Pop & Rock News

Having completed a preliminary round of work on their eponymous 2015 album at Rockfield Studios, Wire found themselves with 19 tracks. Among them, there was a critical mass of 11 aesthetically unified songs. In typical Wire fashion, however, the remaining material was something other: it had the sound of a band already moving in a different direction, beyond the album project in which they were engaged at that time. These tracks were the basis for Nocturnal Koreans. The difference between the two clusters of work birthed at Rockfield has its roots in discrete approaches to the studio process itself. Nocturnal Koreans emphasises studio construction over authentic performance, using the recording environment as an instrument, not just as a simple means of capturing Wire playing.

Although it's become de rigueur to talk about Wire's capacity for self-reinvention, that's never the whole story. Certainly, the impulse to pursue fresh ideas with each phase of work is buried deep in their artistic DNA, but they've balanced that commitment to the new with a core character and attitude that's always at some level recognisable as Wire—without being reducible to a formulaic sound. It's this enduring dialectic that gives Wire their unique status as a long-establisXhed band that continues to forge ahead with original music: always unmistakably Wire but always reimagined and reframed with each successive project.

The stunning debut album from 2005!

The Danish 3-piece band from Copenhagen founded in 2003 is playing a mix of no-wave, punk-funk and sneeky covers. Who Made Who are: Tomas Barfod (drums and electronic noodling), Tomas Hoffding (vocals) and Jeppe Kjellberg (guitar).

The second album from 2009 mastered by Christian Wright at Abbey Road studios. The Quotes: "Focused and brilliant" (i-D), and "WhoMadeWho return with all the dancefloor straddling guitar grooves of their debut" (MusicWeek)

The Danish 3-piece band from Copenhagen founded in 2003 is playing a mix of no-wave, punk-funk and sneeky covers. Since then the group supported Daft Punk, LCD Soundsystem, Soulwax and Justice! Who Made Who are: Tomas Barfod (drums and electronic noodling), Tomas Hoffding (vocals) and Jeppe Kjellberg (guitar).

"The band combines three completely different musical characters and merges them into a fresh new whole: Jeppe Kjellberg - the walrus bearded guitar player, has been part of the New Yorks experimental Rock and Jazz scene for years. He has even recorded a mini album with David Tronzo - guitar player of the legendary Lounge Lizards. Tomas Høffding - the bass man with the falsettovoice, has his roots in the Scandinavian Garage Rock scene (but always has been in love with fat discobasslines). And Tomas Barfod aka Tomboy is not only the drummer of the band but he's also known for producing some of the hottest Advanced Electro/ House music of the moment for labels such as Turbo, Kitsune and Get Physical. Now, here's the band's new album. 13 songs that are the perfect example for a band who uses a tiny production budget to widen, expand and multi-colorize their sound without losing their soul. There's a sexual and sensual authenticity to the breathed echoes of their first album. 13 songs which, when heard by Christian Wright - the legendary engineering-maestro at London's Abbey Road studios - lead to the point that he at all costs wanted to master this record by himself. The Danish guys created a brand new pop sound influenced by early 70ies Progrock as well as the complex side of disco music, with a very rough DIY pop approach and some well integrated electronic bits and drum sounds."

First Deep Distance release of the year sees the mighty debut full length from Rhododendron.



Last year saw their debut 10' sell out in 48 hours on the label and was -and remains- a favourite and staple of the more kraut themed sets of Andrew Weatherall's DJ stints. The band also headlined Phonica Records Record Store Day celebrations the year before. So to unleash the full length is timed immaculately and it does not disappoint...



Made on the South Coast entirely from wire, magnetic tape, glass and electricity, Rhododendron make English electronic, psychedelic, industrial motorik music for a cosmic jokers party with Terry Riley, Dieter Moebius and Suicide in the room and all on the wrong drugs.



Assembled by Oliver Cherer (Dollboy, Silver Servants) and Darren Morris (David Holmes, Steve Mason) in St Leonards' North Street Studios 1 and 2 (The Assistant, Wrestler, Dollboy) Rhododendron give you instrumental autobahn anthems ('New Europe', 'Car Crash - Lights Off'), electro-psych wig-out ('Church of T'), paranoid technopunk rant ('Brute Blaster', featuring Eyes In The Heat's Zizi Kanaan), Silver Apples style disto-disco ('Little Rocks') and misfit radiophonic nerd-pop ('A Foreign Language'; described recently as being 'like Sleaford Mods if they'd gone to art school'!)



