Pop & Rock News

Clear vinyl LP (VIRUS500LPX) is for Indies only and is very limited.

Political punk rock legend returns with a much needed current situation skewering. First release in six years! Features supergroup of members of UK Subs, The Mob, Victims Family, Triclops and more!

Hot on the heels of five viral video singles, Tea Party Revenge Porn, the first full album since 2014 by Jello Biafra And The Guantanamo School Of Medicine, is finally here! This is very strong stuff. Hear the inimitable Mr. B skewer the place the country has put itself in like no one else would or could as he and The Guantanamo School Of Medicine capture the full power of their live shows on disc as never
before.

Only so many artists have a track record of lyrics this good, and back it up with music as good or better. It’s usually one of the other, but rarely this fierce, thanks to the wall of sound production of the mysterious Marshall Lawless, with Kurt Schlegel at the board this time. Co-conspirators now feature both string-titans of longtime AT mainstay Victims Family: guitarist Ralph Spight (also Freak Accident) and wonder bassist Larry Boothroyd (also Triclops, Brubaker); plus drummer / metal percussionist Jason Willer (UK Subs, Nik Turner, Charger, The Mob).

So as germs and police riots rage, there’s no better primal scream therapy than a long-awaited new Jello Biafra album. From Dead Kennedys to Lard to the now-classic albums with the Melvins, DOA, NoMeansNo, Mojo Nixon; and of course, The Guantanamo School Of Medicine, Tea Party Revenge Porn is right up there with all of it.

Limited Indies only clear marbled red/yellow vinyl exclusive repress for November 2020’s sold out album.

2020 Album Of The Year “Utterly transcendent” – The Quietus
“Hypnotic, tremendous” – Rolling Stone
“A genuine landmark” – Clash Magazine
Voted One Of 10 International Albums Of 2020 – The Irish Times
“A stunning piece of work... a consistently brilliant album.” – Echoes & Dust
“A high quality not many can match in this or any music scene.” – Birthday Cake For Breakfast
“The most essential guitar band in the country.” 5/5 – Narc Magazine

Amplification moves air and gestures to the celestial. A splitter van parks in a service station. The afterglow of the stage. The weight of a bass cab up a steep flight of metal stairs. Hey Colossus are no strangers to the dualities of life as a loud rock band. But more importantly, they know how to channel both facets into records that transcend all limitations in a blinding volley of incandescence.

‘Dances / Curses’ - their lucky thirteenth record - is the work of six musicians at the peak of their considerable powers of intuition and inspiration.Constant motion is also something Hey Colossus know a little about, now into their eighteenth year as a band in a never-ending search for new trouble and new epiphanies. When this iteration of the band - which came together around the making of their last release, 2019’s ‘Four Bibles’, geographically spread between Somerset, Watford, London, Nottingham and Sheffield - first began work the chemistry apparently took care of itself, with their meetings at weekend rehearsals seeing them undergo a process less like jamming and more like a particularly intensive form of instant composition. Whatever sparks were spontaneously flying in these initial sessions, they gave rise to enough material to make 'Dances / Curses' a double record, running the gamut from the rhythmically-driven, infectiously melodic songcraft of ‘Donkey Jaw’ and ‘Medal’ via the slow-burning atmospherics of ‘U Cowboy’ to the mightily motorik-driven 15 minute travelogue that is ‘A Trembling Rose’, which takes in a plethora of unified headspaces in richly cinematic style.

Longterm Hey Colossus fan Mark Lanegan makes an appearance amidst the languid and sun-soaked denouement of ‘The Mirror’, the existential gravitas of his tones entirely at home in these revelatory surroundings. Fittingly for a band who operate entirely by their own co-ordinates, 'Dances / Curses' is released on bassist Joe Thompson’s own Wrong Speed Records (and Learning Curve Records in the US), his latest such venture in a lifetime of steadfast belief in the DIY maxim, “It's 100% time for all bands to take control of their shit” he notes. All the tools are there to do it yourself. Back your own horse. It's practical. It's positive. There's a chance things will never be the same, if change doesn't happen now it never will.”

