Pop & Rock News

Following a hugely successful Big Top Headline slot at this summer's Isle of Wight festival, British rock heroes FEEDER this week announced their full live return to the UK and Ireland with a 14 date Tour. With the band poised to announce their 9th studio album in the coming weeks, their first since 2012's 'Generation Freakshow', it also heralds the bands live return following a 4 year hiatus. Following lead singer/guitarist and chief songwriter Grant Nicholas's recent, critically acclaimed solo releases 'Yorktown Heights' and 'Black Clouds', which saw Grant play a host of shows with a very different, 'lo-fi' line up, the FEEDER frontman says he feels in the best creative space of his life. Feeder first shot to fame when their debut EP 'Swim' was released to huge critical acclaim in 1996. Since then they've had 25 Top 40 hits with the likes of 'Feeling A Moment, 'Just The Way I'm Feeling', 'Just A Day' and 'Buck Rogers' and amassed over 5 million record sales along with 3 Platinum and 2 Gold Albums. Since 'Generation Freakshow', the band has appeared at a number of UK festivals, performed at Hyde Park to celebrate the 2012 Olympics and headlined London's Brixton Academy before announcing they were taking some time off. FEEDER's autumn tour will see the band revisit some of their biggest hits whilst also performing tracks from their forthcoming new studio album.

Following a hugely successful Big Top Headline slot at this summer's Isle of Wight festival, British rock heroes FEEDER this week announced their full live return to the UK and Ireland with a 14 date Tour. With the band poised to announce their 9th studio album in the coming weeks, their first since 2012's 'Generation Freakshow', it also heralds the bands live return following a 4 year hiatus. Following lead singer/guitarist and chief songwriter Grant Nicholas's recent, critically acclaimed solo releases 'Yorktown Heights' and 'Black Clouds', which saw Grant play a host of shows with a very different, 'lo-fi' line up, the FEEDER frontman says he feels in the best creative space of his life. Feeder first shot to fame when their debut EP 'Swim' was released to huge critical acclaim in 1996. Since then they've had 25 Top 40 hits with the likes of 'Feeling A Moment, 'Just The Way I'm Feeling', 'Just A Day' and 'Buck Rogers' and amassed over 5 million record sales along with 3 Platinum and 2 Gold Albums. Since 'Generation Freakshow', the band has appeared at a number of UK festivals, performed at Hyde Park to celebrate the 2012 Olympics and headlined London's Brixton Academy before announcing they were taking some time off. FEEDER's autumn tour will see the band revisit some of their biggest hits whilst also performing tracks from their forthcoming new studio album.

Following a hugely successful Big Top Headline slot at this summer's Isle of Wight festival, British rock heroes FEEDER this week announced their full live return to the UK and Ireland with a 14 date Tour. With the band poised to announce their 9th studio album in the coming weeks, their first since 2012's 'Generation Freakshow', it also heralds the bands live return following a 4 year hiatus. Following lead singer/guitarist and chief songwriter Grant Nicholas's recent, critically acclaimed solo releases 'Yorktown Heights' and 'Black Clouds', which saw Grant play a host of shows with a very different, 'lo-fi' line up, the FEEDER frontman says he feels in the best creative space of his life. Feeder first shot to fame when their debut EP 'Swim' was released to huge critical acclaim in 1996. Since then they've had 25 Top 40 hits with the likes of 'Feeling A Moment, 'Just The Way I'm Feeling', 'Just A Day' and 'Buck Rogers' and amassed over 5 million record sales along with 3 Platinum and 2 Gold Albums. Since 'Generation Freakshow', the band has appeared at a number of UK festivals, performed at Hyde Park to celebrate the 2012 Olympics and headlined London's Brixton Academy before announcing they were taking some time off. FEEDER's autumn tour will see the band revisit some of their biggest hits whilst also performing tracks from their forthcoming new studio album

Smash The System' is the first non-concept solo album by Luke Haines (The Auteurs, Baader Meinhof and Black Box Recorder) in six years.
Smash The System follows on from such critically acclaimed works as Nine and a half psychedelic meditations on British wrestling from the late 1970s and early '80s' (2010), New York In The '70s' (2014) and last year's electronic British Nuclear Bunkers'.
Think Hunky 'Dory' or Sabbath's eponymous debut played on pixiephones and Moog, Graham Bond Organisation and Haines' own 1996 classic Baader Meinhof', Or Sunn 0))) at the school disco with tunes.
Smash The System' pays homage to Marc Bolan, Vince Taylor, The Incredible String Band and Morris Dancing to name just a few as Haines makes a melodious return to his rock 'n' roll roots... 'Do you like the Monkees'
The album will be preceded by the stompalong single 'Marc Bolan Blues'.
Autumn and Winter live dates to be confirmed.

Queer punk band PWR BTTM announce the UK release of their groundbreaking debut album Ugly Cherries via Big Scary Monsters. Having already created an underground storm in the US, the UK version features two brand new tracks 'New Hampshire' and 'Projection'. PWR BTTM consists of Ben Hopkins and Liv Bruce. The band was formed at Bard College, New York, where Bruce and Hopkins bonded over a mutual interest in bringing elements of performance and drag artistry into DIY punk culture. While at Bard the duo recorded a demo, Cinderella Beauty Shop, and the Republican National Convention split EP with Jawbreaker Reunion. On these releases, Hopkins plays guitar and sings, and Bruce plays drums. Since then, the two have begun to share vocal/songwriting duties and have also started to trade off instruments. This development is very much apparent on their debut LP, Ugly Cherries, an album documenting the duo's experiences with queerness, gender, and adulthood over the course of a year of living in upstate New York. Ugly Cherries was recorded by Christopher Daly at Salvation Recording Company in New Paltz, NY and mastered by Jamal Ruhe at West West Side Music. Since recording the album, the band has toured alongside Mitski, Ra Ra Riot, Pity Sex, among others, as they spread their infectious live show across the USA and beyond.