Turning mindless awkward riffs into mesmerising transcendental trips and genre-hopping work-outs like the updated 'Paris Rendezvous' which features Wooden Spoon's Owen Hills on harmonica sounding like Lee Brilleux jamming with Can.



Analogue synthesizers, tape machines, tape echoes, fuzz tone guitars, test oscillators and broken machines from car boot sales.



A great album in a ltd pressing of 300 only available early to mid March. y

Her new album "Keys" shows Berlin-based musician Masha Qrella elegantly fusing disco-pop and songwriting. Written and produced by Qrella in her studio within one year, the album's eleven songs feature well-known elements of fragility, perfection and understatement, while walking a fine line between laconic coolness and passionate uptempo melancholia.

There is a new straightforwardness in how Qrella sings about break-ups, new beginnings, rescue pills and keys: "Please don't give me your keys / cause I don't wanna have to give them back again," goes the refrain of the title track, whose deliberately sparse instrumentation is unexpectedly interrupted by the noise of traffic and construction sites. It's one of those little irritating and surprising twists that have always been crucial to Qrella's music.

While her earlier solo records relied on more electronic elements, stumbling beats and sonic textures, Masha Qrella now puts emphasis on her voice and songwriting. Finally, every sort of shyness seems to have vanished.

"Every night another day, every day another night, every street leads to a new place than the one I used to find." This is the opening line of the album, and you get the feeling that Masha Qrella is breaking new personal ground on this record, which marks her fourth full length for Morr Music. Every single song on "Keys" shows an immediate and open-hearted quality that Qrella did not quite reveal before.

With this record, Masha Qrella creates a very distinct version of pop music, subtly reminding you of her love for Elliott Smith, Neil Young, Air or Metronomy, but always staying true to herself. Join her on this emotional dance floor.

Skeletons, still »one of the few contemporary bands who can legitimately be called ›original‹« (XLR8R) in 2016, present their ninth studio album and their premiere on Altin Village & Mine.

Skeletons is one of the names of the uctuating ensemble of musicians around composer and lmmaker Matthew Mehlan; on »Am I Home« accompanied by long-time Skeletons collaborator Jason McMahon as well as Greg Fox (Liturgy, Zs, Guardian Alien) and Mike Pride, Justin Frye (PC Worship), Sam Kulik, Sam Sowyrda (Cloud Becomes Your Hand), Nathaniel Morgan and Caley Monahan-Ward (Extra Life, Dead Western), among others.

»Am I Home« thus marks the felicitous encounter between some of the best instrumentalist of the independent music cosmos with one of its consistently most interesting forward thinkers. This musical summit shows in the extraordinary joy of playing and the technical quality displayed throughout the seven songs — most of all, however, it registers in the density and consistency with regards to the coherence of the performance and space of »Am I Home«. This is one of the striking qualities of this, in every way: remarkable album. With all of its displayed pro ciency, the music is a deeply human a air; in a way which can be claimed by very few albums. The question posed by »Am I Home« nds itself answered on the album. It is answered, however, in the form of a question — the »home« that the music inquires about is the music itself, is its quest. This eminent, honest openness that equally shows in the lyrics and the vocal delivery by Mehlan — which, by the way, is on the same extraordinary level — , does not, however, make a point of digression or lose itself in the accompanying virtuosity, but always nds its way back to itself. The result may be, in a sense, post rock — but anyone embarking on the journey that »Am I Home« o ers will only chuckle at this designation. At the same time it is free jazz, it is pop, it is chamber music; grandiose, experimental, at any moment deeply embedded into the space of the album. The connections produced by »Am I Home« thus are not in the form of genre or likenesses (even though Mehlan's recent relocation to his native Chicago may lend itself to assuming a certain proximity to projects of Jim O'Rourke's, particularly Gastr del Sol), but instead in a relation to the world, to the »Uumans« that the moniker of Mehlan's most recent solo work addresses.

»Am I Home« is the document of a singular musical voice that has reached a maturity which, even in the remarkable oeuvre of Skeletons, marks a milestone.

Produced by Portishead and Beak> man Geoff Barrow, and released on his very own Invada label.


