’ limited coloured vinyl 2LP
Holy Motors – ‘Slow Sundown’ LP
Joan As Police Woman – ‘Damned Devotion’ limited pink vinyl LP
Brigid Mae Power – ‘The Two Worlds’ LP
MGMT – ‘Little Dark Age’ LP
OST – ‘Three Days Of The Condor’ limited gold vinyl LP reissue
Ramones – ‘Ramones’ remastered LP reissue
Ramones – ‘Leave Home’ remastered LP reissue
Ramones – ‘Rocket To Russia’ remastered LP reissue

Nina Simone – ‘Mood Indigo: The Complete Bethlehem Singles’ LP & 7″
Son Lux – ‘Brighter Wounds’ limited coloured vinyl LP
Susanna – ‘Go Dig My Grave’ LP
The Wombats – ‘Beautiful People Will Ruin Your Life’ LP
Betty Wright – ‘I Love The Way You Love’ LP reissue

Ron Wood & Ronnie Lane – Mahoney’s last Stand OST CD

Toto – 40 Trips Around The Sun CD, 2LP

Johnny Greenwood – Phantom Thread CD
Chicane – Chicane – Sun:Sets 2018 2CD
Robert Plant And The Sensational Space Shifters – 
Live At David Lynch’s Festival Of Disruption DVD

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London based trio The Wave Pictures – Jonny Helm (drums), Dave Tattersall (guitar & vocals) and Franic Rozycki (bass) – return with their brand new album ‘Bamboo Diner In The Rain’ on Moshi Moshi Records.

Following on from last year’s Billy Childish collaboration ‘Great Big Flamingo Burning Moon’ and their recent acoustic record ‘A Season In Hull’, ‘Bamboo Diner In The Rain’ sees The Wave Pictures battling against the robot music apocalypse.

The new album is a bluesy, boozy love letter to the guitar, filled with American Primitive instrumentals, John Lee Hooker chugs and Link Wray style minor-key surf music. As songwriter and guitarist Dave Tattersall explains, “This album is set in the Bamboo Diner of my dreams, with rain beating on the windows and a jukebox stocked with blues. This is the most personal album I’ve made so far. In fact, that’s the whole idea of the band, to become more and more authentically ourselves on record. To grow inwards. Like everything on this dark and strange little album. It’s not robot music.”

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Martha Wainwright releases a wonderful new studio album, ‘Goodnight City’, on [PIAS]. It’s the follow up to her acclaimed 2012 release ‘Come Home To Mama’.

‘Goodnight City’ features 12 brand new songs produced by Thomas Bartlett (Surfjan Stevens, Glen Hansard) and longtime producer Brad Albetta. It recalls the emotional rawness of her debut album, much of it encapsulated by the captivating lead track ‘Around The Bend’ and her extraordinary voice.

“Making ‘Goodnight City’ was the most fun I’ve had in a long time,” Martha admits. “Thomas (keys), Brad (electric / bass), Phil Melanson (drums) and I would sit in a circle and work out arrangements for these vividly different songs. Recording them live with very few overdubs the focus remains on the integrity of the song and our ability to play together as a band.”

Martha wrote half the songs on the album while the other half were written by friends and relatives: Beth Orton, Glen Hansard, Rufus, Wainwright, Michael Ondaatje and Merrill Garbus of tUnE-yArDs.

“Because these writers know me and because I was able to personalise these songs by changing things here and there, I made them feel as if I wrote them myself,” Martha explains. “Somehow they wonderfully reflect my life and I am so thankful to the other artists for writing them.”

‘Goodnight City’ was recorded in Montreal. Last year Martha and Lucy Wainwright Roche released ‘Songs In The Dark’ as the Wainwright Sisters.

The Early Years 1965-1972

As massive and hefty as a cinder block, Pink Floyd‘s The Early Years 1965-1972 is no conventional box set. It is an archive in miniature, offering 28 discs — 11 CDs with the remaining discs being DVDs and Blu-Rays that offer duplicates of the same audio/visual material — alongside replicas of original poster art, fliers, press releases, 7″ singles and ticket stubs, all here to offer a deep, multi-tiered portrait of the years when Pink Floyd were fumbling around trying to find their voice. This isn’t precisely uncovered territory — during the eight years covered on this box set, Floyd released eight studio albums, and their early singles have been compiled on several collections, including 1971’s Relics — but what’s available on this box is almost entirely rare, with much of it being unheard and unbootleged. This isn’t limited to the audio tracks, either. The DVDs and Blu-Rays offer a cornucopia of stunning films, ranging from promo clips and BBC performances to interviews between Syd Barrett and Dick Clark, full live sets, documentaries, a version of “Interstellar Overdrive” with Frank Zappa from 1969, a ballet from 1972, rejected animations, and the entirety of More and Obscured by Clouds, two feature films Pink Floyd scored.

Sleigh Bells, Derek Miller and Alexis Krauss, have announced their first new album in three years. Entitled Jessica Rabbit, the album was produced by the band and mixed by Andrew Dawson (Kanye West, Tyler, the Creator); and for the first time ever they brought someone outside of the band into the creative process, working with Mike Elizondo (Dr. Dre, Fiona Apple) to shape five of the band’s favourite tracks on the album.

The result is an album that does not sound like anything Sleigh Bells has ever done – or anyone has ever done, for that matter. It is the sonic equivalent of firing synapses, with melodies zigzagging in different directions in a beautiful and ever-modulating controlled chaos. It is playful but darkly so; flirtatious but caustic; ebullient but downright sinister. It is a record that is wholly unique in sound and purpose, an unabashed and unafraid statement from a band that has made offending rote conceptions of pop music their signature and greatest strength.

Released as a companion to Robbie Robertson‘s 2016 memoir of the same name, Testimony is the singer/songwriter’s own take on his musical history — an 18-track compilation that samples from every era of his career, from his time supporting Ronnie Hawkins to his stabs at moody trip-hop. While the book ends when the Band disbands, Testimony finds space for selections from his solo career — five songs total, with 1991’s Storyville earning the largest play and the electronica aspects of 1998’s Contract from the Underworld of Red Boy and 2011’s How to Become Clairvoyant diminished. Still, the Band naturally figures heavily into the equation here, but Robertson avoids his biggest hits along with some of his best-known songs. Instead, he culls heavily from the Band‘s Live at the Academy of Music 1971 performance — it’s better known as the 1972 LP Rock of Ages — and the 2005 Band box A Musical History, which is where all the early cuts from Levon Helm & the Hawks and the Robertson-sung “Twilight (Song Sketch)” were first released. If Testimony is light on rarities, what matters is context. By piecing together all these elements of his career — including his time backing Hawkins(“Come Love”) and Bob Dylan (“Rainy Day Women #12 & 35” from Before the Flood) — he paints a fairly rich portrait of his musical achievements, so Testimony does indeed wind up being a musical memoir.

Wolf People – This London-birthed four-piece have long been hailed as a band with the alchemical charge to transform psychedelic, folk and riff-rock spirits into something both timeless and vibrant, avoiding the lure of retro pastiche. ‘Ruins’ however is unquestionably their greatest achievement to date, reinventing the earthy roar of ampstacks and a quintessentially English pastoral sensibility, and finding transformational ways to draw the cosmic dots between 1971 and 2016. The theme of this album may be a world in which nature has overcome the end of humanity, but the post-apocalyptic landscape has never sounded peachier.