Sleaford Mods are pleased to announce the release on their new EP TCR' through their new label Rough Trade Records on October 14th 2016. The EP contains five new tracks and will be available digitally and 12 inch vinyl & CD.
Jason Williamson discusses TCR: The idea behind the TCR video was to show and use the actual 1980's toy racing kit in its original environment which would of most probably been the living room floor for most kids at that time It's a pretty crap device and I thought it married perfectly to the idea of life's (at times) rotating dross. The narration/vocal over the song is just that, an account of a bloke reacting to what he feels is a routine laden existence by 'escaping' for the night to the pub only to realize this is also a limited experience and in turn all options kind of merge into a circular experience of never ending repetition that he tries to navigate.Sleaford Mods signed to Rough Trade earlier this year and have been spending the last year playing shows and festivals and prepping new material, some of which is on this EP.

Weight of Matter, the band's second full-length, is a Neil-Young & Crazy Horse guitar-inspired album, dialing in tones akin to Mercury Rev and The Walkmen while maintaining the airy psychedelia of early Flaming Lips. Whereas lead songwriters Kate Perdoni and Adam Hawkins took turns to provide drums, keys, guitars and other instrumentation on the band's first record, they were joined in their home studio by new members Alex Koshak (drums), Mitch Macura (keys) and Ryan Spradlin (bass) on new full length 'Weight of Matter', continuing an exploration of sonic landscapes while creating space for each individual member's contribution to shine through.

First single, Rxx,' calls to mind dozens of missed moments in rock and roll history set against a backdrop of pop hooks and mayhem, while Bop Shoo Bop' pays homage to legendary Tropicalia ensemble Os Mutantes. Repose and the cosmos dance on point throughout the track list, providing a contemplative backdrop of harmony and keen melodies to a sometimes brusque outlook. The group borrows popular country standard Cry,' adding a Casio backbeat and shoe gaze twist, then treads the waters of thematic love and loss on the heartbreakingly emotive title track.

Operating in the realm of the heart, Perdoni and Hawkins' lyrics and subsequent delivery manifest the sight of creative intuition, bringing awareness of unexplored possibilities to light and letting the listener know that the journey is possible.

Eros and the Eschaton began as the experimental two-piece recording project of Kate Perdoni and Adam Hawkins in 2012, weaving magic into shoegaze pop' (SPIN). Perdoni and Hawkins spent that year exploring the sound frontiers in the master-bedroom-turned-studio of a swampy North Carolina rental, set against an outlaw country scape of kudzu, atrocious spiders, wild mammals, and copperhead snakes, writing and recording, self-releasing two singles and touring whenever possible before catching the ears of Bar/None through a video session with Love Drunk.

Siam, one of Israel's pioneer new wave bands from the 80's, get a steamy Red Axes rework for their underground killer Tel Aviv Downtown on the a side, and a re-master for their anthem In the realm of on the B-side.

Maxence Cyrin is a French pianist and composer living in Paris. After asolid classical music education at the conservatory, he became interestedin electronic music and recorded numerous songs during the 90's. In thealbum entitled Modern Rhapsodies, released in 2005 with FCom (LaurentGarnier's label), he covered and re-arranged solo piano tracks fromMassive Attack, Depeche Mode or Moby. The album Novö Piano was initiallyreleased in 2009 on CD but it's the 1st time it's available on vinyl.
On this seminal album, he transposes and covers pop, rock and electro hits for piano (from Daft Punk, Nirvana,MGMT to The Pixies or Justice). The music video of his version of Where
Is My Mind' has been viewed more than 5 million times on Youtube and the track was featured in the series Mr Robot'. Highly modern, MaxenceCyrin performs in classical music festivals, and frequently works withfashion's most prestigious brands such as Lanvin, Chanel, Hermès orValentino. He also composed several movie soundtracks for the Cinémathèque Française, illustrating masterpieces of French silent cinema filmed by Jean Epstein, Albert Capellani.

Players:
Oren Ambarchi, Crys Cole, Mark Fell, Will Guthrie, Arto Lindsay, Jim O'Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman

Mastered & cut by Rashad Becker at D&M, Berlin, April 2016

Photography by Estelle Hanania

Sculptures by Daniel Druet

Design by Stephen O'Malley

Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi's Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi's love of Wang Chung's soundtrack to William Friedkin's To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O'Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell's electronic percussion in its final section.

After a short second part, in which Ambarchi, O'Rourke and Crys Cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered bass guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronic rhythms from Ricardo Villalobos and the twin drums of Joe Talia and Will Guthrie, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi's own fuzzed-out guitar harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.

Francis Plagne

Players:
Oren Ambarchi, Crys Cole, Mark Fell, Will Guthrie, Arto Lindsay, Jim O'Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman

Mastered & cut by Rashad Becker at D&M, Berlin, April 2016

Photography by Estelle Hanania

Sculptures by Daniel Druet

Design by Stephen O'Malley

Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi's Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi's love of Wang Chung's soundtrack to William Friedkin's To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O'Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell's electronic percussion in its final section.

After a short second part, in which Ambarchi, O'Rourke and Crys Cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered bass guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronic rhythms from Ricardo Villalobos and the twin drums of Joe Talia and Will Guthrie, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi's own fuzzed-out guitar harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.

