Pop & Rock News

'The shimmering shoegazing majesty of Wintergreen's Magic Road will no doubt still be treasured in several years' time'

- Sounds XP

'Simply wonderful stuff... rushing pop that charismatically engages toy electronics, melodicas and strumming guitars'

- Losing Today

Wintergreen are a London-based avant pop band. Formed by founder members Andy Keen and Gareth Jones (also of The Leaf Library) in Manchester in 1999. They evolved over the next decade through the electronic-tinged indie pop of early singles The Magic Road and Clockwork Mice/Autumn Leaves, via a constantly shifting live set involving laptops, drones, layered vocal samples, autoharps, accordions and assorted other noise-generating devices.

This phase of Wintergreen's history culminated in a headline slot on the church stage at the inaugural Indietracks festival in 2007, before a temporary retreat from live performance to build their own studio (Studio Klank in Wood Green, North London) where they recorded their debut album The Rule of Small Things.

The Magic Road is Wintergreen's debut single, released by SQUIRL Recordings in 2003.

After bursting to the American heavy rock forefront with their 2014 debut album, Sateen, Cincinnati four-piece Electric Citizen are ready for a Higher Time. Their second album for RidingEasy, it is a breakout moment for the band as a whole and for vocalist Laura Dolan, who stands tall in the spotlight throughout 'Evil,' 'Misery Keeper' and the rest of Higher Time, rising to the occasion of a fuller, bigger sound and meeting the memorable riffing of husband/guitarist Ross Dolan head on with already-stuck-in-your-head hooks and a fiery, passionate delivery.

Like its predecessor, Higher Time was recorded at The Diamonds studio in Cincinnati by Brian Olive (The Greenhornes, Dan Auerbach, Dr. John, etc.), and in search of an even more expansive feel, Laura, Ross and Brian traveled to mix the album alongside Black Keys engineer Collin Dupuis at Easy Eye in Nashville, TN. The results speak for themselves. In Laura's performance and in the multi-faceted approach of Ross alongside bassist Randy Proctor and drummer Nate Wagner, Electric Citizen branch out with stage-born assurance across a collection of definitive rock 'n' roll. It is a bold, complete sound that sacrifices nothing of the band's on-stage energy and clearly demonstrates that while their progression has been quick, it's been hard won the traditional way: They worked their collective ass off.

'We chose producer Brian Olive because he's an excellent musician with a great ear for rock 'n' roll, and a good friend that we trust,' notes Laura. The dividends of that trust can be heard in 'Ghost of Me,' the rolling 'Natural Law' or 'Devils in the Passing Time,' as Electric Citizen brazenly refuse to be pigeonholed and craft a style that, like every stage they step onto, is completely their own.

Electric Citizen spread their name far and wide on tours with Fu Manchu, Wolfmother, Budos Band and Pentagram for Sateen. Look for them to support Higher Time on the road in North America and Europe throughout 2016 and beyond.

TOM CHRISTIE started the recording project FRATERNAL TWIN in 2013 in New Paltz, New York, as an umbrella to finally place over years of songs. Produced by CHRISTOPHER DALY of Salvation Recording Co., Skin Gets Hot is his first studio release under the name, and features an all-star cast of performers including LESLIE BEAR, SILAS REIDY and AARON MAINE. What started as a solo venture became a collaboration of friends from the New York, New Jersey, and Hudson Valley scenes. Skin Gets Hot is both intensely personal and faithfully shared. Christie lives in New Brunswick, New Jersey, dividing his time between bass duties in New Paltz-based QUARTERBACKS and interpreting Fraternal Twin live with drummer MAX RESTAINO and BASSIST DAVID GRIMALDI. Skin Gets Hot was originally released on CD by Apollonian Sound in May of 2015.

Limited to 500 copies !!

Polar white colored vinyl

THE GROUP: Wintergreen are a London-based avant pop band. Formed by founder members Andy Keen and Gareth Jones (also of The Leaf Library) in Manchester in 1999, they evolved over the next decade through the electronic-tinged indie pop of early singles The Magic Road and Clockwork Mice/Autumn Leaves, via a constantly shifting live set involving laptops, drones, layered vocal samples, autoharps, accordions and assorted other noise-generating devices.

THE SOUND: Recorded at their self-built Studio Klank in Wood Green, North London, the band describes The Rule of Small Things as 'pop music that occupies itself with fragility, incompleteness, and the provisional, contingent nature of things'.

The album was mastered by Lawrence English and cut to vinyl at Dubplates & Mastering. The artwork is by Matt Ashton of The Leaf Library.

Super Deluxe Edition including:
- 2x CD
- 1x Golden Vinyl!
- 1 DVD
- 36 Page Booklet (memorabilia)

Disc One
1. Dog Eat Dog
2. Antmusic
3. Feed Me To The Lions
4. Los Rancheros
5. Ants Invasion
6. Killer In The Home
7. Kings Of The Wild Frontier
8. The Magnificent Five
9. Don't Be Square Be There
10. Jolly Roger
11. Making History
12. The Human Beings
13. Press Darlings (B Side)
14. Physical (You're So) (B Side)
15. Fall In (B Side)
16. Don't Be Square (Be There) (KPM Studio Demo)*
17. The Human Beings (KPM Studio Demo)*
18. Los Rancheros (KPM Studio Demo)*
19. Making History (KPM Studio Demo)*
All tracks fully remastered by Adam Ant & Walter Coelho
*tracks 16-19 previously unreleased