Arriving on the heels of her 2015 road memoir Don’t Suck, Don’t Die: Giving Up Vic Chesnutt, which focused on Kristin Hersh’s long friendship with the late singer/songwriter, Wyatt at the Coyote Palace delivers another audio-visual experience via a 24-track LP and an accompanying hardback book stocked with lyrics, notes, essays, and photographs. Published through her own co-founded nonprofit organization CASH Music, the double album is a purely Hersh-oriented affair, with the alt-rock hero handling all of the parts. Having that kind of freedom can be a creative death knell for some artists, but Hersh has always operated in another realm, both sonically and lyrically, and she takes to the open-ended format with gusto. Opener “Bright” starts off on familiar ground, with Hersh fingerpicking one of her signature spectral melodies. However, things begin to shift gears quickly, with wild swaths of dissonance rolling in like downed wires. Hersh’s voice remains electric, if not a bit rawer than usual, and her knack for pairing big, circular pop hooks with dreamlike lyrics and rhythmic left turns remains intact. When all of those pistons start to pump, as is the case on standout cuts “Hemingway’s Tell,” “Diving Bell,” and “Between Piety and Desire,” the results can be hair-raising, but at just over 80 minutes of material, there’s a lot to digest here. It’s easy to stand on the sidelines and say that a more streamlined, ten- to 12-track version of the album would suffice, but one of the many things that’s helped to make Hersh such a singular talent over the years is her unwillingness to compromise, and on that front, the punishing and beautiful Wyatt at the Coyote Palace doesn’t disappoint.

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Billy Bragg and Joe Henry
Shine A Light – Field Recordings from the Great American Railroad
The new Billy Bragg and Joe Henry album ‘Shine A Light: Field Recordings From The Great American Railroad’ on Cooking Vinyl. In March 2016 Billy Bragg and Joe Henry, guitars in hand, boarded a Los Angeles-bound train at Chicago’s Union Station looking to reconnect with the culture of American railroad travel and the music it inspired. Winding along 2,728 miles of track over four days, the pair recorded classic railroad songs in waiting rooms and at trackside while the train paused to pick up passengers.

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Bruce Springsteen  –  Chapter and Verse

‘Chapter and Verse’ is the audio companion to Bruce Springsteen’s autobiography, ‘Born to Run’. Five of the album’s 18 tracks are previously unreleased. Springsteen selected the songs on ‘Chapter and Verse’ to reflect the themes and sections of ‘Born to Run.’ The compilation begins with two tracks from The Castiles, featuring a teenage Springsteen on guitar and vocals, and ends with the title track from 2012’s ‘Wrecking Ball.’ The collected songs trace Springsteen’s musical history from its earliest days, telling a story that parallels the one in the book. 2LP – Double LP Set

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The Big Moon – Silent Movie Susie
Limited 7″ vinyl. It has been an exciting introductory year for Juliette, Fern, Soph and Celia of The Big Moon. Making riotous guitars and stadium-ready choruses look like the most effortless thing on earth, The Big Moon are creating no shortage of buzz. With each new release, they continue to reach brand new heights. ‘Silent Movie Susie’ is their most obvious pop nugget – it oozes summer fun, style and a big hook of a chorus. Think a mix of the Pretenders and Elastica.

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Warpaint -Heads Up

Warpaint are back with their third album! ‘Heads Up’ was recorded after Warpaint spent 2015 apart working on solo projects, including Jennylee’s recently released album ‘Right On!’. Emily, Theresa, Jenny and Stella then reunited in January this year with producer Jacob Bercovici, with whom they had worked on their much loved debut EP ‘Exquisite Corpse’. ‘Heads Up’ was recorded at House on The Hill studio in downtown LA, their home studios and Papap’s Palace.2LP – Double Black Vinyl with Download.LP+ Limited Pink and Black Vinyl with Download.

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Billie Marten – Writing of Blues and Yellows
Titled ‘Writing of Blues and Yellows’, the 17 year old’s first full-length is released via Chess Club / RCA. The songs on ‘Writing of Blues and Yellows’ are as remarkable for their beguiling beauty as for the age of their singer. All are at once intimate and airy, like secrets blown in on a breeze. All have enchanting lyrics that linger long after they have left Billie’s lips. All showcase a voice so perfectly pure it sounds almost otherworldly. The painted cover art sets the tone for the Brit’s collection of whimsical, timeless tunes with its faded, vintage look. Like Billie’s music, it couldn’t be less on-trend or modern. Which is why it stands out. The teenager’s recent releases make the cut as well as new single ‘Lionhearted’ and a couple of old favourites (‘Bird’ and ‘Heavy Weather’). For fans of Laura Marling, Joanne Newsom and Kate Bush.
CD – 13 Track Standard CD.
CD+ – 18 Track Deluxe CD featuring extra demos, alt versions and more.

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LVL UP – Return to Love
‘Hidden Driver,’ the opening track of LVL UP’s third album and Sub Pop debut ‘Return to Love’, never stops moving. What starts with unassuming guitars and vocals adds new lines, depths, and intensity, until its unrestrained, triumphant finish. “God is peeking, softly speaking,” repeats the chorus, working through the relationship between spirituality and creative inspiration, and introducing a band that is always pushing further. LVL UP was formed in 2011 at SUNY Purchase as a recording project between Caridi, Benton, and their friend Ben Smith, with the original intention of releasing a split cassette with Corbo’s then-solo material. They instead released that album, Space Brothers, as one band, and Rutkin joined shortly afterwards for the group’s first show. Smith left the band for personal reasons just before the release of second album Hoodwink’d, a joint release on Caridi and Benton’s label Double Double Whammy and Exploding in Sound. DDW also put out records from other artists in the tight-knit community that launched the band.

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Fleetwood Mac – Mirage
Fleetwood Mac’s streak of five consecutive multi-platinum albums began in the Seventies and continued in 1982 with ‘Mirage’, the follow-up to the band’s 1979 double-album, ‘Tusk’. During the summer of 1982, ‘Mirage’ topped the album chart and added to the band’s already impressive canon of hits with ‘Hold Me,’ ‘Love In Store’ and ‘Gypsy’. Following last year’s deluxe edition of ‘Tusk’, Fleetwood Mac continues chronologically with the deluxe edition of ‘Mirage’. This new edition expands on the original album with newly remastered sound, a selection of rare and unreleased recordings, as well as the stories and pictures behind the album.CD – 12 Track Remastered.2CD – Double CD in Digipack with an extra 19 Track CD of B-Sides, Outtakes and Sessions.Heavy – Three CDs, DVD and LP. Original album remastered, plus b-sides and rarities; the original album on LP; live performances; and a 5.1 mix on DVD.

Couple With Records

As Colvin & Earle, longtime friends and admirers Shawn Colvin and Steve Earle have united to record their self-titled debut, a true standout in careers already filled with pinnacles and masterpieces. Produced by the masterful Buddy Miller and recorded in his living room studio, Colvin & Earle contains six co-written originals plus some truly inspired covers, including The Beatles’ “Baby’s In Black,” the Rolling Stones’ “Ruby Tuesday,” and Emmylou Harris’ “Raise the Dead.” Few things can touch the magic of artists so in tune that they seem to be able to read each other’s minds, and Colvin & Earle is a prime showcase for the duo’s inimitable vocals and mesmerizing guitar playing – a flawless example of the creative process gelling into a gorgeous, cohesive whole. For this pair, both considered to be among America’s greatest living songwriters, Colvin & Earle showcase one of the finest records of these hardcore troubadours’ storied careers.