Francis Plagne

Norwegian artist Jenny Hval announces the release of her new album, Blood Bitch, out September 30th via Sacred, debut single, Female Vampire,' plus performances in New York, Los Angeles and throughout Europe. Co-produced with acumen noise producer Lasse Marhaug, Blood Bitch is in many respects a complete 180° from her last album, Apocalypse, girl, in subject matter, execution and production. It is Hval's most focused album, but the lens is filtered through a gaze which the viewer least expects.

In the words of Jenny Hval: Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the '70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows - and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It's also the first album where I've started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It's an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.'

Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015's Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
performance art, and film. She eloquently brings to light issues of both male and female gaze.

Norwegian artist Jenny Hval announces the release of her new album, Blood Bitch, out September 30th via Sacred, debut single, Female Vampire,' plus performances in New York, Los Angeles and throughout Europe. Co-produced with acumen noise producer Lasse Marhaug, Blood Bitch is in many respects a complete 180° from her last album, Apocalypse, girl, in subject matter, execution and production. It is Hval's most focused album, but the lens is filtered through a gaze which the viewer least expects.

In the words of Jenny Hval: Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the '70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows - and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It's also the first album where I've started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It's an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.'

Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015's Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
performance art, and film. She eloquently brings to light issues of both male and female gaze.

Norwegian artist Jenny Hval announces the release of her new album, Blood Bitch, out September 30th via Sacred, debut single, Female Vampire,' plus performances in New York, Los Angeles and throughout Europe. Co-produced with acumen noise producer Lasse Marhaug, Blood Bitch is in many respects a complete 180° from her last album, Apocalypse, girl, in subject matter, execution and production. It is Hval's most focused album, but the lens is filtered through a gaze which the viewer least expects.

In the words of Jenny Hval: Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the '70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows - and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It's also the first album where I've started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It's an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.'

Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015's Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
performance art, and film. She eloquently brings to light issues of both male and female gaze.

Premium is the glistening debut album from New York-based Sam Evian. Sam describes the album as, an analogue dream in a digital world.' Like flowing water, its cool surface entices and refreshes - then reveals hidden emotional depths. The sound of Premium recalls a sunbaked cassette of Pet Sounds or All Things Must Pass, composed with glowing guitar chords, aching pedal steel, Wurlitzers and iconic 20th-century synths. Inspired by the soulful classic sounds of Jackson Browne, Shuggie Otis, Sly and the Family Stone and The Band, as well as contemporary influences such as Cass McCombs, Broadcast, Cate Le Bon, and Chris Cohen, this is music meant for a close-up experience, spacious, dreamy, fun, and disarmingly open and honest.

The music came together quickly when Sam found himself in what he calls, a premium set of circumstances.' An engineer and producer as well as in-demand guitarist, Sam befriended the founders of Brooklyn's Figure 8 Studio, Eli Crews and the enigmatic and inspiring Shahzad Ismaily. After helping them to build and wire the studio, Sam explains how he found himself at the centre of a musical community, I was surrounded by endlessly talented and fun musicians in a beautiful recording environment that I helped build. I felt confident and happy, so the music came together easily.'

That musical community included the group that recorded Premium. The album's nine songs reflect the casual, relaxed atmosphere Sam created for himself at Figure 8, gathering his friends to record in o­ff hours, capturing moments of o­ffhand inspiration and laughter. There was Austin Vaughn on drums (Here We Go Magic, Luke Temple), a long-time friend from North Carolina School of the Arts, and Brian Betancourt on bass (Hospitality, Here We Go Magic, Luke Temple). They were joined by Michael Coleman on keys, a prolific player and producer, as well as being Figure 8's studio manager. Pedal steel was provided by Dan Iead (Cass McCombs), and recorded at New York's legendary Magic Shop studios in the days just before it closed. The tracks were some of the very last recordings in the room that had witnessed sessions by David Bowie, the Ramones, Blondie, Real Estate, Kurt Vile and generations of others. Other guest performers include vocalists Cassandra Jenkins and Hannah Cohen, Shahzad Ismaily, Eddie Barbash (the saxophonist on the Colbert show) and Steve Marion (aka Delicate Steve)

Premium is the glistening debut album from New York-based Sam Evian. Sam describes the album as, an analogue dream in a digital world.' Like flowing water, its cool surface entices and refreshes - then reveals hidden emotional depths. The sound of Premium recalls a sunbaked cassette of Pet Sounds or All Things Must Pass, composed with glowing guitar chords, aching pedal steel, Wurlitzers and iconic 20th-century synths. Inspired by the soulful classic sounds of Jackson Browne, Shuggie Otis, Sly and the Family Stone and The Band, as well as contemporary influences such as Cass McCombs, Broadcast, Cate Le Bon, and Chris Cohen, this is music meant for a close-up experience, spacious, dreamy, fun, and disarmingly open and honest.

The music came together quickly when Sam found himself in what he calls, a premium set of circumstances.' An engineer and producer as well as in-demand guitarist, Sam befriended the founders of Brooklyn's Figure 8 Studio, Eli Crews and the enigmatic and inspiring Shahzad Ismaily. After helping them to build and wire the studio, Sam explains how he found himself at the centre of a musical community, I was surrounded by endlessly talented and fun musicians in a beautiful recording environment that I helped build. I felt confident and happy, so the music came together easily.'