True to form for a band in full control, 'Dances / Curses' is far from the kind of sprawling psych opus that exists purely due to the band being too baked, biased or blasé to edit it down. Indeed, this serendipitous record marks something even these six musicians never necessarily intended - a work in the tradition of the double album with an element of mystery, a record that somehow changes itself every time it returns to the shelf. Somewhere on the great continuum between Unwound’s Leaves Turn Inside You and Stevie Wonder’s Journey Through "The Secret Life Of Plants", somewhere between the dances of aspiration and the curses of reality, Hey Colossus have created their finest alchemical achievement to date.

Jack’s Mannequin is the name of a side project headed by Andrew McMahon, the lead singer of Something Corporate. It is a concept album centred around McMahon’s return to California and the demise of a long-standing relationship. McMahon wrote the material during a dark period of self-exploration in his life impacted by Something Corporate’s hiatus and the ending of a long relationship with Kelly Hansch caused in part by his career pursuit. It charted at number 37 on the Billboard 200 and sold over 250.000 copies.

Available as a limited edition of 1500 individually numbered copies on transparent vinyl. The package includes an insert.

In tune with the intensity of the record, ‘IS’ is available via 200 gram super deluxe heavy weight vinyl that comes with a free digital download for those long walks with the iPod. It offers a world of micro-trance subtleties as well as epic landscape raga journeys all brought to you on both six and twelve steel-string guitars. With multiple releases all around the globe Steffen offers a very unique approach to the instrument. Not simply trying to be just another John Fahey and while taking clear influence from Robbie Basho, treads his own path from experimental simplistic minimal space to unexplainable complex finger picking (But never for the sake of it) as Basho said “Soul first – technique later“. “it is as if a thousand fingers are brushing the strings, bringing them to a luminous sheen.” - Mr Olivetti, Freq Basho-Junghans has been forging unprecedented ground within the solo guitar world over the last few decades where his out-put has covered everything from John Fahey style finger-picking, epic pieces influenced by Indian ragas to minimalist micro-trance adventures capable of taking your consciousness beyond the limitations of time. ‘IS’ comfortably straddles Steffen’s two mainstays: transcendental landscape ragas and experimental excursions that take the steel-string guitar to places that it has never been before. For example the finishing track on the album ‘…and like Wind we go’, is a scratchy textural piece, that while devoid of any obvious melody has a striking atmosphere that will get the hairs on the back of your neck standing on end.

Stockholms Postpunk-Helden V**gra Boys (mit **, um Spamfilter zu umgehen) endlich mit ihrem neuen Album. Produziert wurde das Album von Matt Sweeney (Bonnie “Prince” Billy, Run the Jewels), Justin & Jeremiah Raisen (Yves Tumor, Kim Gordon, Sky Ferreira), sowie Pelle Gunnerfeldt und Daniel Fagerström (The Hives, The Knife), mit denen sie schon in der Vergangenheit zusammengearbeitet haben. V**gra Boys sind für ihre satirische Seite bekannt und auch diesmal erwarten uns schneidender Postpunk, eine tief empfundene Ablehnung für gängige Genremerkmale und leidenschaftliche Wut auf die Gesellschaft wegen der zunehmenden Normalisierung von toxischer Männlichkeit, Rassismus, Frauenhass, Klassendiskriminierung und Egozentrismus. Sogar der Albumtitel hat ein satirisches Element, denn die Umschrift des Begriffes für das finanzielle Unterstützungsprogramm für Jazzmusiker aus dem Schwedischen trifft ins Herz institutionalisierter Klassendiskriminierung und Prioritätensetzung.
“Ich bin nicht besonders gut darin, über Politik zu sprechen, aber irgendwie ist doch heute alles politisch”, meint Sänger Sebastian Murphy. “Ich schreibe über Ablehnung oder eine Niederlage, denn dann bin ich ehrlich und authentisch.” Auf dem neuen Album vermischt sich das Kleine mit dem Großen und Murphy erklärt weiter: “Als wir diese Songs schrieben, hatte ich gerade eine lange Beziehung hinter mir, nahm jeden Tag Drogen und benahm mich wie ein Arschloch. Als ich merkte, wie unausstehlich ich war, war es zu spät. Auf dem Album geht es unter anderem darum, dass ich akzeptieren musste, dass ich mir selbst völlig falsche Ziele gesetzt habe.”