Disc Two
Adam & The Ants Live in Chicago 1981*
1. The Human Beings [live]
2. Dog Eat Dog [live]
3. The Magnificent Five [live]
4. Don't Be Square Be There [live]
5. Los Rancheros
6. Ants Invasion [live]
7. Killer In The Home [live]
8. Cleopatra [live]
9. Press Darlings [live]
10. Kick! [live]
11. Antmusic [live]
12. Beat My Guest [live]
13. Jolly Roger [live]
14. Zerox [live]
15. Car Trouble [live]
16. Kings Of The Wild Frontier [live]
17. Physical (You're So) [live]
18. A.N.T.S.
19. Antmusic (Rough Cut)**
20. Don't Be Square Be There (Rough Cut)**
*tracks 1-17 previously unissued on CD
**tracks 19 and 20 previously unreleased

Son of Dave releases his SEVENTH studio album. This tme it's a collecton of cover tunes, packaged up
like the old K-Tel Super Hits compilatons from the 1970's. It's a mad selecton of songs to cover, span-
ning a century of music. All sorts of genres are jammed through Son of Dave's funky sausage machine,
all coming out sounding naturally like his own. Daf Punk, Leadbelly, AC/DC, and Rudimental all get
given his tough harmonica and beatbox treatment, and are subject to his growling and loving vocals.
It's an album to give the people what they want- popular songs they know already, belted out from the
old cult bluesman's gut.
Connoisseurs of the cover song will rejoice with tunes by Paloma Faith, War, The Bar-Keys and John
Lee Hooker. Even Pump Up The Jam is dragged onto the dance foor again. Only two of these tunes
have appeared on previous albums. Fans have heard many of these tunes at shows and have been long
awaitng the chance to spin 'em at home.
A U.K. Tour to accompany the album is of course the traditon, and his ever-growing all-ages eclectc
fanbase will be there THIS SMASHING MONTH OF MAY, rowdy and willing to partcipate. It's certainly
the best and most energetc one-man show you'll fnd, with hardcore fans regularly travelling long
distances to see him many tmes.

Exploded View is a new collaborative project helmed by the UK-born, Berlin-based political-journalist-turned-musician Anika (Invada Records / Stones Throw). After playing a string of 2014 solo shows in Mexico with a backing line up composed of local producers Martin Thulin, Hugo Quezada and Amon Melgarejo, Anika and her new bandmates discovered a chemistry that they simply had to capture on tape.

Formed by guitarist/vocalist Noel Redding while he was still playing bass in a little group called The Jimi Hendrix Experience, Fat Mattress released their debut in late 1969 on Polydor. Though Noel's more famous group was known for its hard edged psychedelic rock, Fat Mattress instead opted for the breezier side of things, with a distinct West Coast folk-rock bent. Drawing comparisons to Love, The Buffalo Springfield, and The Byrds, Fat Mattress is harmony heavy and tuneful psychedelia. Though it was well received by critics at the time, sales were slow and Redding soon left the group. In the intervening years though, Fat Mattress' fantastic debut has come to be known as a lost classic of psychedelic rock and this high quality gatefold 180 gram LP reissue is a welcome relief from high priced originals. Essential for both fans of Jimi Hendrix and psychedelic folk-rock.

In just a few short years, Modern Baseball have gone from college freshman self-recording their first record to a worldwide phenomenon. Somehow, it feels like just the beginning. In 2016, Modern Baseball will release their new album Holy Ghost. The first album recorded by someone other than the band themselves, Modern Baseball enlisted Joe Reinhart (Hop Along, Joyce Manor) at Headroom Studios in Philadelphia to help refine their sound. Holy Ghost shows off the band's sonic growth, adding in new influences ranging from The Killers to Pedro The Lion.
In a tight 28 minutes, Holy Ghost covers an impressive emotional range. Throughout the process, co-songwriters Jacob Ewald and Brendan Lukens found themselves in different places writing different songs; so they split the record in half. The record kicks off with six songs from Ewald and ends with five from Lukens. What they ended up with was a complete record of the past two years - the highs alongside the lows, tales from the road and glorious days at home alongside songs of heartbreak and personal struggle.
The highly anticipated album brings a newfound weight to the band, as they continue to grow emotionally and musically with each new release. 2016 looks to launch the band into even greater things, bringing their fans along as they become a slightly older, slightly more profound version of Modern Baseball. The band has toured across the US, the UK and Europe with bands like The Wonder Years, Into It. Over It., The Menzingers, and even their high school heroes, Say Anything.

The Rattler Proxy present the prelude to their upcoming album, three new tracks produced by Thomas Bullock. "Follow" is a ten-minute acid storm brewing with distorted vocals and jangling art rock guitar - it was previewed by Tim Sweeney on his Beats In Space radio show and voted one of the best tracks of 2015. "Ex Cop" is an edgy three minute punk stomper with sharp guitars and an incessant driving beat. "Mother Goose", like "Follow", showcases more of the band's techno influences with thundering drums and twangy synths emanating from the deep.