BAND OF HORSES – WHY ARE YOU OK

Very Limited copies come with a A3 Band Of Horses print. Everyone’s favourite American indie export, Band of Horses, are finally Back and bigger and better than ever! Releasing their fifth studio album on the 10th year anniversary of the incredible ‘Everything All The Time’ is fitting as it hearkens back to the vulnerability present on the first album but this time is shaped by the experience of writing at home in between caring for his four daughters. The album was produced by Jason Lytle from alt-rock icons Grandaddy and spurred on by Rick Rubin. ‘Why Are You Ok’ combines universal sentiments with expertly crafted storytelling wrapped in lush melodic textures that have long been the bedrock of Band of Horses‘ sound.
LP – Heavyweight vinyl with download code.

THE FIREWORKS – BLACK AND BLUE EP

Shelflife Records is proud to bring you the Limited Blue vinyl 10″ ‘Black and Blue EP’, the first release by London and Brighton-based group The Fireworks since their debut LP, 2015’s ‘Switch Me On’. Following a handful of fantastic 7″ singles and a self-titled EP, the quartet exceeded already high expectations on their debut album. ‘Switch Me On’s 13 tracks soar by in a blur of warm, fuzzed-out feedback, infectious hooks and pure unadulterated energy.  Fans old and new of The Fireworks will not be let down by their new ‘Black and Blue EP’. The release may only be four tracks long, but you’ll be needing to take a breather after it’s done. These songs mark the most rocking we’ve heard The Fireworks thus far, while still keeping the catchy melodies and pop sensibility we’ve come to expect from them. The driving opener ‘All the Time’ is an instant favourite, and the dynamic track tells listeners right off the bat that this is no mellow, passive listen. ‘The Ghost Of You’ features jangly guitar work and fantastic dual vocals from Matthew Rimell and Emma Hall, making the track a shimmering pop gem. Of course, the distortion that smattered ‘Switch Me On’ is still present, and tracks like ‘Bury Me’ will have you jumping around in a fit of uncontrollable vigor (perhaps why they chose to name this the ‘Black and Blue EP’). The band touches down on all bases on this new release, making it an essential listen whether or not you’ve been a fan in the past. For fans of: Razorcuts, Buzzcocks, Girls At Our Best!, Revolving Paint Dream, The Shop Assistants, Meat Whiplash, Bubblegum Splash. Vinyl with Download.

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Whipping up a frenetic, fun-filled brew of surf pop and garage rock, this Manchester quartet have been creating quite a stir with a handful of great 7″ singles and high octane live shows over the last few months.

“Tell Me If You Like To”, is their debut album and it’s choc full of garage-punk gems (including their three 7″ single tracks) as you’d expect – think The Ramones covering The Beach Boys, OD-ing on Haribo’s!
“the most promising band of 2016”

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Christine And The Queens is Nantes-born Héloïse Letissier. Moving to London to study in 2010, Letissier instead found herself drawn to the art and theatre underworld of Soho, where she met the drag queens of Madame JoJo’s who inadvertently helped birth Christine And The Queens. The following year she released the first of a series of three EPs, each one building praise and demand for her utterly individual brand of pop. Chaleur Humaine, her French-language debut album produced by Ash Workman (Metronomy) with multi-instrumentalist brothers Michael Lovett and Gabriel Stebbing, arrived in 2014 and has already gone more than five-times platinum to propel Letissier – named Female Artist of the Year at the Victoires de la Musique earlier this year – to phenomenon status in her homeland.

Already coveted by those in the know, last year Christine And The Queens took a step further into the international spotlight with a number of high profile European shows and scene-stealing performances at SXSW, a major 16-date North American run with Marina and The Diamonds and a solo sold-out headline show at New York’s Webster Hall. She capped a stunning year by joining one of her all time heroes Madonna on stage in Paris last week. She released her debut, self-titled UK EP in November and now ‘Chaleur Humaine’ makes its long-awaited UK debut. The album features EP tracks ‘Jonathan’ (feat. Perfume Genius) and ‘No Harm Is Done’ (feat. TunjiIge), and has been completely reworked for its UK release, featuring all-new English versions of French runaway hits ‘Saint Claude’ and ‘Christine’, amongst others.

Image of Augustines - This Is Your Life

“This is Your Life”, the new album from anthemic rock trio, Augustines, is an urgent, resonant wakeup call, taking stock of where we are now and what the future holds… an open road ahead.

YUNG – A YOUTHFUL DREAM
‘A Youthful Dream’ the debut album from Yung is a revelation. Angst makes space for wisdom, youthful exuberance begins channelling road-tested experience, and a blur of basement shows and self-produced bromides becomes something more. Where the previous releases such as ‘These Thoughts Are Like Mandatory Chores’ found Silkjær masterfully running through buzzsaw riffs, recalling The Replacements and Jay Reatard, ‘A Youthful Dream’ finds Silkjær reshaping his DIY vocabulary and experimenting with a larger sonic palette, in ways that may make fans do a double take. Richer melodies, pianos, and even trumpets made their way into the recording sessions at Sound Studio in Sweden, where Silkjær, Frederik Nybo Veile (drums) and Tobias Guldborg Tarp (bass) decamped with a handful of guest musicians. Consider the airy, self-referential ‘The Child,‘ a reverie or languid guitar lines punctuated by a horn line; the mid-tempo swagger of ‘Uncombed Hair,’ suddenly amping up without losing control; or the slow build of ‘The Hatch,’ its anthemic scope and chugging drums lines showing a new compositional mastery without losing the immediacy and energy of past efforts.
LP – Black Vinyl with Download.
LP+ – Limited Clear Coloured Vinyl with Download.

VAN MORRISON – IT’S TOO LATE TO STOP NOW (LIVE) – VOLUME 1
Remastered reissue of the original ‘It’s Too Late to Stop Now’. The three-month tour, which launched just months before Morrison released his 1973 LP ‘Hard Nose the Highway’, featured the singer backed by the 11-piece Caledonia Soul Orchestra, Morrison’s tight knit backing band. ‘It’s Too Late to Stop Now’ is a live album that was originally released in 1974. Frequently named as one of the best live albums ever recorded, ‘It’s Too Late to Stop Now’ was recorded during what has often been said to be Morrison’s greatest phase as a live performer. The double album is composed of performances that were recorded in concerts at the Troubadour in Los Angeles, California, the Santa Monica Civic Auditorium and at the Rainbow in London from a three-month tour with his eleven-piece band, the Caledonia Soul Orchestra, from May to July 1973.

VAN MORRISON – IT’S TOO LATE TO STOP NOW (LIVE) – VOLUME 2, 3, 4 AND DVD
Van Morrison’s 1973 tour that spawned the singer’s classic live album ‘It’s Too Late to Stop Now’ is the focus of an 3CD / 1DVD archival release. Titled ‘It’s Too Late to Stop Now… Volumes II, III, IV and DVD’, the collection boasts three previously unreleased concerts from Morrison’s trek – recorded at Los Angeles‘ the Troubadour, the Santa Monica Civic Auditorium and London’s Rainbow Theatre – along with a July 24th London gig that was filmed for a BBC Sight and Sound special but never commercially released.

Image of PJ Harvey - The Hope Six Demolition Project

This spring sees the release of PJ Harvey’s ninth studio album, The Hope Six Demolition Project.

The Hope Six Demolition Project draws from several journeys undertaken by Harvey, who spent time in Kosovo, Afghanistan and Washington, D.C. over a four-year period. “When I’m writing a song I visualise the entire scene. I can see the colours, I can tell the time of day, I can sense the mood, I can see the light changing, the shadows moving, everything in that picture. Gathering information from secondary sources felt too far removed for what I was trying to write about. I wanted to smell the air, feel the soil and meet the people of the countries I was fascinated with”, says Harvey.

The album was recorded last year in residency at London’s Somerset House. The exhibition, entitled ‘Recording in Progress’ saw Harvey, her band, producers Flood and John Parish, and engineers working within a purpose-built recording studio behind one-way glass, observed throughout by public audiences.