We can finally unveil our nextcoming special release MNQ 070 T. Neon Judgement - Original Tapes. The box set contains the 2 tapes 'Suffering and 'Tv Treated.
Both the tapes are authentic from 1888 and they were self-released by the band at the time. The box comes in a numbered edition of 100 copies and contains also an authentic TNJ sticker from the 80s. This is probably your last chance to get them...
Original numbered The Neon Judgement sticker from the 80's, printed by the band.

Audiophile 180g Vinyl-Reissue des Debütalbums "Private Revolution" (1986) der britischen Rockband World Party, die der walisische Sänger und Musiker Karl Wallinger 1985 nach seinem Austritt bei The Waterboys gründete. Mit den Singles "Ship Of Fools", "All Come True" und "Private Revolution".

The accomplished and uniquely characteristic world-builder Mart Avi delivers his most complete body of work yet with Vega Never Sets. His fifth full-length solo release, a record of abstract soul and spectral electronic textures finds him evolving further into a state of hyperkinetism and timeless grandeur. Like the great storyteller, Mart Avi blends the familiar and comforting with the new and the unpalatable, to seduce the unawares with a bold new record that veers between folkloristic tech-noir and melodic, post-digital ballads; a movement of electronic pulses, gently held together by his finely composed worlds. Pulling at deeper contexts, he expresses an unstrained defiance of gravity through his playful character — one that is smartly dressed, charming and full of boyish anarchism. As The Quietus wrote, Avi is “like a David Foster Wallace of pop”, cerebral and hot-blooded, with plenty of fervour and a lust for living.

Purple Viny

Recut from the Silver Sonyare masters in November 2008 at Chicago Mastering Service, features a new blue cover , BLUE VINYL, and comes with a free MP3 download of the album.


racks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the "In My Eyes" 7 Inch. The Digital version of this record includes the song "Stand Up," from the Flex Your Head compilation. All songs are available on CD.

Recorded: April & August 1981
Released on 12": June 1984

Ian MacKaye vocals
Lyle Preslar guitar
Brian Baker bass
Jeff Nelson drums

„Dance Hall At Louse Point“ ist das erste Album in Zusammenarbeit zwischen John Parish und Polly Jean Harvey. Es ist das Nachfolge-Album zu „To Bring You My Love“, das von der Kritik hochgelobte und kommerzielle Durchbruchalbum PJ Harveys.
Das von Parish und Harvey produzierte Album „Dance Hall At Louse Point“ wurde ursprünglich am 23. September 1996 veröffentlicht. Die Neuveröffentlichung wird von einer vollständigen Restaurierung der
Videos zu „Is That All There Is?“ und „That Was My Veil“ begleitet.
„Dance Hall At Louse Point“ wird als 180g LP veröffentlicht.

POWER UP will be available in multiple configurations that will excite collectors and die-hard fans alike, including digital, CD, and deluxe versions. The limited edition, one-of-a-kind deluxe POWER UP box is the ultimate fan package. Hit the button on the side of the box and watch the flashing neon AC/DC logo light up while the opening bars of “Shot In The Dark” blast out of the built-in speaker. Inside the box is the full CD package in a soft-pack with a 20-page booklet that features exclusive photos and USB charging cable allowing the box to remain powered up and on display. The vinyl LP will be pressed on 180 gram vinyl and housed in a gatefold jacket.

To raise money for Grassroots Music Venues in both the UK and Canada that are suffering due to the pandemic, The Burning Hell and B.A. Johnston release this split 7" on snot green vinyl!

In collaboration with Brighton-based label Love Thy Neighbour, Mathias and BA wanted to try to help some of their favourite grassroots venues in Canada and the UK stay afloat through the crisis, and this 7” is the result. On The Burning Hell’s side, Mathias distils his coronavirus frustrations with “I Want to Drink in a Bar.” BA Johnston sings about isolation from atop his toilet-paper throne on “Supreme Self-Quarantine” and adds a bonus oldie that nods at The Burning Hell’s side with “I Want to Drink in a Bar Filled with Aliens.” But as much as we’d all like to see Chewbacca take revenge on a Sublime-singing guy at open mic night, this record hopes that we won’t have to wait until we get to the Mos Eisley cantina to hang out with all of you in bars and venues again.

Flute, congas, bass, drums, guitar and clavinet; this unconventional arrangement of instruments intertwine to form the debut album by Badge Époque Ensemble - a group of creative improvisers assembled to perform new, largely instrumental compositions by Maximilian ‘Twig’ Turnbull(formerly Slim Twig - DFA Records).