Union and Return is the third album from Luke Wyatt's Torn Hawk. It was composed and recorded entirely by Wyatt at his home in Berlin and is inspired by painters like Karl Friedrich Schinkel and Caspar David Friedrich. Here. Wyatt parts the gauze that shrouded his former work to reveal a lush and ornate set of compositions -- elegantly orchestrated, awash in unguarded emotion.
Having spent years working with gritty production techniques, Wyatt seems refreshed and restored by the possibilities of definition and detail. Many tracks were initially composed on piano and then painstakingly fleshed out into final form. The feel is spontaneous, rather than labored, and the pieces possess an organic and grid-less grace. On album opener 'The Romantic,' the flow of ideas is natural, seamlessly transferring melodies and themes from voice to voice, instrument to instrument. Orchestral arrangements give way to layered guitars, smeared pads and collaged digital detritus.
While the record luxuriates in subtle, delicate dynamics, Union and Return is just as disruptive as anything in his back catalog. Tracks like 'Feeling is Law' and 'Die Swimming in the Sea Here' supply a full-bore tenderness that can be uncomfortable, especially for those projecting a policed gruff or 'masculine' image. This disruption is key to the music's intent - gentle music as a tough gesture.
"He's Sexy & He Doesn't Steal" will be a vinyl download code bonus track only
PW: HAWKNOTES
Features / Reviews on: FACT, Resident Advisor, The Drone, Pitchfork, Stereogum, Impose, Tiny Mix Tapes, Thump, Marcel's Music Journal & more

Es ist eine Platte geworden, deren Grundlagen in zahlreichen Hamburger und Berliner Nächten entstanden, auf endlosen Reisen von einem Konzert zum anderen, nach Festivalauftritten, After-Show-Partys und Preisverleihungen. Trümmer haben ihr Repertoire auf eine deutlich breitere Basis gestellt. Die Band hat auf "Interzone" viel zugelassen, sich bewusst nicht eingeschränkt, wo sie früher sofort die Stopptaste gedrückt hätte. Zwar immer noch eindeutig im Post-Punk verhaftet, ist das Album von einer nach allen Seiten schielenden Musikalität getragen, die sich nicht zuletzt der Hinzunahme von Helge Hasselberg verdankt. Der "Interzone"-Produzent hatte bereits das Trümmer-Debüt betreut, inzwischen ist er als viertes Mitglied ein fester Teil der Band - und öffnet mit seinem melodiösen Spiel große Räume für Sänger Paul bei dessen Ausflügen durch die "Interzone".

Fast Moving Cars: the debut solo single from Carla dal Forno (F ingers, Tarcar). Poignant, alluring, happy/sad art-pop...Both a song of devotion and a dream of leaving. Languid, dubwise, stoned-immaculate, but with a heartbreaking clarity and economy of expression. The arrangement is stark, if not austere: rooted bassline, dry snare hits, noirish synth-drift and whispers of reverb that conspire to open space rather than fill it. It's the perfect staging for CDF's voice, a floating understated alto at once coolly detached and disarmingly close, human, relatable. "Don't be so daft, do something exciting..." The lyrics are frank; fluent in the feelings that underpin the beginning, middle and end of a relationship. Is this music of loss or of gain Resignation or resolve Escape or escapism Song and singer remain a mystery, the truth just out of reach. (Can I dance to it)

Ezra swears it is not meant for entertainment but he doesn't mind if listeners find pleasure in the grooves. This cycle of ten songs designated for the months of the year (Jan and Feb are missing) aim for the self-professed "lofty goal of real protest."

Ezra Furman is a young singer-song writer with a punky spirit who is not afraid to cram a lot of words in among the hooks and jabs. While taking one for Team Earth he is determined to remain standing in the ring at the center microphone bloody but unbowed.

Ezra swears it is not meant for entertainment but he doesn't mind if listeners find pleasure in the grooves. This cycle of ten songs designated for the months of the year (Jan and Feb are missing) aim for the self-professed "lofty goal of real protest."

Ezra Furman is a young singer-song writer with a punky spirit who is not afraid to cram a lot of words in among the hooks and jabs. While taking one for Team Earth he is determined to remain standing in the ring at the center microphone bloody but unbowed.

Hailing from Gothenburg, Sweden, Facit is the project of Joakim Karlsson. For almost a decade, he has been producing tearful synthesizer music under various aliases, often teaming up with compatriot Mai Nestor on vocals. Smartly drawing a line between Swedish chanson and minimal synth, 'Måndag Mon Amour' is Facit's second EP after having stopped at Veronica Vasicka's Cititrax in late 2013 with «Mat Åt Duvorna » (understand : Food For Pigeons).

Picture two passengers with paralyzing hemophobia, riding a sad carriage and smiling with tranquil melancholy, endlessy playing early 80s analog gear through some spring reverb. It doesn't take long to remember « notre amour était dans un igloo » and never forgetting it.

Dream Pop. Never a critical category with well-policed borders, the name usually refers to somehow indistinct music: melodies semi-obscured by thickly-layered blankets of sound, rhythms like falling feathers rather than propulsive motors.

Yet Dream Pop's comforting haze doesn't speak the language of dreams. It is the sound of the rapidly departing memory of dream upon waking, or the mind's drowsy slide into incoherence in the last moments before sleep. No, pleasant waves of pedal effects are not the sound of dreams. Dream itself is utterly vivid; it can be the medium of an almost terrifying lucidity. This is the quality of dreams captured by fOREVER TILL YOU DIE. In dream, one sees colors of an intensity unavailable to the eyes. Here, one can almost imagine timbres beyond aural comprehension. If Dream Pop's teenage brother Chillwave was a worn VHS recording of a late 80s TV movie, fOREVER is a restored 35mm print of Wojciech Has' masterpiece The Hourglass Sanatorium. (In fact, this album's title would be a good subtitle for that film.)