That musical community included the group that recorded Premium. The album's nine songs reflect the casual, relaxed atmosphere Sam created for himself at Figure 8, gathering his friends to record in o­ff hours, capturing moments of o­ffhand inspiration and laughter. There was Austin Vaughn on drums (Here We Go Magic, Luke Temple), a long-time friend from North Carolina School of the Arts, and Brian Betancourt on bass (Hospitality, Here We Go Magic, Luke Temple). They were joined by Michael Coleman on keys, a prolific player and producer, as well as being Figure 8's studio manager. Pedal steel was provided by Dan Iead (Cass McCombs), and recorded at New York's legendary Magic Shop studios in the days just before it closed. The tracks were some of the very last recordings in the room that had witnessed sessions by David Bowie, the Ramones, Blondie, Real Estate, Kurt Vile and generations of others. Other guest performers include vocalists Cassandra Jenkins and Hannah Cohen, Shahzad Ismaily, Eddie Barbash (the saxophonist on the Colbert show) and Steve Marion (aka Delicate Steve)

Oracle War is the product of a series of rituals during which Taman Shud attempted to establish contact with the aquatic races that will inherit the earth following the extinction of mankind. It is a crude representation of the liturgical music of an elasmosaurid priestly class, members of whom transmitted to Taman Shud fragmentary information concerning their culture's aesthetics and eschatology.

This transmission was not unbroken. The first few séances yielded little - damaged locutions, brief flashes of illuminated script - but on the occasion of the ninth we were granted a vision of splendour: a vast chasm in which innumerable marine species, dazzling in every hue, gathered before a domed temple inscribed with elaborate designs in coral and pearl. We were permitted to hear (or at least intuit) some of the vibrations produced by the lesser plesiosaurs in worship - these we later referred to as 'hymns'. On further excursions our contacts were more generous still.

We received information regarding certain words and symbols of power, as well as partial insights into their technology, including processes of water enrichment and the application of moonlight in surgery. We have documented, imperfectly and in encoded form in places, a selection of the secrets deemed inconsequential enough for us to possess them. We have also tried to impart some of the grandeur of the accomplishments of this pelagic society - though nothing human can do justice to the degree of its refinement.

Hope Sandoval & The Warm Inventions is an indie alt band composed of Hope Sandoval from Mazzy Star and Colm Ó Cíosóig of My Bloody Valentine. This 10" is a two track black vinyl piece with the lead single 'Let Me Get There featuring Kurt Vile'. The lead track will be off the upcoming studio album, Until the Hunter, while the B side is exclusive to this release.

Nick Cave & the Bad Seeds' new studio album, Skeleton Tree, will be released globally on vinyl, CD and across all digital platforms on 9th September 2016. This follows the Bad Seeds' most critically and commercially successful release of
recent times, Push the Sky Away (2013).
The LP comes in a rigid sleeve with thick black lined board and includes a download card. Skeleton Tree began its journey in late 2014 at Retreat Studios, Brighton, with further sessions at La Frette Studios, France in autumn 2015. The album was mixed at AIR Studios, London in early 2016.
The first opportunity anyone will have to hear any of the songs from the album will be to watch One More Time With Feeling, directed by Andrew Dominik (Chopper, The Assassination of Jesse James by the Coward Robert Ford, Killing Them Softly). The film will screen in more than 650 cinemas across the world on 8th September 2016, immediately prior to the release of Skeleton Tree the following day.

'Trip. A simple arrangement of four letters that has many associations: a trip to the seaside, a drug trip (and so a journey into the unknown), a trip is to suddenly fall. 'The Soft Bounce' is a trip album in the widest sense: containing nearly 45 minutes of carefully programmed music, it sets off into to the unknown, it contains pleasure and pain, doubt and transcendence, and it ends somewhere that is different from where you started.
- 'Beginning with expansive synth washes and 'Love To Love You Baby'-style oohs, 'Delicious Light' is immediately uplifting: we're off on a switchback journey that will pass from light through darkness and confusion and pain to transcendence and acceptance. Darkness of a sort is forged in explosive motion ('Iron Age') before passing through sunshine pop ('Creation'), first wave UK psych ('Door To Tomorrow' with its invocation of Emily, beloved of both the Pink Floyd and the Piccadilly Line), and the blissful Balearic emotion of 'Diagram Girl'. This passes into the American Gothic of 'Black Crow' - that traditional avian harbinger of doom - and then we're down the rabbit hole.
- ''Tomorrow, Forever' begins in the sound of nothingness and slowly unfolds into beatless cloud reveries that are at once solemn and hopeful. Weightless, blown with the wind, you come down to earth with the skipping afro beat of 'The Soft Bounce': a soft female voice pleads for connection, but she is almost swamped by the stinging, shocking guitar reverb. The positive moods of 'Finally First' and 'Triumph' put everything back together before the all-out acid assault of 'Third Mynd': from life to death to rebirth, 'you throw the sticks up in the air, and they come down in a different pattern.'
- 'Is it the history of human kind or a personal, individual odyssey With guest appearances from Blaine Harrison (Mystery Jets), Euros Childs (Gorky's Zygotic Mynci), Jane Weaver, Holly Miranda and Hannah Peel, Erol Alkan and Richard Norris have constructed an album that is both highly enjoyable and on a deeper level, perceptual and psychological. Growth is necessary, as is adaptation to change: neither are achieved easily or without some kind of sacrifice. Operating on a level that can be verbal but is more often nonverbal, music can ease that passage.' - John Savage.
- Vinyl format is pressed on transparent vinyl and includes a digital download code.