- 'Of Desire' is The KVB's most fully formed record to date, taking in influences such as Death In Vegas, Scott Walker and Roxy Music to create something that is at once familiar and yet inventive and original.
- Steeped in musical history, 'Of Desire' is an album that hums with devotion and captures a band ready to emerge from the underground and embrace an ever-growing audience.
- This will be The KVB's second album on Geoff Barrow's Invada Records label, home to similarly experimental artists such as Anika, College and Barrow's own Beak>.
- The band were invited to Barrow's Invada Studios to record 'Of Desire' using his wonderful synthesisers' as they began to flesh out ideas from bedroom demos dating back to Wood's earliest recordings.
- The romantic undercurrent explored throughout 'Of Desire' is most clear in 'Never Enough', a minimal-wave glitter beat that captures The KVB's growing confidence perfectly. The demo of the song has picked up nearly one million views on YouTube.

Dais Records is proud to present a new vinyl engagement of "Rebellion is Over", limited to 500 black copies worldwide and containing three unique and singular electronic compositions.

Rebellion is Over was originally released on Heartworm as a limited cassette collaboration between Cold Cave, Genesis Breyer P-Orridge (of Throbbing Gristle/Psychic TV), and Black Rain (members of Death Comet Crew/Ike Yard) to commemorate the July 22nd live performance in NYC. Available only at the show and sold out immediately,

In autumn 2015, Swedish dream-pop duo Korallreven bid us all farewell by releasing the "round-the-world-in-a-day" sounding final single Here In Iowa, alongside memorable shows in New York City and Scandinavia. Now, they return for one last time with a disco dub dream remix of said song by the mighty Peaking Lights. This forms part of a 12" EP released by Be With Records. The record - limited to just 500 copies - will see its worldwide release for Record Store Day on 16th April 2016.

The 12" will also, for the first time on vinyl, include Korallreven's breathtaking cover of Guns & Roses' November Rain from 2014 as well as Shine On, the duo's rework of their own 2010 single Honey Mine, featuring Taken By Trees' Victoria Bergsman.

From the guys:

"Hard to say if Here In Iowa was an end or a start of something new. You'll see! Whether or not, we hold it as one of our highest heights and, after this beautiful season, we truly deeply madly felt that it was worth some extra limelight. And hey! Thanks for the remix, Peaking Lights! It's so wonderful! Life surely is."

(Part Of The April Cargo Collective) CD / digipak (blue foil) + poster insert. Standard black vinyl LP is jacket (blue foil) + full album download coupon. Very limited coloured vinyl LP is for Cargo Collective stores only, stock is limited and numbers may be cut back. Here's the deal. In 2012, people loved Silver Age (to a degree that surprised me, pleasantly), likewise Beauty & Ruin in 2014 (despite the heaviness of the subject matter, which I thought might be a bit alienating... apparently not. Another pleasant surprise.). But PATCH THE SKY is the darkest one. After the Letterman performance in February 2015 where 'dust fell from the rafters,' it would have seemed logical to go the punk rock route—an entire album of two minute songs—but that wasn't where my soul was at. I withdrew from everyday life. I wrote alone for six months. I love people, but I needed my solitude. The search for my own truth kept me alive. These songs are my salvation. I've had a solid stretch of hard emotional times, and thanks for the condolences in advance. I don't want to go into the details—more death, relationships ending, life getting shorter—because they're already in the songs. Just listen and see if you can fit yourself into my stories. The words make you remember. The music makes you forget. But PATCH THE SKY is also the catchiest one. I always aim for the perfect balance of bright melodies and dark stories. I've used this juxtaposition for years. This time, I've tuned it to high contrast. The first side of the album is generally simple and catchy. The second side is heavier in spirit and tone. Opposing forces and properties. I love both sides of PATCH THE SKY. At the core of these songs is what I call the chemical chorus—you hear it once and your brain starts tingling. The heart rate picks up. It gets worse—you know it's coming again and you can barely stand the anticipation. Then, the beautifully heartbreaking bridge appears, and you're all set up—hooked for life. Music is an incredibly powerful drug. I want to be your drug dealer. I have what you need. --Bob Mould // UK tour in February; full EU tour follows later in 2016