Badge employs an eclectic cast of characters from the Toronto underground music scene, whose combined experience would take pages to spell out. It includes stints accompanying songwriters Andy Shauf and Marker Starling, outfitting heavies Blood Ceremony and Biblical, and respective careers spent gigging Django-jazz and the classical cannon.

Badge’s distinctive sound arises from the diversity of these musical exploits, creating a palpable chemistry well captured on the live-tracked songs that form the group’s self-titled debut. Part of this crucial chemistry can be attributed to the fact that four of the six players in the Ensemble have been at the core of the live, U.S. Girls band, a group that has scorched stages internationally over the past year and was hailed by Paste magazine as the best live band of 2018. While it may call to mind an improbable collision between psych-era Stevie Wonder and the whimsically dark, Fantastic Planet score, it is clear we are operating in a post Wu-Tang paradigm. If a crate of library, tropicalia, prog and electric jazz records were flattened into a single 12” and then fed into a sampler, we might approximate the process.

In Time: The Best Of R.E.M. 1988-2003 is more than a greatest hits collection, it’s an opportunity to reflect on the astonishing creative and cultural influence of one of the most innovative and enduring bands of modern rock history.

This compilation of eighteen tracks serves to remind us all over again of R.E.M.’s key role in shaping the sound of the last three decades. With “Losing My Religion,” “Man On The Moon,” “What’s The Frequency, Kenneth?,” “The Sidewinder Sleeps Tonite,” “Orange Crush,” “Everybody Hurts” and many more, In Time lives up to its title as an indispensable musical document of our era. The set also features the tracks “Bad Day” and “Animal” which were released for the first time as part of this collection.

Formed in '92 with voice, distorted bass and drums. Band's symbol comes from a sign placed on witches graves, which is jolly. The assurance of the old sound sustained through energetic expression rather than shallow noise. Two MC's through Energeia, 'Simon Dreams In Violet' ('93), 'Dreaming The Lost' ('94).' Had Mick Mercer's 'Hex Files: The Goth Bible' been published a year later he would have added: 'and the self-released MC 'Follia' ('95) on their own label Interior Deus.'
25th anniversary limited edition vinyl of 341 numbered copies. Comes with a 16 pages insert also including digital album + bonus track.

Waking the Dreaming Body is the follow-up to Tucson artist Karima Walker's 2017 standout album Hands In Our Names, which garnered praise from Pitchfork, MOJO, and Bandcamp. The album includes dense harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and Karima's dulcet singing voice. The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient work and the melody and poetry of her melancholic, Americana-tinged songwriting, their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming.

The Body is a prolific musical force whose creativity is matched only by the astonishing weight of their sound. Duo Lee Buford and Chip King have established their own musical language that reimagines how rhythm, dynamics, and sonics can shape or dismantle song structure. Over the course of two decades, the duo has consistently challenged assumptions and defied categorization, redefining what it means to be a heavy band. On their new album, The Body are again pushing limits and testing the boundaries of the studio to explore the extremes and microtonality of distortion to find its maximal impact. I've Seen All I Need To See is The Body at their most incisively bleak, a towering monolith of noise.

Jane Inc is unlike any other project Toronto-based songwriter Carlyn Bezic (Ice Cream, U.S Girls, Darlene Shrug) has been a part of. It’s an incubator for experimentation. A one-woman show where Bezic helms every role, guiding the creative process in a way that feels right for her. It’s an outlet to escape real-world bummers and forge fantasies, a sonic journey through a complex reality. Jane Inc. is an extension of Bezic, a solo persona used to explore the different facets of herself and her artistry.

Number One is Jane Inc’s debut album on Telephone Explosion, a collage of fragmented thoughts, turned into soundscapes that are flowing, dream-like reflections of the world, and how she sees herself in it. Written and produced by Bezic, the early songs for Number One were created with samples and drum breaks on Ableton. She later recruited recording engineer Steve Chahley to record drums and drum machine on the final tracks with Toronto drummer Evan J. Cartwright (Tasseomancy, U.S Girls, Eucalyptus), adding saxophone by Nick Dourado (BUDi Band, Aquakultre, Fiver) and
Wurlitzer by Scott Harwood (Scott Hardware).