Peripheral Minimal is welcoming Doric to their quarters. Doric is the moniker of the purist, Stathis Leontiadis (Human Puppets, Exetix, Plexiglas). Being involved in various avant garde/new wave music projects since 1996, intrigued by the 'all' analogue mentality of the late '70s - early '80s music field, he is passionately committed to vintage synths and machines, creating a very distinctive and specific style and considered by many as a "specialist". On this release,the main subject of the record is creative interplay. The first side (the "Asleep"side), includes songs, written by the artist alone, using sleep as a metaphor of loneliness and seclusion from the oppressive, everyday society that smothers anything unique under the struggle of daily routine. However, on the second side, Doric mutes his skeptic, internal monologue for a bit and collaborates with two very talented and like-minded artists, Pascal and Valisia Odell. Pascal (Foucault, Noisetoy, Ludmilla) is an ingenius multi-instrumentalist and an old friend of Doric and Valisia Odell (Phoenix Catscratch, Strawberry Pills, Father Breath) is one of the most charismatic voices in Greece, with a very distinctive and enchanting vocal hue.This friendship results to the second side (the "Awaken" side), a critical view of what our society translates into artistic and life success in general. A simplified formula that often leads to bury our most creditable truths, in order to become a pattern, easily readable and understandable by the masses.The overall essence of this record however concludes to a rather optimistic dream of a utopian reality,where everyone can create unobscured. The value of each effort can only be appreciated through time. Limited to 300, black copies with the distinctive "Doric" handmade artwork,a homage to the D.I.Y. Ethos, an infusion from the past but a promise of a future.

Review,

If you love contemporary minimal music, then you are certainly familiar with the Greek artist Stathis Leontiadis. With his bands Human Puppets, Exetix and Plexiglas this musician became one of the stars of the genre. Now he is back with Doric. With this solo project he already released a single and an album on Fabrika and a 10" on Domestica. The new release is once again a 10", this time on Peripheral Minimal.

Doric uses a special concept. The A-side is the so-called Asleep side and is about loneliness: music that sounds paranoid. Sleep Of Reason is almost unbearable, it's madness driven by minimal electronics. Everything is very danceable, but this is the dance of madness. The minimal sound comes straight from the 80s. Over My Dreamssounds a bit like the early Parade Ground. Simply great! Head Against the Wall (a title that needs little explanation) is slow and compelling.

The three tracks on the B-side are the Awaken side for which Stathis worked together with Pascal (Foucault, Noisetoy, Ludmilla) and Valisia Odell (Phoenix Catscratch, Strawberry Pills, Father Breath), two musicians who are no strangers in the Greek underground.

Exposing Vanity and Life In Reverse do not sound cheerful, but you hear a different dimensionn of Doric. The lyrics are about the malaise of the society we live in. Not that you will understand Stathis' words, but music is a language in itself.

Do not hesitate, just buy this!

People don't put this much of themselves into a piece of music just to show they can; to find out if they can, that's another question."
Greil Marcus on VEXX, Real Life Rock Top Ten

NME RADAR FEATURE : 'IF THERE'S A FEMALE ANSWER TO THE 'ANGRY YOUNG MEN MOVEMENT OF THE 50'S , IT MIGHT READILY BE FOUND IN OLYMPIA. THE WASHINGTON CITY HAS BIRTHED COURTNEY LOVE , KATHLEEN HANNA AND BETH DITTO, AND NOW IT BOASTS VEXX'S MARYJANE.

180 GM BLACK VINYL- 500 ONLY

Recorded immediately following on from their truly epic European tour last Summer, 'Wild Hunt' by VEXX is a deliriously hot-wired mini-LP. Showcasing the band utterly consumed in the moment, these six tracks blaze with giddy abandon, raging mere heartbeats away from oblivion.
Recorded by Hayes & Sam at Dub Narcotic in Olympia, mastered by Golden Mastering. This LP is a one-time pressing (on black vinyl) in collaboration with our good friends at M'Lady's Records, with incredible artwork drawn by Maryjane herself depicting the supernatural Wild Hunt in hot pursuit.
 

All tracks composed, recorded and mixed in the VIV

"Lässt Los, Jeder Immer" is the remix of the Jung An Tagen soundtrack for "Embargo" a video by Johann Lurf

Artwork & layout by Milica Balubdzic & J. Fröhnel Mastering by Brian Pyle Bust by Hanno Schnegg

Please direct all inquiries to S. Juster, Sekretariat Berggasse, Virtual Institute Vienna

Jung An Tagen is the primary music act operating inside the Virtual Institute Vienna. 'By using substractive synthesis and sampling techniques Jung An Tagen builds aleatoric arrays, repetitive figures & polyrhythmic moires circulating around distinctive timbres and haptic fragments, resulting in a vision of morphing movements between high energy and zero gravity states. 'Due to the synaesthesian nature of the VIV, Jung An Tagen is bound very closely to a specific visual grammar and is intertwined with video art, even though the performative settings are usually reduced to music only. Previously, Stefan Juster was mainly present with different bands & monikers on labels like NotNotFun, Blackest Rainbow, 100% Silk or his own imprint SF Broadcasts.

"All I need is a million monikers to cover myself from the world. ...glad he's back to flush out my woes, making music as Jung An Tagen ...ready to become one with your psyche." TinyMixTapes

"Jung An Tagen sees energetic looped illusions play with an overwhelming array of fantastical beats and manic patterns. It all cultivates into an extraordinary color wheel of acid drenched avan­kraut­pop brilliance. A minimal electronic rabbit hole that dabbles in clap­track danceable workouts. This is something to get excited about"' AdHoc

Industrial space rock recorded in a bedroom in Beckenham one weekend in the winter of 1981 on a hired Tascam Portastudio and Korg synth with borrowed guitar, bass and FX pedals. Cut by Jason Goz, London, February 2016. Cover image and text by Paul H Williams.

Paul H Williams writes: "A December weekend in 1981 was approaching; the first time that a mate and I would make our own recordings on cheap hired equipment in his bedroom...;

I'd been talking to Damon Edge of the San Francisco-based acid punk band Chrome over the phone, late at night from the kitchen in my parents' flat, since the release of "Alien Soundtracks" in the late 70s. He was a glimpse of another magnificent alien world.