The second album from Minneapolis-based band Night Moves, ‘Pennied Days’ on Domino. Written and recorded by principle band members John Pelant and Micky Alfano, and produced by John Angello (Kurt Vile, Sonic Youth, The Walkmen), the album feels warm with feeling, tinged with a deep appreciation for rock and roll’s most storied songwriters. Ranging from traditionalist heroes like Leon Russell and The Band to r’n’b originators Curtis Mayfield and Sly Stone to pre-punk experimentalists Suicide. It’s distinctly modern and a great leap forward from 2012’s Colored Emotions. ‘Pennied Days’ was recorded following tours with Father John Misty, Lord Huron, Django Django, and Polica, in support of the previous album.
LP – Heavyweight LP with Download.
LP+ – Deluxe Heavyweight LP with a limited edition 10 inch with three bonus tracks and Download.

When The Coathangers started up in 2006, their aspirations were humble. “I think all bands in their early twenties start for fun,” says guitarist / vocalist Julia Kugel when talking about their early years of cheeky no-wave and irreverent garage rock. But Julia and her bandmates Meredith Franco (bass / vocals) and Stephanie Luke (drums / vocals) were serious about their craft, and that combination of modest outside expectations and absolute dedication to their music made for exhilarating live shows and contagious records. Ten years later, The Coathangers are still going strong, and while their palette has expanded over the years to touch upon hip-shakin’ classic rock, soulful country ballads, and golden oldies pop, their primary attack strategy still relies heavily on the jagged hooks and boisterous choruses of their formative years. Their fifth album ‘Nosebleed Weekend’ retains all the devil-may-care magnetism and serrated instrumentation of their debut, but it flourishes with a decade’s worth of songwriting discipline and chemistry. ‘Nosebleed Weekend’ kicks off with ‘Perfume’, a song that marries sultry pop vocals with toothy guitar riffs in a manner that would make Ann and Nancy Wilson proud. It’s hard to imagine The Coathangers writing a song this accessible in their early years, but in 2016 it fits perfectly into their canon. From there the band launches into ‘Dumb Baby’, which harkens back to the gritty neo-garage rock of Murder City Devils. Longtime fans who still clamor for their brash post-punk angle will be immediately satiated by ‘Squeeki Tiki’. And after hearing the noisy loud-quiet-loud bombast of ‘Excuse Me?’ it’s no wonder that Kim Gordon has become an outspoken fan of the band. It’s an eclectic album inspired by life on the road, lost loved ones, and Kugel’s recent move to Southern California. “We always say that each record is a snapshot of our life at the time,” Kugel says. “As far as style… it’s just what came out of us at that point.” So whether it’s the foreboding garage rock of the title track, the post-punk groove of ‘Burn Me’, the stripped-down pop of ‘I Don’t Think So’, or the dynamic grunge of ‘Down Down’, The Coathangers command their songs with passion and authority.
LP – Housed in Gatefold Sleeve with Download. Initial copies are pressed on coloured vinyl.

Image of Suuns - Hold/Still

Hold/Still, the third studio album from Suuns, is an enigmatic thing: an eerily beautiful, meticulously played suite of music that embraces opposites and makes a virtue of cognitive dissonance. It is a record that does not give up its secrets easily. The 11 songs within are simultaneously psychedelic, but austere; sensual, but cold; organic, but electronic; tense sometimes to the brink of mania, but always retaining perfect poise and control. “There’s an element of this album that resists you as a listener, and I think that’s because of these constantly opposing forces,” says drummer Liam O’Neill. “Listen to the song ‘Brainwash’, for instance, “It’s a very soft, lyrical guitar song, existing alongside extremely aggressive and sparse drum textures. It inhabits these two worlds at the same time.”

From the beginning, Suuns (you pronounce it “soons”, and it translates as “zeroes” in Thai) have sought to do things differently. They formed in Montreal 2007, when singer/guitarist Ben Shemie and guitarist Joe Yarmush got together to work on some demos, soon to be joined by Liam, Ben’s old schoolfriend, on drums and Max Henry on synth. Their group’s first two records, 2010’s Zeroes QC and 2012’s Polaris Prize-nominated Images Du Futur – both released on Secretly Canadian – were immediate critical hits, and Suuns soon found themselves part of a late ’00s musical renaissance in the city, alongside fellow groups like The Besnard Lakes, Islands and Land Of Talk. Still, at the same time, Suuns feel remote from the big, baroque ensembles and apocalyptic orchestras that typify the Montreal scene. “We write quite minimal music,” thinks Ben. “They’re not traditional song forms, sometimes they don’t really go anywhere – but they have their own kind of logic.” Or as Joe puts it: “It’s pop music, but sitting in this evil space.”

After two records produced by their friend Jace Lasek of The Besnard Lakes at his Montreal studio Breakglass, Suuns decided Hold/Still demanded a different approach. In May 2015, they decamped to Dallas, Texas to work with Grammy- winning producer John Congleton (St Vincent, The War On Drugs, Sleater- Kinney). For three intense weeks, the four recorded in Congleton’s studio by day, the producer driving them to capture perfect live takes with virtually no overdubbing. At night, they returned to their cramped apartment and stewed. “Recording in Montreal, it’s more of a party atmosphere,” says Joe. “Here it felt like we were on a mission. We were looking for something to take us out of our element, or that might seep into our music.” Luckily, the effect was galvanizing. Under Congleton’s instruction, ‘Translate’ and ‘Infinity’, songs the group had been reworking for years, suddenly found their form.

The result is undoubtedly Suuns’ most focused album to date, the sound of a band working in mental lockstep, crafting a guitar music that feels unbeholden to clear traditions or genre brackets. From the haunted electronic blues of ‘Nobody Can Save Me Now’ to throbbing seven-minute centrepiece ‘Careful’, Hold/Still foregrounds the work of Max, a synthesizer obsessive who builds hisown patches and confesses to using cranky or budget equipment as well as top-of-the-range kit because “[good gear] does all the work for you, and that’s not always fun”. Certainly, this is a band as inspired by the dark groove textures of Andy Stott, the flourishing arpeggios of James Holden or the serrated productions of Death Grips as anything familiarly rock. “Things don’t feel right until they’ve been touched or cast over in an electronic light,” elaborates Liam. “It’s rare that acoustic drum kit, guitar, and bass comprise a finished product for us. For a song to be Suuns, it has to be coloured by electronics”.

Certainly this remains a band in love with the aesthetic of obscurity. The album cover is an image of Ben’s former workmate Nahka, who was captured by photographer Caroline Desilets using a pinhole camera with a four-minute exposure time – Hold/Still, indeed.

In another contradiction, this record finds Ben’s vocals far more enunciated and upfront than before. If there are themes that tie Hold/Still together, says Ben, they might be investigations “about sex… perhaps not the act specifically, just [themes] of a sexual nature. But there’s also a spiritual undertone that points to another kind of searching.” The sexual is illustrated in the dark romance of ‘Careful’, while longing becomes both sexual and spiritual in the thirsty pleas of ‘Instrument’: “I wanna believe/I wanna receive…” The spiritual takes over on the back half of the record. ‘Nobody Can Save Me Now’ evokes artist Tracey Emin’s ghostly invocation For You at the Liverpool Cathedral: “I felt you / and I knew that you loved me”, while side B opener ‘Brainwash’ wonders: “Do you see, all seeing? / Do you know, all knowing?”