Written by: Max Mohenu

Waking the Dreaming Body is the follow-up to Tucson artist Karima Walker's 2017 standout album Hands In Our Names, which garnered praise from Pitchfork, MOJO, and Bandcamp. The album includes dense harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and Karima's dulcet singing voice. The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient work and the melody and poetry of her melancholic, Americana-tinged songwriting, their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming.

Katy Kirby is a Texas-based songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding and boredom. She was born, raised and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurised-pop choruses of evangelical worship. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre and accordingly, Cool Dry Place finds her dismantling it. "I can hear myself fighting that deeply internalized impulse to make things that are super pleasant or approachable," she says. Though Katy hasn't fully overcome the itch to please, it's to a listener's benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. The nine tracks that make up Cool Dry Place are miscellaneous in subject (motherhood, late capitalism, disintegrating relationships) but unified by the angle from which they're told: from a person re-learning to process life with intense attention. Each song is a catalogue of fragments, the number of segments in an orange or the cut of an obsessively-worn shirt, distilled into meditations on the bizarre and microscopic exchanges that make up modern life - a relationship splintering, an uncomfortable pause, an understanding finally found. These emotional dioramas are moderated by the angular storytelling that unites Gillian Welch and Phoebe Bridgers, a favour for the conventions of short fiction over confession.

Katy Kirby is a Texas-based songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding and boredom. She was born, raised and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurised-pop choruses of evangelical worship. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre and accordingly, Cool Dry Place finds her dismantling it. "I can hear myself fighting that deeply internalized impulse to make things that are super pleasant or approachable," she says. Though Katy hasn't fully overcome the itch to please, it's to a listener's benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. The nine tracks that make up Cool Dry Place are miscellaneous in subject (motherhood, late capitalism, disintegrating relationships) but unified by the angle from which they're told: from a person re-learning to process life with intense attention. Each song is a catalogue of fragments, the number of segments in an orange or the cut of an obsessively-worn shirt, distilled into meditations on the bizarre and microscopic exchanges that make up modern life - a relationship splintering, an uncomfortable pause, an understanding finally found. These emotional dioramas are moderated by the angular storytelling that unites Gillian Welch and Phoebe Bridgers, a favour for the conventions of short fiction over confession.

"Goodmorning. I wish you, a merry merry christmas. As you sit by the fire. I see your sadness on your face. You hear the funny bells inside your head. And I do look into your pretty eyes. So gray. The Funny Bells. You are my friend. Today." au