I was bathed in the Industrial culture of the time: Throbbing Gristle, SPK, William S Burroughs and JG Ballard. Making my own cut-ups and finding meaning in the collision of medical and science texts with newspapers and magazines; photographing Thamesmead, Heathrow Airport and Dungeness Power Station on Saturday afternoon explorations.

The weekend was a thrill. We each took turns to create our own music. There were four tracks on the Tascam Portastudio to play with and - after tweaking a Korg synth I had no idea how to use, re-wiring my mate's electric guitar with multiple versions of the same string because I'd read somewhere that Glenn Branca had done it and discovering the joy of turning the cassette over so you could record in reverse - I'd produced four chunks of sound. It felt like a glorious creative haemorrhage of emotion and noise.

Clutching a cassette master of the weekend's work I went home to my bedroom to listen to what I'd done wondering where it had all come from. And then at 10.15pm on BBC2 that Sunday evening I watched Nic Roeg's "The Man Who Fell To Earth" for the very first time. I was transfixed by David Bowie's performance and completely identified with the alien Thomas Jerome Newton trying to navigate his way on planet Earth. Right then I knew that I had to call the music on that cassette "Fallen To Earth".

Following the early 2016 unveiling of his widely acclaimed new tracks After the Glow' and Repeat', Jesse Mac Cormack is announcing today that his third EP, After the Glow', will be released on September 16th via Secret City Records. The EP will include both of the above-mentioned tracks. Jesse sums up his latest EP in these few words: After the Glow' was auto-produced in my mum's garage which I like to call my studio. It reunites five very personal songs that I think a lot of people could relate to. Influences and music change over time. These pieces are for me summer 2015.' This year has already seen song premieres by CLASH Music (UK) and The Line of Best Fit (UK) as well as video premieres by Les Inrocks (France) and The Fader (USA) . Having generated more than 1.8 million streams, raving reviews from here and abroad, Jesse Mac Cormack could very well become the new hero of modern folk' (Les Inrocks). Jesse has spent his downtime producing records for the local Montreal scene including the debut record by Emilie & Ogden. He has already shared the stage with Half Moon Run, Lou Doillon and Sophie Hunger to name a few, and will be supporting Cat Power and Shakey Graves this summer. His first EP, Music For The Soul (2014), delivers a personal acoustic sound, while his second EP, CRUSH (2014), encompasses electric guitar and a full band. His heartfelt vocals and lyrics arise from his personal journeys, where his warm influence emerges from his surroundings. Guided by increasingly complex arrangements, rhythmic progressions within both the acoustic and electric realm, Mac Cormack's impassioned vocals belie their owner's youth.

Following the early 2016 unveiling of his widely acclaimed new tracks After the Glow' and Repeat', Jesse Mac Cormack is announcing today that his third EP, After the Glow', will be released on September 16th via Secret City Records. The EP will include both of the above-mentioned tracks. Jesse sums up his latest EP in these few words: After the Glow' was auto-produced in my mum's garage which I like to call my studio. It reunites five very personal songs that I think a lot of people could relate to. Influences and music change over time. These pieces are for me summer 2015.' This year has already seen song premieres by CLASH Music (UK) and The Line of Best Fit (UK) as well as video premieres by Les Inrocks (France) and The Fader (USA) . Having generated more than 1.8 million streams, raving reviews from here and abroad, Jesse Mac Cormack could very well become the new hero of modern folk' (Les Inrocks). Jesse has spent his downtime producing records for the local Montreal scene including the debut record by Emilie & Ogden. He has already shared the stage with Half Moon Run, Lou Doillon and Sophie Hunger to name a few, and will be supporting Cat Power and Shakey Graves this summer. His first EP, Music For The Soul (2014), delivers a personal acoustic sound, while his second EP, CRUSH (2014), encompasses electric guitar and a full band. His heartfelt vocals and lyrics arise from his personal journeys, where his warm influence emerges from his surroundings. Guided by increasingly complex arrangements, rhythmic progressions within both the acoustic and electric realm, Mac Cormack's impassioned vocals belie their owner's youth.

It's rare for an artist to bridge the divide between critical acclaim and dedicated fan engagement. Chris Pureka is a Portland-based singer-songwriter whose body of work has resonated deeply with these seemingly disparate milieus. Her bold vulnerability in processing the intimacies of her life in song has long appealed to those listeners who crave authenticity. Now, five years coming, she shares with us another powerful entry in her life's work, her sixth release, the aptly titled, Back in the Ring.

Chris's elegant emotionality as a vocalist, and her flair and immediacy as a lyricist have garnered her favorable comparisons to Gillian Welch, Ryan Adams, Bruce Springsteen, and Patty Griffin. She's earned accolades from such distinguished taste-making outlets as The New York Times, Paste, Magnet, Billboard.com, and The AllMusic Guide. She's shared the stage with such diverse and esteemed artists as Dar Williams, The Lumineers, The Cowboy Junkies, Gregory Alan Isakov, Martin Sexton, and Ani DiFranco. Along the way, Chris has remained fiercely independent, selling nearly 50,000 albums through her own label, Sad Rabbit Records.

Chris's journey in music mirrors her path toward self-discovery. At 16, writing songs became a way of journaling. I was shy and introverted, and songwriting was a very personal process. I never had any intention of performing,' she shares. Post high school, she went on to complete a biology degree at Wesleyan University, and afterwards, worked in a microbiology research lab at Smith College. Meanwhile, she established a music career parallel to her biology work through touring and issuing a clutch of well-received indie releases. In 2006, when Chris found herself turning down too many opportunities as a musician, she shifted her priorities to become a full-time artist.