In a cultural centre like Montreal, bands can get too comfortable playing to their peers. Suuns, though, feel like a band always looking to the nearest border. They found early audiences in France and in Belgium, where they curated the Sonic City Festival in 2012, booking acts as diverse as Swans, Tim Hecker and Demdike Stare. Meanwhile, the last couple of years have seen them tour as far afield as Mexico, Morocco, Beirut, Taiwan and Istanbul – sometimes with friend Radwan Moumneh of the multimedia project Jerusalem In My Heart, with whom they released a brilliant collaborative record, Suuns And Jerusalem In My Heart last year.

“We tour a lot as a band and we’ve been all over the map at this point,” says Ben. “There is a concerted effort on our part, when the opportunity arises, to do that. It’s like, this time, let’s try to go further east, let’s try to go further south. You find yourself playing in front of people who don’t get bands playing in front of them often, and that can be really fun.” In short, good things happen when you venture outside of your comfort zone – a truth that you could equally apply to Hold/Still itself: an album which derives its eerie power from simmering tensions and strange, stark juxtapositions, and in doing so, directs rock music down a new, unventured path.

This is a single disc version on 180grm Green vinyl. The ORIGINAL VERSION of this vinyl of this brand new EP was work of art collaboration between Anton Newcombe & Icelandic artist Jon Semundur Auoarson the double 12″ EP consists of 5 new tracks by the Brian Jonestown Massacre & double sided etched disc by Jon Semundur Auoarson & was strictly limited to 1,000 Units worldwide This VERSION is a single 5 track EP but with the same superb cover art as the original release . This was recorded after the extensive tour of Europe ,Australia , New Zealand & a few select dates in New York State (especially ATP supporting My Bloody Valentine et al ) in 2008 , Anton went to Berlin to focus on his next album ., 4 weeks before hitting the US tour in April 2009 ,Anton was bursting with ideas & went to Iceland where this 5 track EP was recorded . This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that’s been discovered in the past 40 years.

Image of Kevin Morby - Singing Saw

Singing Saw is a record written simply and realized orchestrally. In it, Kevin Morby faces the reality that true beauty – deep and earned – demands a whole-world balance that includes our darker sides. It is a record of duality, one that marks another stage of growth for this young, gifted songwriter with a kind face and a complicated mind.

In the Autumn of 2014, Kevin Morby moved to the small Los Angeles neighborhood of Mount Washington. The move would shape Singing Saw, Morby’s first album for new label Dead Oceans. Previous tenants at Morby’s new home happened to leave an upright piano behind, with a few mysterious pieces of sheet music and an introductory book of common chords stacked on top. Thankful to finally be in one place for an extended spell, Morby, a beginner at the piano, immediately sat at the new instrument and began composing the songs that would form Singing Saw.

Alongside, he began taking long walks through the winding hills and side streets of the neighborhood each night, glimpsing views of both the skyline’s sweeping lights and the dark, dried out underbrush of the LA flora. The duality of the city itself began to shape a set of lyrical ideas that he would refine with the sparse accompaniment of piano and acoustic guitar.

What is a singing saw? It is an instrument that creates ethereal sounds, but it is also a tool: basic and practical while also being fearsome, even destructive. Morby watches the singing saw in its eponymous song; that instrument of eerie soft beauty cuts down the flowers in its path and chases after him, while his surroundings mock and dwarf him, Alice in Wonderland style. And in a singing saw, we can understand music as something more powerful than its inviting, delicate sound. No wonder Morby talks about a “songbook” in his head as something he needs to take up the hills so he can “get rid of it.” Heavy themes are nothing new for Morby, whose previous records (2013’s Harlem River and 2014’s Still Life, both released on the Woodsist label) dealt with their own eerie visions and damning prophecies.

Morby opens Singing Saw with “Cut Me Down”, a song of tears, debts and a prescient vision of being reduced to nothing. “I Have Been to the Mountain”, “Destroyer” and “Black Flowers” continue to explore beauty and freedom, seizing upon the rot that seeps into even the supposedly safest of realms; peace, family and romantic love. By the end of the record on “Water”, Morby is literally begging to be put out once and for all, like a fire that might burn all the visions away.

Travels beyond his mountain walks inform songs like “Dorothy”, which recounts a trip to Portugal, witnessing a fishing ritual and luxuriating in the aura of a bar light-tinged reunion with old friends The touching innocence of “Ferris Wheel” stands alone in stark simplicity amidst the lush sonic textures of the album. Here, the album is balanced by Morby’s signature sweetness and joie de vivre.

The arrangements of Singing Saw trace back to Morby’s experience playing in The Complete Last Waltz, a live recreation of The Band’s legendary last performance. There, Morby developed a fast friendship with producer/bandleader Sam Cohen (Apollo Sunshine, Yellow Birds), which led Morby to forgo recording in Los Angeles and take the nascent songs of Singing Saw to Isokon Studios in Woodstock, New York. There, in a converted A-frame house, they set about creating a record that would bring a sonic balance, intricacy and depth to match these songs and all that inspired them.

Sam Cohen added a multitude of instrumentation to the record (guitar, bass, drums and keyboard), and were joined by fellow Complete Last Waltz alum Marco Benevento on piano and keyboard, fleshing out Morby’s original compositions and upholding the vision for a cohesive piano sound that serves as a touchstone for the entire album. Backup vocalists Hannah Cohen, Lauren Balthrop and Alecia Chakor contribute soaring harmonies; Nick Kinsey (Elvis Perkins) adds drums and percussion; Justin Sullivan, a longtime Morby collaborator and staple of his live band, contributes drums; Oliver Hill and Eliza Bag lift numerous songs with string accompaniments, and Alec Spiegelman on saxophone and flute and Cole Kamen-Green on trumpet bring dramatic swells. Finally, John Andrews (Quilt) adds the eerie lilt of the album’s promise, providing saw on the “Cut Me Down” and “Singing Saw”.

In the end, Morby fulfills the promise many heard on his first two albums, bringing his most realized effort of songwriting and lyricism to fruition. The songs of Singing Saw reflect the clarity that comes from welcoming change and embracing duality, and the distillation of those elements into an entirely new vision.

After the critically acclaimed release ‘Deep Fantasy’ (2014), White Lung return with their fourth album ‘Paradise’. Vocalist Mish Barber-Way, guitarist Kenneth William and drummer Anne-Marie Vassiliou, reconnected in Los Angeles to work with engineer and producer Lars Stalfors (Health, Cold War Kids, Alice Glass). Mixed by Stalfors and later mastered by Joe LaPorta, ‘Paradise’ is their smartest, brightest songwriting yet. Coming in at 28 minutes, the album simmers with desire and pain, love and beauty, and a seething urgency, hurtling towards the album closer and title track Paradise at signature breakneck speed.
LP+ – Pressed on pale blue vinyl limited quantity worldwide includes printed inner sleeve and MP3 download card.
Tape – Limited edition cassette version of the album in a silver / blue / red tri-glitter shell, limited to 300 worldwide, includes MP3 download card.
CD – Digipack.
LP – Black Vinyl with printed inner sleeve and MP3 download card.

Image of Sam Beam & Jesca Hoop - Love Letter For Fire

Love Letter for Fire is a collaboration between Sam Beam (aka Iron and Wine) and singer-songwriter Jesca Hoop. The thirteen-track album features the singles “Every Songbird Says” and “Valley Clouds,” and was written throughout 2014. Love Letter for Fire features Beam and Hoop on vocals and guitar along with Robert Burger (keys), Eyvind Kang (violin, viola), Glenn Kotche (drums, percussion), Sebastian Steinberg (bass) and Edward Rankin-Parker (cello). The album also features a cover photo by Sam Beam.