Born in Argentina and based in Poland, Candelaria Saenz Valiente, stage name PICTORIAL CANDI, is well equipped to transport us to dream-space. A graduate of Buenos Aires film school Universidad del Cine and the Arranging and Composition program at Boston's Berklee School of Music, Valiente is a truly wide-ranging multimedia artist. She has, among other things, written a collection of short fiction and a novel, conceived the "Ebertonium Candidus" a light bulb-amplifying analog synthesizer, created the performance installation piece La sensación de ser Mr. Luxus Reinstaldt, and formed the band Paristetris. Her whole career reflects the wild bricolage of the slumbering mind: her last solo musical work, the EP Drink, was released as a 600 bottle run of carbonated beverage, in two flavors. A concrete artifact of dream logic if ever there was one.

From the first second of opening track "Tonic (Paso De Los Toros)", fOREVER TILL YOU DIE declares itself hypnotic rather than simply hypnagogic, the insistent synth chords are a count-in to the victory of the unconscious as effective as the swing of a mesmerist's pocket watch. Everywhere there are little signs of dream logic's incongruous transitions. In the cut-and-paste aesthetic of "Dead Teens"; in the quickening drums that suddenly appear in the middle of "Lithium Starline"; in the curious slide from third person to second in "Got Things To Do"- "who's that girl who no one sees and no one cares for you" Spoken word interlude "Extra Stale Time" reads like a bedtime prayer for the already-asleep ("...the cosmos along with the smoking giant, the ancients were right, time to put banana peels on your breasts..."). Valiente describes fOREVER as "a coming of age album, with an endless coming and no aging." Like the mind's nighttime journey, it is a narrative without time or direction, following the whims of the id along ever-twisting pathways of shrouded meaning.

At the serene heart of the album lies "Meteor Shower." Languidly enveloping the listener, in its self-possessed grandeur it seems to promise the perfect conciliation of cerebrum and cosmos, as its refrain proceeds to almost prayerfully meet a rising wall of organ. Yet it is followed by the unsteady march of "Rhoda" out from the dream-space, accompanied by the paradoxically triumphal cry "I'm...so...tired!" and the badgering condescension of pragmatism - "we're sorry to hear you're an artist now." Next, the appropriately somber "Emo Boy Bukowski" its middle section erupting into a funereal jumble of drum pads: here we are back in a half-aware, regret-tinged predawn. Its opening guitar chime a mirror of Tonic's count-in, closer "Sherry TV" is the moment of reflection in morning light. A meditative strum, eventually joined by a snippet of distant plaintive flute, serves as backdrop for an accounting of the waking hours' weight. Fortunately, fOREVER TILL YOU DIE is a dream one can dive right back into.

Liverpool is Frankie Goes to Hollywood's second and last studio album, released in October 1986. It would be the band's final album of all-new material, and lead singer Holly Johnson would leave the band following the corresponding world tour.

The album's production was handled by Trevor Horn's engineer Stephen Lipson, who urged the band to play their own instruments on this album (Horn having replaced the band's performances and arrangements with his session musicians or his own performances on Welcome To The Pleasuredome [MOVLP116]).

Liverpool is generally regarded as having a heavier Rock
sound than Welcome To The Pleasuredome.
The album charted at #5 in the United Kingdom, #7 on the
Austrian and Swiss music charts and #8 in Norway.

Necessity is the mother of invention. Routinely, we are irritated by not having that we desire, or even require, frustrated by what is lacking. Creativity theorists would now most likely identify the frustration as a driving force for creative activity. OFRIN flips this notion on its head. What drives the Berlin-based Israeli is the creation of an absence. She offers her creativity to serve the art of omission. In doing so, she proves herself as a master of the art. Her new album "ORE" is defined by the lacking musical elements, causing tension and drive throughout. over the past few years artists have played into listener's expectations too much, OFRIN refuses to fall victim to that particular practice.

We only notice something is missing if initially we recognize something. OFRIN uses familiar pop tropes without shame and to great effect. The track "BEST REQUEST" could be referred to as a new form of EBM, something akin to disembodied Electronic Body Music, as contradictory as that may sound. Orchestral hits, filter progressions and saw-tooth bass create an unmistakable 80's sound that will warm the heart of every self-respecting old school waver. The lack of beats is what defines this piece, catching the listener off guard and causing a slight abstraction. This variant theme occurs throughout the entire album.

"DIRECTION ECLIPSE" is a dark ballad drenched in trip hop nostalgia and takes the best from the genre. And here is yet another contradiction: OFRIN achieves an orchestral grandeur without pathos. Her clear yet never predictable melody stands alone without any orchestral backing as it is forced into modesty, virtually intimate. OFRIN resists the temptation to overload the piece with strings, making it a dark delicate lullaby.
We do get a 'proper' EBM track in the end with a slapping snare and metallic synth-bass. "SISYPHUS" is a captivating piece, cutting through a classic arrangement with triplet rhythms. OFRIN tirelessly builds up the track over and over but never gives us the satisfaction of resolving this build up. The hook never comes; we are left out in the open.

"STOP DISTA" starts out innocent and calm, only to lead us into madness. What starts as a dreamy acapella, ends up a in a fierce tribal rhythm. OFRIN even takes on the classic Ragamuffin style, opting for a bare bones approach of purely Vocals, throbbing synth and a noise brass groove. OFRIN uses simple arrangements to great effect, fooling us over and over again into a false sense of security before taking it all away.