Her latest album, Back in the Ring, is Chris's first studio full length since 2010's critically acclaimed How I Learned to See in the Dark. I'm not interested in releasing songs I can't get behind or records I don't love,' she says of the five-year span between albums. The title of her latest playfully suggests something of an artistic comeback, but it also references the album's themes of relationship conflict and making the decision to fight back against dark inner demons.

My music is the outward expression of the work I'm doing internally. What I do comes from my experiences, and I strive to express these experiences authentically. Speaking my truth, and being myself, is the way that I connect with people,' Chris confides. Her rise as an esteemed artist with captivating emotional integrity has been organic and always on her own terms. For someone who never had an intention of being a professional musician, it's been a life of far-reaching changes and unexpected rewards.

Montreal's The Luyas return with the release of Says You, the first new recordings since their 2012 album, Animator. The lyrics are funny and smart, at times even touching. The music is playful, and diverse: ranging from cacophonous piles of synth, to woven patterns of interlacing melody. There are pads of horns mimicking some great, imagined organ, and layered rhythms egging each other along.

Each of the EP's five songs is a little world of its own characters, particular sense of humour, rules of physics, blue skies and acid rain. Like sitting down at a table with a friend, Says You bounces from the banal, to the absurd. It cuts a joke, it empties its wallet, it promises to get the tip next time, and when you smile, it smiles back. Listen to it and see if you like it.

The ever-mercurial Bobby Gillespie wasn't content to bridge techno and indie with the wildly popular acid-house foray Screamadelica. No, he carried on as if it didn't happen. As suggested by the album cover, which features a photo (titled Troubled Waters) by seminal Southern photographer William Eggleston depicting a confederate flag, 1994's Give Out But Don't Give Up finds Primal Scream drawing upon rock forms baked in the American South, the nationalistic Britpop climate be damned.

A debt to The Rolling Stones held over from Primal Scream inflects the tender balladry on '(I'm Gonna) Cry Myself Blind,' while 'Funky Jam' is self-explanatory and the hit single 'Rocks' trades, not surprisingly, in roadhouse rock 'n' roll bravado. On the title track, George Clinton himself arrives to trade verses with the unflappable soul vocalist Denise Johnson atop a dour and hard funk groove.

Like Primal Scream's broader discography, Give Out But Don't Give Up is an assortment of freewheeling exercises—all of which deftly connect.

Subtle, elliptcal and ambiguous, 'Suppose' is the debut full-length from London based duo Blue House.
Released on August 27th 2016 via Whipped Cream Records (Loose Meat, Super Best Friends Club, Bas
Jan,) the album presents us with a world of haunted pop — songs about people just departed, places
just lef, and events just witnessed. It is a world in which an under-the-surface quotdian terror might
make strange all sorts of objects: playstaton games, postcards, grasshoppers, euphoniums all fnd their
way on to the record.

The band in earnest probably began with a drunken duet of Patsy Cline's 'Walking In The Moonlight',
sang on top of a rickety table at a house party in 2015. Something of that country sensibility remains
in songs like 'Ear To The Door', that has Ursula and James harmonise a song about domestcity and
wandering, a theme that resurfaces throughout the record ('John the Unready / had a litle baby girl
last night / now he's halfway across the countryside / saying something's calling me.')

'Suppose' is rarely an obvious beast, the fragile balance of atmospherics and presence permeatng the
record with an understated and endearing numinousness throughout. Leaving no stone unturned, the
duo wilfully explores the intricacies of pop, with an emphasis on def poetcs and quality songwritng.
Whilst debut single 'Hot Air Balloons' brims with jangling 90's chords, its follow up 'Simple Song' is a
delicate afair — a 70's folk-revival lullaby, radiatng with simplistc charm. The newly founded Whipped
Cream's philosophy of unifying an emerging generaton of English musicians with the means to remain
independently-minded makes their label a ftng home for 'Suppose'.
'A gorgeous debut' The Line of Best Fit
'Intriguing and forlorn' Loud & Quiet
'The understated delivery enhances the power of the songwritng' Clash

Irish duo St Francis Hotel met in London afer emigratng from Dublin during the recession. They have
been making music ever since. This is their debut single.
'Mondello' is Powerfully hauntng yet subtle. It hints of the great things to come from this mysterious
pairing.
Gently plucked guitars combine with a smooth falseto and washed out harmonies to create a blissful
but deeply personal and melancholic track.
It is an excitng frst ofering that inspires nostalgia and longing. It will win over fans of Broken Bells, TV
On The Radio and Midlake.

Oblique pop ensemble Vanishing Twin formed in 2015 over a love of unusual instruments, freaky
records and the irresistble seducton of A Good Groove. Founder Orlando, afer releasing a string of
conceptual cassetes on her own RAM* label, put a band together and named it for her other self, a
twin absorbed and internalised in utero when they were both stll a cluster of cells. She is joined by
drummer Valentna Magalet (Tomaga, Shit and Shine, Raime, Neon Neon), bassist Susumu Mukai
(A.K.A. primitve electronic producer Zongamin), library music head Phil M.F.U. (Man From Uranus) on
strange sounds, and flm-maker and visual artst Elliot Arndt on fute and percussion.
Last year the band teamed up with producer Malcolm Cato (Heliocentrics, Gaslamp Killer) and
wrapped their songs in layers of otherness and sub-aquatc obscurity. The resultng debut LP will be
released on Soundway in September 2016.
Championed by Gilles Peterson, The Quietus and Wire, the band played widely in 2015, conjuring
otherworldly grooves and esoteric euphony in a show that is equal parts crafed sound and improvised
delirium.