The Austin-made singer-songwriter duo dwell in the spaces left between contradictions and opposing forces. In fact, it's where they're most at home. As the title of their latest album suggests, they know intimately the ideas of using pain as a barometer of passion and giving as a means of gaining.
Their gorgeous, almost luminescent harmonies paired with cutting, contemplative songs, inspired by a musical grab bag of Simon and Garfunkel, Slim Whitman, The Swell Season, Bon Iver, even Broadway composer Stephen Sondheim, earned the duo a nationwide legion of fans; many bordering on, if not, obsessed. Just ask their wives who tour manage them.
But until recently, Kyle and Andy thought of their respective talents, words and melody, as elements on 'separate continents' that they fit together—Andy's voice and lyrics an audible sunbeam appearing in a dark and dusty room; Kyle's lean, yet lush arrangements following unpredictable paths with acrobatic flourishes layered over grounded grooves.
But it was in writing and recording they let those roles bleed into each other. With the help of producers John Paul White (The Civil Wars) and Ben Tanner (Alabama Shakes), they slashed unnecessary phrasing and stripped their songs down to their core.

The Austin-made singer-songwriter duo dwell in the spaces left between contradictions and opposing forces. In fact, it's where they're most at home. As the title of their latest album suggests, they know intimately the ideas of using pain as a barometer of passion and giving as a means of gaining.
Their gorgeous, almost luminescent harmonies paired with cutting, contemplative songs, inspired by a musical grab bag of Simon and Garfunkel, Slim Whitman, The Swell Season, Bon Iver, even Broadway composer Stephen Sondheim, earned the duo a nationwide legion of fans; many bordering on, if not, obsessed. Just ask their wives who tour manage them.
But until recently, Kyle and Andy thought of their respective talents, words and melody, as elements on 'separate continents' that they fit together—Andy's voice and lyrics an audible sunbeam appearing in a dark and dusty room; Kyle's lean, yet lush arrangements following unpredictable paths with acrobatic flourishes layered over grounded grooves.
But it was in writing and recording they let those roles bleed into each other. With the help of producers John Paul White (The Civil Wars) and Ben Tanner (Alabama Shakes), they slashed unnecessary phrasing and stripped their songs down to their core.

Bridging the gap between their childhood love of Heavy Metal with the 90's American Indie music of their formative years, Puppy is the brainchild of Jock Norton (vocals, guitars), Billy Howard Price (drums) and Matthew Rickelton (bass).
Puppy formed in 2014 and following a few months of writing and recording released two tracks Forever and The Great Beyond, gaining them early attention from the likes of Noisey, NME, DIY and Consequence Of Sound, as well as support dates with the likes of Gengahr and Pity Sex.
"A heavy metal spin on melodic college rock in a way that sounds like Weezer covering Pearl Jam" - Noisey
"By all accounts, Puppy should be your new favourite band. They've got riffs. They've got a sick video. And my god, they've got songs...All slamming guitars, pounding drums, and sweeter-than-sugar vocals, the track's a delightful insight into the beginning of one of the most exciting new bands on our radar." - Vice
Playing live at The Moth Club, London Feb 26th

Following the departure of Tanya Donelly, the breakup of The Pixies, and the return of Kelley Deal to the fold, The Breeders' hit the alternative big time with their second record, and its hit singles "Cannonball," "Divine Hammer," and "Saints." The last Breeders album of the 1990s, as Kelley suffered and recovered from drug addiction and Kim found a new outlet in The Amps, Last Splash went platinum and brought Kim Deal's massive song writing talents out from behind the shadow of Black Francis. On red vinyl!

Afer last year's loving success of Record Store Day's 'Sensible Record Labels' Alcopop! has got together
with some of their pals at some of the best forward-thinking indie labels again around the country, and have put together something a litle special for RSD '16 - The Sensible Record Labels compilaton:
Volume 2.
Crafed with critcisms of high-priced reissues and major label dominance of RSD top of mind, this special vinyl will be priced at just £10 across all stores on the day - meaning that amidst all the high price reissues and inordinately expensive 7's, people will be able to try a stack of new music for just one note.
As well as the record itself, which boasts 11 hand-picked tracks (1 from each label) - the package comes with a download card containing 150MB from every label too, containing songs, videos, docu-ments, photos and more.
This vinyl is not just a reasonably priced compilaton. It's a genuine gateway for interested listeners to
discover what lies behind the UK's indie labels.

A fabulous debut 45 up next on The GPS here, following the quick fire sell out of January's 'Dean and Britta' 45 and 'Saddar Bazaar' LPs.