The band that became Nightshift formed in 2019 in the ecosystem of Glasgow's current indie scene. The city's fertile & creative group of musicians have been committed to pushing the boundaries of and blurring the lines between DIY, punk, experimentalism and indie pop for decades now; a home to bands like Shopping, Vital Idles, Current Affairs, Still House Plants, and Happy Meals as well as forebears like Orange Juice, Teenage Fanclub and Yummy Fur. Nightshift slot right in with all mentioned, featuring members from current indie stalwarts Spinning Coin, 2 Ply and Robert Sotelo. Initially formed by guitarist David Campbell and bassist Andrew Doig as a "No Wave/No New York/ early Sonic Youth/This Heat-esque" group, the addition of Eothen Stern (keyboards/vocals) and Chris White (drums) instantaneously transformed their approach (guitarist/vocalist/clarinetist Georgia Harris joined as the band was writing "Zöe"). The band self-released a full-length tape on CUSP Recordings in early 2020, laying the foundation of their sound; hypnotic, melodic, understated indie post-punk with hooks that stick around long after you've heard them. "Zöe" is the band's newest effort, and first for Trouble In Mind. Unlike the band's previous album, the songs on "Zöe" weren't conceived live in the band's practice space, but rather pieced together and recorded remotely during quarantine lockdown, with each member composing or improvising their parts in homes/home studios, layering ideas over loops someone made and passing it on. The isolation actually allowed for an openness and creativity to flow and many of the songs took on radically different forms from when they were originally envisioned. Vocalist & primary lyricist Eothen Stern says "The process of writing these songs separately during lockdown was a kind of exquisite corpse - I liked this gesticulation of reaching out to one another and responding. Building up the next layer and passing it on." Stern says "poetic restraints" to writing & Eno's Oblique Strategies concepts were on their mind when composing the words to the songs on "Zöe" and lists the influence of author Rosi Bradiotti's book "The Posthuman". "Zöe" means "live drive", derived from the word conatus. Bradiotti defines conatus as "an effort or striving, endeavour, impulse, inclination, tendency, undertaking, serving is an innate inclination of a thing to continue to exist and enhance itself." and Stern views it as "...a kind of feminist re-claiming of communal public, anti- privatisation, looking to strive for social and environmental justice. Zöe kind of became a character of striving for me when writing.". "Zöe" kicks off with "Piece Together", a hypnotic song anchored by the band's chanted vocals and serpentine guitar licks. "Spraypaint the Bridge" showcases Harris' clarinet in an unexpected & delightful melodic shift during the song's anti-chorus. Elsewhere tunes like the swooning "Infinity Winner" and "Outta Space"s minimalist, slinky rhythm swirl in a late-night vibe, while "Make Kin" ruminates on "Looking to kinship as a way of engaging with entangled environmental and reproductive issues... how a band is a bond" and lurches forward with kinetic guitar strangling and staccato rhythmic percussion from White and Doig. "Power Cut" is the album's centerpiece, kicking off side two and lures the listener into its world over it's 7-minute runtime. Lulling them into involuntary movement with its waves of melodic harmonies, synth drones and metronomic pulse, until they all come crashing down in the song's dissonant midsection. The band acknowledges the whiffs of nostalgia prevalent in "Zöe"s songs (the title track in particular), and the nature of writing and recording the album is soaked in the self-work, reflection and reevaluations involved not only personally but creatively in each member's lives. Consequently, the album becomes a collection of sketches of hope, growth, awareness of the power of the world and the power of self, kith, kinship, friendship, resistance, and possibility.

First time vinyl pressing of an amazing track from the man who invented it all together with Alan Vega in world conquering Suicide.

- Gutter Rock' is an undisputed gem from Martin Rev, dark-happy hypno-lounge from New York, recorded in 2003.

This stimulating piece of music for walking, driving and dancing is backed by two other cuts from the same year.

limited to 300 copies - 100 copies for color (black + 2 variations), numbered / shrink-wrapped / siae sticker on
vinyl colors : black / red splattered / petrol green splattered
Der Klang is proud to bring you the third Neon release. Recorded live in 1982, the "Obsessions" MLP shows really well the powerful sound the band had on stage. For the first time reissued on vinyl,

The band that became Nightshift formed in 2019 in the ecosystem of Glasgow's current indie scene. The city's fertile & creative group of musicians have been committed to pushing the boundaries of and blurring the lines between DIY, punk, experimentalism and indie pop for decades now; a home to bands like Shopping, Vital Idles, Current Affairs, Still House Plants, and Happy Meals as well as forebears like Orange Juice, Teenage Fanclub and Yummy Fur. Nightshift slot right in with all mentioned, featuring members from current indie stalwarts Spinning Coin, 2 Ply and Robert Sotelo. Initially formed by guitarist David Campbell and bassist Andrew Doig as a "No Wave/No New York/ early Sonic Youth/This Heat-esque" group, the addition of Eothen Stern (keyboards/vocals) and Chris White (drums) instantaneously transformed their approach (guitarist/vocalist/clarinetist Georgia Harris joined as the band was writing "Zöe"). The band self-released a full-length tape on CUSP Recordings in early 2020, laying the foundation of their sound; hypnotic, melodic, understated indie post-punk with hooks that stick around long after you've heard them. "Zöe" is the band's newest effort, and first for Trouble In Mind. Unlike the band's previous album, the songs on "Zöe" weren't conceived live in the band's practice space, but rather pieced together and recorded remotely during quarantine lockdown, with each member composing or improvising their parts in homes/home studios, layering ideas over loops someone made and passing it on. The isolation actually allowed for an openness and creativity to flow and many of the songs took on radically different forms from when they were originally envisioned. Vocalist & primary lyricist Eothen Stern says "The process of writing these songs separately during lockdown was a kind of exquisite corpse - I liked this gesticulation of reaching out to one another and responding. Building up the next layer and passing it on." Stern says "poetic restraints" to writing & Eno's Oblique Strategies concepts were on their mind when composing the words to the songs on "Zöe" and lists the influence of author Rosi Bradiotti's book "The Posthuman". "Zöe" means "live drive", derived from the word conatus. Bradiotti defines conatus as "an effort or striving, endeavour, impulse, inclination, tendency, undertaking, serving is an innate inclination of a thing to continue to exist and enhance itself." and Stern views it as "...a kind of feminist re-claiming of communal public, anti- privatisation, looking to strive for social and environmental justice. Zöe kind of became a character of striving for me when writing.". "Zöe" kicks off with "Piece Together", a hypnotic song anchored by the band's chanted vocals and serpentine guitar licks. "Spraypaint the Bridge" showcases Harris' clarinet in an unexpected & delightful melodic shift during the song's anti-chorus. Elsewhere tunes like the swooning "Infinity Winner" and "Outta Space"s minimalist, slinky rhythm swirl in a late-night vibe, while "Make Kin" ruminates on "Looking to kinship as a way of engaging with entangled environmental and reproductive issues... how a band is a bond" and lurches forward with kinetic guitar strangling and staccato rhythmic percussion from White and Doig. "Power Cut" is the album's centerpiece, kicking off side two and lures the listener into its world over it's 7-minute runtime. Lulling them into involuntary movement with its waves of melodic harmonies, synth drones and metronomic pulse, until they all come crashing down in the song's dissonant midsection. The band acknowledges the whiffs of nostalgia prevalent in "Zöe"s songs (the title track in particular), and the nature of writing and recording the album is soaked in the self-work, reflection and reevaluations involved not only personally but creatively in each member's lives. Consequently, the album becomes a collection of sketches of hope, growth, awareness of the power of the world and the power of self, kith, kinship, friendship, resistance, and possibility.