OFRIN is the master of her own voice, not showing off any flourishes for the sake of it - exercising restraint at all times. She avoids the excessive use of expressive bel canto techniques in favor of unusual melodies. Her voice is cool and composed. Her vocals are confident and incisive - free of vanity.

OFRIN is both a musician and a video artist. She has created a multipart video production for her album "ORE", an approach which she developed with her last video music project "THE BRINGER". "ORE" tells an archetypal story about two opposing forces within the same universe. The narrative builds on astrophysical phenomena, linking the real universe to an imaginary one.

Label mate T.RAUMSCHMIERE is behind the outstanding production of her new album. "ORE" is OFRIN's fourth studio album.

After the release of their debut Till Monkeys Fly [MOVLP1667], Here We Go, Stereo! is the second album of Dutch Rock band Racoon, released in 2001.

Racoon started in 1997 as an acoustic duo made up of singer Bart van der Weide and guitarist Dennis Huige. They were joined by bass player Stefan de Kroon and drummer Paul Bukkens a year later, and their self-released demo It's An Ice Cream Day earned them the attention of several record companies and many positive reviews from the Dutch press.


In 1999, Racoon were signed to Sony's S.M.A.R.T. label and at the end of the year they went into the ICP-studios in Brussels to record their full-length debut, Till Monkeys Fly, which included the single 'Feel Like Flying'. Here We Go, Stereo!, was buoyed by the hit 'Eric's Bar'.

Recordstore Day 2016 Release - Limited to 600 numbered units. Special remarks: 2LP in gatefold sleeve with printed inner-sleeves and CD included
The CD included features the 16 tracks of the album. Short info: For the first time, the mythic live of Catherine Ringer at the 'Cigale' that was recorded in 2008 is available! Here, we can recognize the legendary punch of the singer that performs some of The Rita Mitsouko's classics, among others. Numbered edition limited to 600 units.

Sego is rhythm distilled and pure. The Los Angeles-by-way-of-Provo duo of Spencer Petersen and Thomas Carroll churn out percolating and pummeling beats that coalesce into persistent grooves that are just as jittery as they are danceable. Once Was Lost Now Just Hanging Around, their debut album (out March 5, 2015), introduces them as a band turned inside out, the rhythm section taking lead while the guitars and keyboards add jaded, jagged texture. It's the sound of postmillennial city life chronicled by two millennials from rural Utah: '80s kids updating those sounds to the '10s and in the process rendering the familiar fresh and unfamiliar.

Spencer and Tom operate out of what they call the Cube, a warehouse in downtown L.A. that's part industrial-park facility, part urban hippie commune. "It's in this weird industrial wasteland downtown," says Spencer. "We share a perimeter with the UPS trucking yard and a cement factory." They are upstairs in the loft with a few other bands as roommates; downstairs is for storing gear, rehearsing, recording, and hosting the occasional concert or party.

Invisible 1' it's sometimes good to keepadmirers at a distance. For her come-back' album, Brisa Roché follows this rule to the letter.
After four albums in France, she returned to her native California — not the one with six-lane highwaysand palm trees, but the one up north, where mountain lions roam, and sequoi as tower. There, hiddenin her home-studio, she channeled song after song, inspired by tracks arriving from producers all over the world. Some sent sound hoping to re-provoke songwriting in the vein of jazz-singer. Brisa freshly arrived in France the moment the Twin Towers fell, who haunted the stages of Parisian caves with a high shadowy voice, forcing journalists to compare her to Billie Holiday. Others sent what revealed a preference for the avant-gardism of Mystery Man' off of her first record on Blue Note, that transported fans with pop as daring as it was sweet. Still other composers sent tracks they hoped would prolong the sound they loved in her hits Whistle'and Call Me', from her psych-folk period.
But of course, Brisa did not revisit the past. She invented a future, a space-time exercise, creating songs across thousands of miles, across musical genres, where a voice springs as easily from a computer, an applauded stage, ora virgin forest.
The album INVISIBLE 1 is titled such because anything is possible when limitations imposed by a studio setting are discarded, when judgments and timidity are veiled by distance, when collaborations multiply across the waves, when intimacy with strangers makes art.

For fans of: Cat Power, Joni Mitchell, Michael Jackson, Prince

Having previously released two demos under her Sequoyah Tiger moniker, the Italian producer Leila Gharib returns with her debut EP on Germany's Morr Music.

"Ta-Ta-Ta-Time" comprises five songs Leila Gharib wrote in her home town Verona between 2013 and 2015. Gharib, who had previously been a member of the local Indie Rock trio Bikini The Cat and co-founded the performing arts trio Barokthegreat, both takes her cues from various forms of arts and also makes use of them to create a multi-disciplinary gesamtkunstwerk.

If it is the zine she designed for the release of her first demo "Brother/Brother" in late 2014 or a slew of washed out, impressionistic videos she directed herself, she channels a passion for that which inspires her: Her so-called own "visual alphabet" is made up from a wide array impressions like drawings of animals, VHS aesthetics, adventure books, amongst others. Gharib even describes the EP's title as a "graphic stutter" which expresses "the duration of an emotional experience", much like what she calls a "Bolero effect" in regards to her music, which refers not to Ravel´s famous piece, but to a spanish, traditional dance of the same name, which heavily relies on the interplay of the progression of time and rhythmic repetition.