As Iron and Wine, Sam Beam recorded for Sub Pop from 2002-2007, releasing a number of highly-acclaimed albums, singles, and EP’s, including The Creek Drank The Cradle (2002), Our Endless Numbered Days (2004), Woman King (2005) and The Shepherd’s Dog (2007). He went on to record for Warner Brothers, Nonesuch, and 4AD. Recent releases include a covers album with Ben Bridwell from Band of Horses, and the two-volume Archive Series, which features material that preceded Sam’s Sub Pop-era recordings.

Jesca Hoop is an American singer-songwriter and guitarist. She is an incredible live performer, known for her wonderfully-eclectic take on folk, rock, and electronic music. Hoop has released five albums and two EPs, including the critic favorites Hunting My Dress and The House That Jack Built. Jesca has toured and collaborated with the likes of Shearwater, Willy Mason, Blake Mills, Andrew Bird, The Ditty Bops, Guy Garvey, and Elbow, and has recorded for Bella Union and Vanguard. Love Letter for Fire was produced, recorded and mixed by Tucker Martine (Modest Mouse, Decemberists, Neko Case) at Flora Recording & Playback in Portland, OR and mastered by Richard Dodd in Nashville, TN.

Late last year, Destroyer released ‘Poison Season’ – a treasure trove of mid-’70s Bowie-esque thumpers, string-laden laments and E Street horns – to universal acclaim. Recorded in the same sessions as ‘Poison Season’, the song ‘My Mystery’ was a huge favourite yet somehow felt like it didn’t quite fit on the album. Now it gets released as a stand alone 12″ backed by ‘My Mystery (DJ johnedwardcollins@gmail.com remix)’.

Tanya Donelly is a singer-songwriter and founding member of three of the most successful bands of the post-punk era. At the age of 16, she and stepsister Kristin Hersh formed Throwing Muses, which became the first American band ever signed to the influential British label 4AD. Not only did the Muses’ dreamy, swirling guitar sound prove highly influential on many of the alternative acts to emerge in their wake, but they also made any number of unprecedented advances into the male-dominated world of underground rock. Donelly later sidelined with Pixies bassist Kim Deal to form the Breeders, appearing on the debut LP, Pod. She later exited both the Breeders and Throwing Muses to form her own band, Belly. After issuing a pair of well-received EPs, Belly released their full-length debut, Star — a superb collection of luminous, fairy tale-like guitar pop songs — and for the first time in her career, Donelly earned commercial success commensurate to her usual critical accolades. Not only did the record go gold on the strength of the hit single ‘Feed the Tree’ but the band even garnered a Grammy nomination for Best New Artist. Donelly would eventually disband Belly to raise her two daughters. She still found time to write and record music as a solo artist — Beautysleep, Whiskey Tango Ghosts and This Hungry Life were all exceptional albums and enjoyed critical success. The Swan Song Series is a collection of songs in which Donelly collaborated with friends, musicians and authors such as Rick Moody, Robyn Hitchcock, John Wesley Harding, Damon Krukowski and Naomi Yang (Damon + Naomi/Galaxie 500), Bill Janovitz (Buffalo Tom), Tom Gorman (Belly), and Claudia Gonson (Magnetic Fields), and explored an impressive range that wasn’t always captured on previous albums. This exclusive collection includes the first 5 self-released digital EP’s + 7 brand new, previously unreleased, tracks on a 31 song set.

Image of Lush - Blind Spot EP

The first new music from Lush for 20 years, and the first the band have released since their single 500 (Shake Baby Shake), taken from their last album Lovelife, in July 1996.

The four tracks were recorded in the summer of 2015 with Daniel Hunt (Ladytron) and Jim Abbiss (Adele, Kasabian, Arctic Monkeys)

Talking about the recording of the EP, Miki Berenyi commented:
“It certainly took sometime to come together, but once we were in the studio, everything came together incredibly quickly. It was great fun!
It’s been a long time since I’ve written Lush lyrics, and I realised early on with this EP that what I wrote about then is not what I feel comfortable writing about now. My perspective, and what is close to my heart, has changed, and I think that’s conveyed in the songs.”

Bassist Phil King added:”I know I’m biased, but I work for a music magazine and so much of the music I hear played in the office sounds non-descript or derivative. Emma has this way of writing unusual chord changes and manages to weave lovely melodies over the top, and it immediately sounds distinctive, like Lush.”

Signed to 4AD in 1989, over the course of 3 full-length albums, an early mini-album and a number of EPs and singles, they went on to sharpen their pop sound, outliving and outgrowing the ‘scene’ with which they were initially associated.

4AD recently released, to much acclaim, both a vinyl reissue of Lush’s ‘best of’ compilation Ciao! and a limited edition five-disc box set titled Chorus.

Serving up a combination of Southern musicality and garage rock ferocity, Shreveport, Louisiana natives Seratones announce their debut album ‘Get Gone,’ released via Fat Possum Records. Led by powerhouse frontwoman A.J. Haynes whose thunderous vocals recall the grit of Janis Joplin and gospel of Mavis Staples, Seratones make a strong case with ‘Get Gone’ to be your new favourite alt-rock band of 2016. Recorded at Dial Back Sound studios in Mississippi, ‘Get Gone’ is all live takes, a portrait of Seratones in their element. Add the soul and swagger of a juke joint with the electricity coursing through a basement DIY show, and you’d begin to approach the experience of seeing this foursome live. Haynes’ powerful singing voice, first honed at Brownsville Baptist Church in Columbia, Louisiana at age 6, rings across every track. ‘Don’t Need It,’ which opens with a muscular swing and tight guitar lines, builds into a monster finish with a nasty corkscrew of a guitar line. ‘Sun,’ a brawny thrasher, courses with huge, raw voltage riffs. ‘Chandelier,’ a mid-tempo burner and vocal workout by Haynes, goes from croon to a crescendo that would shake any crystals hanging from the rafters. Shared history in Shreveport’s music scene brought the Seratones together a few years ago. All four had played together with one or another in various local punk bands, bonding through all-ages basement shows, gigs at skate parks and BBQ joints, and late nights listening to jazz and blues records. In a city of multiple genres, no fixed musical identity and a flood of cover bands, these adventurous musicians carved out their own path, personifying the do-it-yourself ethos. The band’s unwavering dedication to staying true to themselves is echoed throughout their debut; however you try to describe it, ‘Get Gone’ is unexpected and unbowed, a head-snapping showcase of the twin pillars of Southern music, restlessness and resourcefulness.
LP – Black Vinyl With Download.
LP+ – Limited Yellow Coloured Vinyl with Download.

Limited 7″ (200 copies) with CD (CD contains Stereo, Mono & Instrumental mixes), and digital download. We have 50 copies only !!! Alt pop super-group FIR combines the songwriting genius of Brent Rademaker from Beachwood Sparks and Matt Piucci from Rain Parade, with the extraordinary talents of Rob Campanella from The Brian Jonestown Massacre and Nelson Bragg from the Brian Wilson Band. On this record, the bittersweet combo is made complete by the smooth harmony vocals of the Allah-Las. Sounding something like a sugary, drugged out Beatles, FIR’s first 7″

 

The LUMINEERS  –  Cleopatra

The Colorado folk rockers follow-up their surprise hit debut—no pressure at all—in an attempt to either become the American Mumford & Sons or keep it at arm’s length. Four years have passed since The Lumineers released their debut self-titled album. They hit the alternative landscape with such a strong force, it’s a surprise how long it took for them to return. Now after that long wait, the second album, called ‘Cleopatra’ is released. Frontman Wesley Schultz and co-founder Jeremiah Fraites got back to basics when it came time to write for the 11-track collection. And while the raw, jangly guitars, parlor-room piano chords, and marching band snare rolls from the first record remain intact, ‘Cleopatra’ has a welcome, added heft.
LP – Housed in Gatefold Sleeve.