Der „Godfather des Britpop“ präsentierte im Juli sein neues und mittlerweile 15. Studioalbum. Bekannt wurde er Anfang der 70er Jahre als Sänger und Gitarrist der Band The Jam. Bei den BRIT Awards 2006 wurde Paul Weller für seine „Outstanding Contribution to British Music“ geehrt. Der Preis gilt als höchste Auszeichnung, die von der britischen Plattenindustrie vergeben werden kann. Das neue Album steckt Wellers Sound in ein zeitgemäßes Gewand und zollt zugleich seinen Wurzeln Tribut. ”On Sunset Remixes” erscheint nun als 12” Vinyl und enthält 5 Tracks aus dem ursprünglichen Album.

Marking the first-ever Vinyl-Release for "Rave In2 The Joy Fantastic". Each of the LP's will be pressed on highly collectible Ltd. Edition, Purple Coloured Vinyl! "Rave Un2 The Joy Fantastic" was his only album for NPG/Arista, - and the last released under the unpronounceable "Love Symbol" moniker; It was a Record that showcased Prince's mastery of Pop and R&B through a Variety of Tracks & a surprising range of guest artists including Chuck D, Eve, Gwen Stefani, Ani DiFranco & Sheryl Crow, -he even covers Crow's hit "Every Day Is A Winding Road" on the album. Marketing Activity & Database Mailout.

Purple Viny

Limited coloured Vinyl, Gatefold, printed innersleeves / - Dark Moods« Soundtrack LP / Dark Notes« Book including sheet music fort »Dark / Screenprinted backpatch / Enamel pin

180 g black Vinyl, EU Pressung.

Reissue of Billie Joe Armstrong and Norah Jones fabulous country soaked duets album Foreverly will be reissued on creamy orange coloured vinyl on January 15th 2021.

The Deluxe Edition of Sonic Youth’s 1990 album Goo includes 31 songs : The original album remastered; remixed and remastered versions of the bands 8-track demos; the album out- take Lee #2 (previously unheard with vocals); rehearsal outtakes Tuff Boyz and Isaac; Can Song (a never-before-heard demo of The Bedroom); the Beach Boys cover I Know Theres an Answer; Dr. Benways House, the bands contribution to William Burroughs Dead City Radio; B-sides The Bedroom and Thats All I Know Right Now (the latter a cover of the Richard Hell/Tom Verlaine pre-Television group Neon Boys); and the promotion-only Goo Interview. A 16-page book is included with an interview-essay by Byron Coley, an essay by Mark Kates, and never-before-seen photos.