It would thus perhaps not be wrong to label "Ta-Ta-Ta-Time" EP a piece of Synth Pop. Only that "Synth" here would be short for "synaesthetic": Gharib's songs, which take their cues from traditional genres like Doo-Wop as much as from contemporary experimental Pop acts like Panda Bear, refer directly to visual art and language. Language is indeed the starting point of Sequoyah Tiger's songs, which revolve around her processed and at times layered vocals, complemented by gripping rhythms and rich harmonies. Breakages, repetition and delays are not flaws, but rather integral elements in Gharib's songwriting process, in which the musical quality of language develops a life of its own. Sequoyah Tiger's opaque lyrics aim less at creating narratives than generating new meanings and expressing emotions which tie in perfectly with her highly allusive music.

12'' in printed sleeve RSD 2016 Release
Since their first album in 2009, Django Django have covered some distance. Indeed, their first album has been acclaimed by critics and sold more than 250 000 units worldwide. After their international tour and a fantastic 2nd album released last year, we are glad to be able to hear them again through a bunch of clever remixes, in which you'll have the chance to hear Tim Burgess' (The Charlatans) brilliant contribution to this limited edition EP.

Next single up on the Great Pop Supplement, following super quick sell outs already this year of previous releases from the likes of The Hanging Stars and Dean & Britta, is the debut 45 from Youth of America.



Youth Of America is the new songwriting project of Simon Shaw from Trembling Bells. Featuring all of the Bells, plus singers Lucy Sweet (Lucky Luke) and Sophie Sexon (Big Hogg). It was born out of his love of US West Coast power pop (The Go-Gos, Bangles, Redd Kross etc), and an ongoing obsession with US counterculture films from the same period.



Navigator has been described as "Big Star with gurls" while the flip side Night Of The Comet is a tribute to the 80s zombie cult classic of the same title.



A killer 45 limited to a pressing of 400 with (proudly) no links whatsoever to Record Store Day. Destined to sell out real quick. Get on it!

TROPY is a new musical project consisting of Artur Mackowiak and Bartek Kapsa of Something Like Elvis, Contemporary Noise Sextet, Innercity Ensemble or Potty Umbrella fame. They say their debut album, "Eight Pieces", was inspired by the experimental films by Pedro Fereira. The music included on the album can be said to constitute an amalgam of their previous musical experiences. The eight tracks seamlessly fuse elements of improvisation, psychedelic synths, jazz rhythms and noise-rock guitars. Even though each of the pieces tells a separate story, evoking unique moods and emotions, they definitely belong together.

A.DYJECINSKI is an enigma wrapped up in a ball of gently mysterious wool. He is originally from Canada, 'The Valley of Yessiree' is his first album as a solo artist: A self-recorded autobiographical concept record on failure in the pursuit of loneliness and the ghosts that occupy his mind.
LIVE: May 6th Freds Ale House, Manchester (solo support), May 7th All FM session Manchester, May 8th The Castle, Manchester (solo support), May 10th Oporto, Leeds (headline), May 12th Deaf Institute, Manchester w/The Travelling Band, May 13th Hoxton Square Bar and Kitchen, London w/The Travelling Band, May 15th About Songs Festival, Hamburg, May 16th Auster Club, Berlin w/The Travelling Band, May 17th Cologne w/The Travelling Band tbc, May 20th The Grand, Clitheroe w/The Travelling Band, July 3rd Just like heaven' Festival, Italy tbc.

A.DYJECINSKI is an enigma wrapped up in a ball of gently mysterious wool. He is originally from Canada, 'The Valley of Yessiree' is his first album as a solo artist: A self-recorded autobiographical concept record on failure in the pursuit of loneliness and the ghosts that occupy his mind.
LIVE: May 6th Freds Ale House, Manchester (solo support), May 7th All FM session Manchester, May 8th The Castle, Manchester (solo support), May 10th Oporto, Leeds (headline), May 12th Deaf Institute, Manchester w/The Travelling Band, May 13th Hoxton Square Bar and Kitchen, London w/The Travelling Band, May 15th About Songs Festival, Hamburg, May 16th Auster Club, Berlin w/The Travelling Band, May 17th Cologne w/The Travelling Band tbc, May 20th The Grand, Clitheroe w/The Travelling Band, July 3rd Just like heaven' Festival, Italy tbc.

Since the release of Intersectons in the fall of 2013, Into It. Over It. have toured signifcantly,
headlining throughtout the world and supported a wide variety of bands including Minus The Bear,
Saves The Day, American Football, Kevin Devine. Into It. Over It. have also made appearances at
numerous festvals including Lollapalooza, Riot Fest, Surf and Skate and many others. This has helped
develop a rabid fan base. Afer taking some tme to record with his other projects, Pet Symmetry (Asian
Man), Their/They're/There (Polyvinyl), Evan has returned with a new Into It. Over It. full length fans
have been eagerly awaitng.
'Into it. Over. Over It. takes cues from early Death Cab for Cute and The Promise Ring, as verbose,
melodically winding acoustc guitars lead while more distorted parts add texture.' -Pitchfork
'Into It. Over It. honors the traditon of Midwest indie rock oversharers, by wrapping cutng lyrics in
languid guitar lines and bruised yelps.' -Spin
'A breath of fresh air for the emo archetype.' -Stereogum

John Dieterich & Jeremy Barnes began 'The Coral Casino' as an attempt to understand one another. They met one day and the next they were in a blank room with unfamiliar instruments in their hands and zero expectations, each agreeing to do his utmost to ignore the other. Yes, their first forays into musical collaboration began with the stipulation that each had to improvise in a rhythmic manner while not listening to what the other was doing. This idiosyncratic process proved to be the unlikely genesis of songs like "Special Questions" "Sandwild" and "The Frost Pocket" Their shared love of melody and pop provided the anchor for wild performances and deep, rich textures, laying the groundwork for many more moods: the euphoric "Out & About" the stirring tribute to the satellite Philae ("Philae lands on comet 67p_churyumov-gerasimenko"), the first satellite to land on a comet, and so on.