* First time on vinyl
* Gatefold 2xLP with postcard
* Remastered from OG tapes


"I was obsessed with this record when it was first released and it still blows my mind -- a forgotten classic of American underground rock" -- Mark Lanegan

"Caustic Resin made a bunch of great f***ing records and The Medicine Is All Gone was one of their best. The riff (and everything else) of the lead track 'Cable' is from one of the finest songs not only of 1998, but ever. You need this record." -- Dylan Carlson (Earth)

Caustic Resin announce the deluxe reissue of their celebrated 1998 album The Medicine is All Gone. Recorded in 1998 with engineer Phil Ek (Fleet Foxes, Modest Mouse, Built To Spill), the album was a highpoint both sonically and in terms of songwriting in the 15 year career of the Boise rock trio.

Initially released on Alias Records, after many years of the album's high repute passing, largely by word of mouth, the calls and campaigns for this landmark album to be released on vinyl have finally been heeded.

Even after over a decade and a half The Medicine Is All Gone still sounds remarkable. The album is an intoxicating ride through the heaviest of psychedelic trips, its avalanche of layered guitars cascading into fathomless waters of calm respite before the white knuckle ride rises again and again. Its vocals and lyrics sound as though they are the last gasp scream uttered by a man who stands at the precipice of his own mortality. And indeed he might have been.

Caustic Resin vocalist/guitarist Brett Netson is also a longtime member of indie rock heroes Built To Spill and currently plays in drone legends Earth as well as fronting his own Brett Netson and Snakes.

Weight of Matter, the band's second full-length, is a Neil-Young & Crazy Horse guitar-inspired album, dialing in tones akin to Mercury Rev and The Walkmen while maintaining the airy psychedelia of early Flaming Lips.

Whereas lead songwriters Kate Perdoni and Adam Hawkins took turns to provide drums, keys, guitars and other instrumentation on the band's first record, they were joined in their home studio by new members Alex Koshak (drums), Mitch Macura (keys) and Ryan Spradlin (bass) on new full length 'Weight of Matter', continuing an exploration of sonic landscapes while creating space for each individual member's contribution to shine through.

First single, Rxx," calls to mind dozens of missed moments in rock and roll history set against a backdrop of pop hooks and mayhem, while Bop Shoo Bop" pays homage to legendary Tropicalia ensemble Os Mutantes. Repose and the cosmos dance on point throughout the track list, providing a contemplative backdrop of harmony and keen melodies to a sometimes brusque outlook. The group borrows popular country standard Cry," adding a Casio backbeat and shoe gaze twist, then treads the waters of thematic love and loss on the heartbreakingly emotive title track.

Operating in the realm of the heart, Perdoni and Hawkins' lyrics and subsequent delivery manifest the sight of creative intuition, bringing awareness of unexplored possibilities to light and letting the listener know that the journey is possible.

Eros and the Eschaton began as the experimental two-piece recording project of Kate Perdoni and Adam Hawkins in 2012, weaving magic into shoegaze pop" (SPIN). Perdoni and Hawkins spent that year exploring the sound frontiers in the master-bedroom-turned-studio of a swampy North Carolina rental, set against an outlaw country scape of kudzu, atrocious spiders, wild mammals, and copperhead snakes, writing and recording, self-releasing two singles and touring whenever possible before catching the ears of Bar/None through a video session with Love Drunk.

25th anniversary reissue of "Leisure" on turquoise coloured vinyl !

Since Caveman first formed in 2010 they've claimed a spot for themselves at the center of the New York music scene, become in-demand DJs, toured the world (sharing stages with The War on Drugs, Jeff Tweedy, and Weezer), and received critical praise from the most prestigious media. Now the band-Matthew Iwanusa, lead guitarist James Carbonetti, bassist Jeff Berrall, keyboardist Sam Hopkins and multi-instrumentalist Matthew Prescott Clark-is aiming higher.
Caveman have their sights set on bigger goals, so on their third time around they made their biggest-sounding, most ambitious album yet.
Otero War was created over the course of three years, completely inverting the ramshackle methods used to make 2011's CoCo Beware and their 2013 self-titled LP. This time frontman Matthew Iwanusa has taken the wheel of the creative process, bringing to it a level of patience, precision, and quality that exceeds anything he's ever done before. Iwanusa wrote most of these songs in the back of tour vans with a laptop and a portable keyboard, then spent years rewriting, examining every part to make sure it was exactly right, and eventually abandoning an album's worth of insufficiently killer songs before hitting the studio with the band. To help achieve the grander sound they were after, they brought in ideal mixer, Michael Brauer (Coldplay, My Morning Jacket) to elevate the album even further.

Hailing from Montreal, Gulfer have been on constant rotation on the BSM office stereo for months now, so we're delighted to be giving their brilliant record What Gives it's first ever vinyl press.
For fans of Algernon Cadwallader, Maps & Atlases, Delta Sleep, TTNG et al, Gulfer tour the UK and Europe this summer, including an appearance at ArcTanGent Festival.

This 10" Vinyl EP is the first manifestation of an exciting collaboration between London based music producer / performing artist Gaudi and the ever classy champions of genre-bending and experimental contemporary music, RarenoiseRecords. This hot-off-the-press taster, which will also be available in multiple DL formats, is an introduction to the forthcoming full length release, to be titled Magnetic, due to be released late Spring 2017 MUSICIANS: GAUDI : Minimoog, Korg, Theremin, Programming COLIN EDWIN/BILL L ASWELL/LORENZO FELICIATI : Bass TED PARSONS/STEVE JANSEN : Drums ERALDO BERNOCCHI : Guitars ALESSANDRO GWIS : Piano MERZBOW : Noise, Power Electronics BRIAN ALLEN : Trombone COPPE' : Voice