ELIZA and the BEAR  –  Eliza and the Bear

Just in time to soundtrack your summer and beyond, five-piece Eliza and the Bear unveil their debut album ‘Eliza and the Bear’ and the new single ‘It Gets Cold’. With its fist-in-the-air sensibility and hopeful urgency, the song is both epic and intimate in equal measure. For fans of Of Monsters and Men, Mumford and Sons and Phoenix.

Frightened Rabbit - Painting of a Panic Attack - Artwork

FRIGHTENED RABBIT  –  The Painting of a Panic Attack

The fifth release from this Scottish indie rock band has occasioned some less-than-glowing notices, which I don’t understand at all. Certainly Scott Hutchison’s songs of alienation and confusion sound cleaner than they ever have, but he’s still the same fucked up witness to life’s messy emotions and whiplash curveballs. If the pristine production—which they’ve been working towards since the get-go—is what brings them to the masses, I can live with that. And so can you

M83 - Junk - Artwork

M83   –   Junk

Along with Daft Punk and Air, Anthony Gonzalez has done more to make French pop palatable to the international market than anyone. There was a time, not so long ago dear readers, when the idea of French rock and pop stars was a joke. Who’s laughing now, silly Americans?

Parquet Courts - Human Performance - Artwork

PARQUET COURTS  –   Human Performance

Like everyone else, I was turned onto this Brooklyn-by-way-of-Texas quartet upon exposure to their sophomore release, Light Up Gold, and it’s smart neo-indie, especially—again like everyone else—when I heard “Stoned and Starving” for the first time and immediately made it 20, 30, etc. Subsequent releases—either as Parquet Courts or Parkay Quarts—have made progress in tiny increments. Human Performanceis a giant step—not necessarily in composition, they’ve always been good at their Velvet Underground-meets-The Strokes vibe, but in production (which means they spent some time in the studio instead of just bashing the tunes out). Don’t worry. They haven’t turned into Muse or whatnot; but they’ve given some love and attention to the process, kind of like when Hüsker Dü signed to Warner Bros.

TELEMAN    –   Brilliant Sanity

Yet another in a long line of eccentric, fey voiced English pop bands and, bless ‘em all, they continue to tickle and entertain me. These guys are up there with Dutch Uncles and Field Music, so if you know or like those you have no excuse not to get on this. Teleman return with their second album on Moshi Moshi which was recorded by Dan Carey at his South London studio. The art of songwriting has been the driving force behind Teleman’s second album ‘Brilliant Sanity’: the process of crafting of the immaculate pop song, the dogged pursuit of the perfect hook. The result is an album that appears fastidiously and impeccably made, but also charged with joy. ‘Brilliant Sanity’ shows Sanders as an accomplished and distinctive lyricist, with a passion for the music of words themselves and an eye for the singular image. You can see this preoccupation with strong imagery throughout ‘Brilliant Sanity’ – in the deftness of its song titles – ‘Tangerine’, for instance, or ‘Canvas Shoe’, in its recurrent references to devilry and fire, and in its most lingering lines – a reference to a ‘Chinese burn’ in ‘Glory Hallelujah’, for instance, or in the declaration “Every time I’m alone with you / The air gets heavy and drips like glue” of first single, ‘Fall in Time’.
LP – With Download.

Image of The Dandy Warhols - Distortland

The DANDY WARHOLS  –   Distortland

The Dandy Warhols spent 2015 writing new music and the band closed out the year with a packed-to-capacity tour of the U.S. West Coast and South including a three-night stint at Los Angeles’ Teregram Ballroom. Signing to Dine Alone was another highlight of the year, not only for the band, but for label owner/founder,

Album 10 reminds us that when they are on their game they were a great link from glam to grunge.

The GOON SAX  –  Up To Anything

Chapter Music release ‘Up To Anything’, the debut album by Brisbane trio The Goon Sax. Louis Forster, James Harrison and Riley Jones are all 17-18 years old. They make pop music. They have refined tastes – they love the Pastels, Talking Heads, Galaxie 500, Bob Dylan and Arthur Russell. On ‘Up To Anything’ they pull off the almost impossible, capturing the awkwardness, self-doubt and visceral excitement of teenage life, while still in the thick of actually living it. Goon Sax songs are both immediately charming and deceptively deep – Sweaty Hands examines a point in a relationship where you’re seen at your worst, while Telephone addresses the heartbreaking realisation that nothing you offer your crush is enough.

CARLTON MELTON  – Aground

Record Store Day 2016 Release. A follow up / companion piece to 2015’s well received ‘Out To Sea’ opus released on Agitated Records. 5 tracks of magick-karpet wreck’d psychedelic morass. The raft ran aground, you have to get your ears on and wander the deserted shores of this desolate isle (metaphorically speaking, but you get the ‘drift’ right?) Aim for the high ground, build a fire, look to the horizons and let it all flow. These tracks were from the same sessions that spawned ‘Out To Sea’, there’s a natural flow, a cohesion that makes the whole trip worth taking. Recorded / Engineered by Phil Manly / Lucky Cat studios.  5 tacks, cut at 45 rpm, lush transparent green vinyl in an edition of 600 Copies Only.

 

WILD NOTHING – LIFE OF PAUSE
Wild Nothing, a.k.a Brooklyn-based musician Jake Tatum, released his debut album ‘Gemini’ in 2010 to critical acclaim. Five years on, with an equally impressive sophomore release and a series of EPs under his belt, Tatum is pleased to announce his third-studio album and self-proclaimed most “mature and honest” work to date, ‘Life of Pause’, which is released via Bella Union. ‘Life of Pause‘ is an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran TK, to contribute drums and marimba. In California, at Monahan’s home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of ‘Reichpop’ to the sugary howl of ‘Japanese Alice’ to the hallucinogenic R&B of ‘A Woman’s Wisdom’, the result is a complete, fully immersive listening environment.
​LP – Limited first pressing on Silver Vinyl Housed in Gatefold Sleeve With Download.

BABA NAGA – SOMOS LOBOS / ODMIENCE

Baba Naga release the first in a series of three sonic offerings. Double A side EP Somos Lobos / Odmieńce are songs that take you on a journey and pick up on aspects of where the late sixties left off and straight into the future – a different kind of psychedelic. Produced by Ross Orton (Arctic Monkeys/ Drenge/ God Damn) with Artwork by Detroit illustrative artist David Medel.

COVES – PEEL

Coves return with new album ‘Peel’. The band’s second full length, the LP isreleased via the newly re-vamped 1965 Records imprint. Marked by Coves‘ shift from Leamington Spa to London, the record is seemingly “split between fury and misery.” When their touring schedule wound up in March 2015, Beck ran into producer Cam Blackwood (George Ezra, London Grammar). Keen to work with the band, he took the home recordings that Beck and John had made during ‘red wine holidays’ at John’s East London spare room studio to Studio Voltaire in Clapham and honed the pop side until it was as sharp as their psychedelic garage edge. The result was a second album, and cleaner, harder and just as fiery as ever. For fans of The Jesus And Mary Chain, The Raveonettes and Hope Sandoval.

Image of Acid Mothers Temple & The Melting Paraiso U.F.O. - Benzaiten

The Acid Mothers Temple

In typically fine form, The Acid Mothers Temple and The Melting Pairaiso UFO have delivered another smoker to Important Records. Double LP pressed in an edition of 1000 copies. Benzaiten is an In C style homage to the the classic Osamu Kitajima record of the same name. The Acid Mothers Temple covers the title track and reprise using Kitajima’s original composition as a departure point to explore the outer realms of AMT territory. Further instrumental explorations reveal textures of the original composition while launching out further into the cosmic domain. Numerous Acid Mothers original tracks are scattered in between. Benzaiten!