Expansive, unafraid of complexity yet wide-eyed with elation, their sound embodies risk that genuinely rewards. While flirtations with danger and darkness occasionally appear, in the end everything becomes a laughing pile on the floor. An optimistic homage to a possible future, 'The Coral Casino' is both childish and sophisticated, seemingly tossed off yet at the same time exhibiting a depth that reveals itself on each subsequent listen; an exploration of friendship and the pure joy of ecstatic communication.

Take a trip to 'The Coral Casino': the perfect destination, where everything is topsy-turvy, no one is in control and yet all are mysteriously spirited to their beds before dawn.

"I always have a spatial vision of music" says Cico Beck, mastermind of Joasihno and bandmember of The Notwist and Aloa Input. Sitting in his basement studio among self-made synthesizers, records and weird instruments, he points at a tiny robot beating an electronic drum: "That's one of my new musicians". Alongside Nico Sierig, bandmember and co-producer of Joasihno, the band will be accompanied by a robot orchestra.

But first things first. The third album Meshes is a spectacular transformation. "I always had an experimental set-up and some sort of rules for the production of my records... but not this time". If you imagine Meshes as a certain space, you are standing in an endless glossy black room surrounded by flashing stroboscopes with Joasihno in the centre of a blinking cloud of strange objects which sound like some kind of synthetic whales. Glimpsing from the back: the robot orchestra. With mere fragments of this vision, Cico Beck took off for Berlin to meet co-producer Tad Klimp in one spring night 2015. Some ecstatic sessions later the vision was evolving: "Nuh Nuh" - an experimental electronic piece winding into infinity with a friendly grin, reflecting the amplitude between modular synthesizers and Fisherprice keyboards. Once you're under the hypnosis of this soft monster, you are floating peacefully into the new world of Joasihno's Meshes. Despite a plethora of oscillating ideas and acoustic bubbles, Joasihno never lose touch with the Listener, while sailing placidly through all aspects of Beck's vision of electronic anti-pop.

The entertaining Meshes features another 9 sparkling miniature gems, simultaneously complex and accessible, melancholic and hilarious, bright and deep. The music breathes ideas of smart UK-Garage-philosopher Four Tet, the crazy street composer Moondog and some sort of Nils Frahm neo classical approach - and of course: pop music. Even if most tracks deny structures and rules of pop composing, they are always interacting with it - sometimes with a twinkling eye, sometimes in a deep lust for destruction. "In the end I found out, that I was approaching my own roots, the vision I had when I started Joasihno. I wanted the music to be more raw, intuitive and playful". From this perspective, Meshes is some kind of liberation for him: "I had a good time ignoring popular music" he says with a grin on his face. His former records "We say: oh well" (2011) and "A lie" (2013) were acting in the space between Iceland and Africa. Meshes puts a new spot on his musical map: New York - residency for the great magicians like Steve Reich, Philipp Glass and Raymond Scott. The transformation to the complex electronics of "Meshes" is both harmonious and unavoidable. This transformation was just a matter of time for a magic man like the 31-year-old Cico Beck: with his fuzzy-head, professor's attitude and two meters height, he's always looking for a new expedition into extraordinary acoustic spaces. The journey from Iceland to Africa to New York is just about far enough for this trip - but the next destination is about to appear.

Kid Congo and The Pink Monkey Birds' fourth full-length for In The Red Records, La Araña Es La Vida feels the Mexican muse of The Great Spider Goddess of Teoticuhan, who sprouts hallucinogenic morning glories and protects the underworld—or in Kid's eyes, the world of underground music. Recorded at The Harveyville High School gym in Kansas, this self-produced album finds guitar slinger and singer Kid Congo Powers (The Gun Club, The Cramps, Nick Cave and The Bad Seeds), bassist Kiki Solis (Knife in The Water, Rhythm of Black Lines) and drummer Ron Miller (Switch Hitter, Up The Academy) joined by Chicano-Mosrite-playing guitarist Mark Cisneros (Medications, Deathfix). La Araña Es La Vida rocks 'n' rolls its way through a planet of Glamazons ( Psychic Future'), blisters with the tricks of a Magic Machine,' then gets to work out a low-rider groove on Chicano Studies.' Tales of gender-bending disembodied heads, gente from La Puente and even a TCB-era Elvis-inspired rave up on Karate Monkey' are merely a smattering of the mythic magic on this platter! The world is a wild and wooly place and with the help of La Araña Kid Congo and The Pink Monkey Birds will continue to reflect it.