TRACK LISTING
1. Benzaiten
2. December Stops
3. Etekoraku
4. Etekobushi
5. Benzaiten Reprise
6. Benzaitenshu
7. Benzaiten Coda

Image of Pete Astor - Spilt Milk

Pete Astor  –  Spilt Milk

Spilt Milk is the brand new album from indie auteur Pete Astor (The Loft, The Weather Prophets). It was recorded onto ½ inch tape at the home studio of James Hoare of Ultimate Painting, The Proper Ornaments and Veronica Falls, with James playing guitar, bass, drums, keyboards and singing backing vocals. “He was”, says Astor, “an amazing band.” Other contributions came from members of Astor’s live band, with Pam Berry (Black Tambourine, Withered Hand) supplying vocals, Jack Hayter (Hefner) on pedal steel, Alison Cotton (The Left Outsides) on viola, and Robin Christian (Male Bonding) and Susan Milanovic (Feathers) on drums.

The album has all the hallmarks of a future Pete Astor classic, drawing together key strands and tributaries of his work over the years, blending intuitive songwriting, acute lyrics and incisive melodies. After many years making more experimental, electronic music Astor has come full circle to the sound that made his name. From the opening track “Really Something” to the recent single “Mr Music” (a favourite of Marc Riley and Gideon Coe on BBC 6 music) the album’s re-connects Astor’s bespoke guitar pop with his long-standing embrace of The Velvet Underground’s musical DNA. Other standout tracks include “My Right Hand”, a hymn to everyone’s best friend, with guest appearances from Tony Hancock, Marvin Gaye, Philip Larkin and a host of ex-girlfriends; the slow burning drama of “The Getting There” recalling the atmospheres of Astor’s 80s kindred spirits, The Go-Betweens. Also, there is the wry drive of “Very Good Lock”, summed up by Astor as “a description of an injurious medical condition that often affects the male of the species”.

Elsewhere there are the gorgeous harmonies of the grown up country lament “Good Enough”, which wouldn’t be out of place on one of George Jones’ most heartbroken albums. Spilt Milk is part of a continuum: from Astor’s beginnings with The Loft and The Weather Prophets on Creation Records in the 1980s, via his solo work through the 1990s and his more left field albums with The Wisdom of Harry and Ellis Island Sound on Matador Records, Heavenly and Peacefrog, through to his return to solo work with the Songbox album in 2012.

Image of Jehnny Beth & Julian Casablancas - Boy / Girl

Jehnny Beth and Julian Casablancas –  Boy Girl

Pop Noire Records are pleased to announce the release of a collaboration between Julian Casablancas (The Strokes/The Voidz) and Jehnny Beth (Savages). The two joined forces to duet on a cover of “Boy-Girl”, originally released by seminal Danish punk band, Sort Sol featuring Lydia Lunch. “Sort Sol are cult in Denmark, and today very influential in the Copenhagen scene (Iceage etc…). I would be pleased to make their name known better”, adds Jehnny Beth.

The collaboration stems from the pair’s mutual admiration after meeting while on tour in South America, and having an interest in finding a way to work together. The idea to collaborate became to take shape when Johnny Hostile (Savages producer) suggested the song to Jehnny. “It really made sense when I heard it for the first time. It was the perfect song for Julian and I” says Jehnny who recorded the bulk of the song with Johnny Hostile in Paris, before it was handed to Julian to perfect.

Casablancas notes: “I had never heard the song before and still have no idea what the hell the words are talking about. It sounds like a Danish dude trying sound like he’s saying English sounding words”. The video, that pays tribute to the original version released in the 80’s, was directed by long time visual collaborator and Cult Records’ creative director, Warren Fu. Shots of Jehnny Beth were filmed in London by Giorgio Testi. Pop Noire is an independent record label based in Paris, established in September 2011 by duo of artists, Johnny Hostile and Jehnny Beth, along with French director and graphic designer, Antoine Carlier.

Image of David Bowie - ★ (Blackstar)

David Bowie  –  Blackstar

Spring 2015 brought the announcement of the off Broadway theatre production Lazarus, a collaboration between Bowie and renowned playwright Enda Walsh, to be directed by Ivo Van Hove. Lazarus is inspired by the novel The Man Who Fell To Earth by Walter Tevis, and centers on the character of Thomas Newton, famously portrayed by Bowie in the 1976 screen adaptation. It will feature new Bowie songs alongside fresh arrangements of music from his back catalogue.

On October 6, 2015, an excerpt of Blackstar, a brand new original Bowie track, was revealed in the opening credits of The Last Panthers, a major new crime drama premiering across Europe on Sky Atlantic on November 12th.

On October 25 it was confirmed that Blackstar would be the title of both the forthcoming single and album from David Bowie. The single will be released on November 20th and the album will follow on David’s birthday, January 8th 2016.

Throughout his 50-year career, David Bowie’s work has always surprised, captivated and exhilarated. 2016 will be no exception.

Image of Hinds - Leave Me Alone

Hinds –  Leave Me Alone 

Since bursting onto the DIY scene last summer, HindsAna Perrote, Carlotta Cosials, Ade Martin and Amber Grimbergen – have mastered a raw and playful sound all their own. With just a handful of released singles under their belt, Hinds have already earned early support from BBC Radio 1, BBC 6Music, NME, Guardian, Beats 1, Pitchfork, Rolling Stone, The FADER, Gorilla vs. Bear, and many more. Now with the release of their eagerly awaited debut album, Hinds are firmly establishing themselves as one of the most exciting emerging acts of the year and show no sign of slowing down.

Kicking things off with their new single “Garden,” Hinds take us on a badass rock & roll ride on their debut full-length Leave Me Alone. Weaving sun-kissed, 60’s-inspired melodies, executed with a genius call-and-response between co-vocalists and band co-founders Perrote and Cosials, Hinds create the ultimate soundtrack to the best day ever – from start to finish – spent with your four best friends. In addition to previously released fan favorites including the band’s first-ever single “Bamboo,” “Castigadas En El Granero” – which translates in English to “Grounded In The Barn” – and the band’s first new song of 2015 “Chili Town,” Leave Me Alone only gets better with each song. Featuring bright surf-pop tune “San Diego,” the mixed-tempo “Fat Calmed Kiddos,” and a bitter ode to shitty boyfriends in “And I Will Send Your Flowers Back,” Leave Me Alone is guaranteed to bring the Mediterranean sun to you wherever you are in the world at any time of the year.

Image of Wavves / Cloud Nothings - No Life For Me

No Life For Me is the highly anticipated collaborative album between Nathan Williams of Wavves and Dylan Baldi of Cloud Nothings via Williams’s own imprint, Ghost Ramp. The album was recorded at Williams’s home during sessions in March and June of 2014, with production from Sweet Valley.

“For all their differences, a Wavves / Cloud Nothings collaboration makes a good deal of sense, and fans have been eagerly anticipating an album since it was officially announced back in March…. [The album] is a summery slice of punk that’s more SoCal than Ohio, even if Baldi can’t help but smear his unique brand of melancholy all over standout tracks like ‘Nervous’ and ‘Nothing Hurts’…. “No Life For Me is deeply indebted to early 1980s Southern California punk, a scene that’s probably buried deep in the soil of Williams’ mind by this point…. This is pop music executed with the no-frills precision of hardcore