Kid Congo and The Pink Monkey Birds' fourth full-length for In The Red Records, La Araña Es La Vida feels the Mexican muse of The Great Spider Goddess of Teoticuhan, who sprouts hallucinogenic morning glories and protects the underworld—or in Kid's eyes, the world of underground music. Recorded at The Harveyville High School gym in Kansas, this self-produced album finds guitar slinger and singer Kid Congo Powers (The Gun Club, The Cramps, Nick Cave and The Bad Seeds), bassist Kiki Solis (Knife in The Water, Rhythm of Black Lines) and drummer Ron Miller (Switch Hitter, Up The Academy) joined by Chicano-Mosrite-playing guitarist Mark Cisneros (Medications, Deathfix). La Araña Es La Vida rocks 'n' rolls its way through a planet of Glamazons ( Psychic Future'), blisters with the tricks of a Magic Machine,' then gets to work out a low-rider groove on Chicano Studies.' Tales of gender-bending disembodied heads, gente from La Puente and even a TCB-era Elvis-inspired rave up on Karate Monkey' are merely a smattering of the mythic magic on this platter! The world is a wild and wooly place and with the help of La Araña Kid Congo and The Pink Monkey Birds will continue to reflect it.

Are you ready for a bewitching pop adventure Morr Music is releasing Slow Steve's Adventures, the debut album by Ex-Fenster member Rémi Letournelle. Following a 7" split single on Berlin DIY label Späti Palace and Steps, a six-track EP released on Morr Music last year, Adventures is the first LP of the French man. His bubbling vintage synths (together with an impressive variety of instruments) will take you on a strange trip through imagined galaxies and secret deep-sea worlds. Call it weird, but this is amateur pop in all its glory, and the most natural outlet for Slow Steve. Think of Ariel Pink, John Maus, early Future Islands, old Krautrock luminaries or Arthur Russell - a whole school of alternative pop music that Rémi is very likely to join. Adventures is more than just an application.

In January 2015, he started working on the eleven songs that make up the album. While the Steps-EP was mainly jams Rémi created in his room with a bit of pot, whiskey, Casios and a TR707, he got deeper into songwriting for his first LP. The songs were recorded with producer Tadklimp for 5 days in the Worm Studio in Rotterdam, using their many glorious vintage synthesizers, and in Tadklimp's studio in Berlin. Apart from Charley Vecten, who started Slow Steve with Rémi as a live duo back in 2012, most of the instrument parts on the record were written and performed by Rémi himself.

When Rémi moved to Berlin, he met psychedelic pop outfit and fellow Morr signees Fenster. Rémi has been part of their live shows as well as contributing to their first two albums. There are certain familiarities between the washed-out sound of Fenster and Slow Steve, but Adventures sees Rémi doing his own thing. He says "I had weird science fiction in mind, visions of Jules Verne drawings from the early 20th century and science fiction/action movies from the end of that same century. That's why it's called Adventures: I'm picturing a kind of Indiana Jones going down to the bottom of the sea, to Lilliput and other crazy, weird worlds." Song titles like "The Giant Spider Crab From Japan" literally imply that this is a cosmic synth dive into creepy depths, while in "Joséphine II (Rivière)" Rémi sends his two teenage nieces through the universe in some cute spacecraft. Elsewhere, you hear the inspiration that 70's French sci-fi movies and their experimental electronic scores had on Rémi, for instance in the blissful nostalgia reverberating in "Oscillation". Even the sunshiny guitar pop and blurred synths of "Sloth" or "Bali" sooner or later end up in humorous excursions. All song structures seem to follow some secret rules - challenging but always easygoing.

Adventures does what it says on the sleeve: surprise and mesmerize, somewhat wild and spaced out. Welcome to the curious world of Slow XSteve.

Summer Flake returns in full force with Hello Friends , the followup to the critically acclaimed 2013 debut LP You Can Have It All . The album marks a new era for Melbourne-via-Adelaide musician Stephanie Crase (whose former credits include No Through Road, Birth Glow, Hit the Jackpot and Batrider), having enlisted the production finesse of Geoffrey O'Connor to propel her idiosyncratically sun-drunk guitar pop into new and more lush territories. Drenched in a timeless reverb, Summer Flake's transcendent songs float on the ethereal wings of pop , via the Crystals and the Paris Sisters, wander down the lonely byways of Karen Dalton and Laurel Canyon folkies, amble up alongside the hard-edged '90s alternative rock of Hole and Sonic Youth, before finally emerging into the sunshine of other dream-pop contemporaries like Best Coast or Mac DeMarco. It's only the second full-length release for Summer Flake but Crase's output has been prolific over the last four years, with four EPs under her belt that garnered increasing attention in Australia and internationally. Hello Friends continues Crase's tendency for the thoughtful arrangements, '90s-tinged frankness and dizzying harmonies that have led her from strength to strength, this time adding a deeper layer of emotional reflection to an already enduring sound. These songs, as delicate as a snowflake on a summer beach, unmoor one from the drudgeries of place and time, and Hello Friends confirms Summer Flake as a band to watch.

Brighton 4 piece BLACK PEAKS can today finally announce details for their massively anticipated debut album 'Statues', along with the first new single 'Saviour'. 'Statues' will be released on February 26th through Easy Life/Sony Red, with single 'Saviour' being available to buy (digital) and stream from Monday 9th November AND will be part of any album pre-order as an instant grat track. . The single received its first ever play last night on the Radio 1 Rock Show with Daniel P Carter, and will be played again this evening on Radio 1 during the Annie Mac show.