Lake Ruth, the new group formed by vocalist Allison Brice (The Eighteenth Day Of May), instrumentalist Hewson Chen (The New Lines) and drummer Matt Schulz (Holy Fuck, SAVAK, Enon) have announced the release of their debut single 'The Inconsolable Jean-Claude / The Prisoner's Dilemma' on the esteemed UK label 'The Great Pop Supplement'.

Mixed by Greg Hughes of Still Corners, the 7' single will be released on February 22nd, 2016.

Lake Ruth's sound is rooted in 1960's sonic experimentation, and skillfully blends elements of chamber pop, psych, kraut, jazz and electronic music. Cinematic A-side 'The Inconsolable Jean-Claude', an imagined portrait of French composer Jean-Claude Vannier, may appeal to fans of his work, along with those of Serge Gainsbourg and Margo Guryan. B-side 'The Prisoner's Dilemma' evokes Pentangle and The Left Banke, with its baroque instrumentation and atmospheric vocals.

The stereo 45 (cat: GPS130) will be released and distributed direct from the label The Great Pop Supplement via all usual outlets; in a limited edition pressing of 300, and will be available for download and streaming via all major digital distributors. Both tracks will be exclusive to the single, and will not be featured on the forthcoming debut album, also to be released on The Great Pop Supplement for the Spring of 2016.

"One of the finest outings to have appeared in recent times on the illustrious GPS imprint... simply exquisite." — The Sunday Experience

Having recorded five albums in 10 years and toured extensively in support of all of them, Nada Surf opted to follow 2012's cracking The Stars Are Indifferent To Astronomy with a brief but well-earned hiatus. So in January 2015, when Caws informed Nada Surf's vociferous Facebook following that a new record was just about done, the news was greeted with explosive enthusiasm. The music was in the can, he announced, and all that remained was to finish up a few lyrics and sing a few vocals, something he planned to do on off-days off during an upcoming solo acoustic tour. Caws even included a photo of the recording set-up he was bringing in the car. I was so eager to have an album done that I believed in it as it was,' Caws recalls. But the great thing about being 'finished' is that you can take a breath and evaluate, because the pressure to 'do it' is gone. The more I listened and thought about it, the more I realized that I might want to keep working.' Caws continues. There were already a bunch of songs in the can that we all liked, so I could think more expansively about what the album could be." And lo and behold, what would have been another really good Nada Surf album (their seventh since getting signed to a major in the go-go 90's and scoring a worldwide alterna-hit with Popular') became what could well be the most representative collection of the group's two-decade career, all while pushing towards whatever comes next.

The Great Pop Supplement/Crimson Crow

London-based psych-folk outfit The Hanging Stars release their much anticipated debut album Over the Silvery Lake in March 2016 via The Great Pop Supplement / Crimson Crow (CD). Blending folky, pastoralism with swampy 60s Americana, they sound like the missing link between the California desert sun and the grey skies of London Town. The album was recorded between LA, Nashville and Walthamstow, with each of these vastly different places leaving an indelible mark on the songs.

Fronted by London-based songwriter, singer and guitarist Richard Olson (The See See, Eighteenth Day of May), The Hanging Stars are essentially a loose collective of people who weave together a blissed-out psychedelic tapestry. The rest of the core band is made up of Sam Ferman on bass and Paulie Cobra on drums, also featuring Horse (Dan Michelson and the Coastguards) on pedal steel, Patrick Ralla (The Alan Tyler Show) on banjo, guitar and assorted instruments and Phil Anderson on Keyboards. They jam rather than write and hang out rather than rehearse, harnessing a kind of tipsy euphoria resplendent with luscious arrangements and glorious vocal harmonies.

During 2015, the band released two critically acclaimed singles via The Great Pop Supplement (both of which also appear on the album). 'Golden Vanity' was premiered by The Line of Best Fit who said; 'you'd be forgiven for thinking you'd just unearthed a rare deep cut from the late 60s/early 70s boom of psychedelia infused Americana' and 'The House on The Hill' was described by The Guardian as; "a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club'. They picked up a good amount of support at 6 Music and 'The House on the Hill' scored a much-coveted 10/10 by John Robb on Steve Lamacq's Roundtable. The Hanging Stars played a sold-out three-night residency at London's Betsey Trotwood, recently shared the stage with The Clientele at Islington Assembly Hall and have toured extensively throughout Europe.

There are a number of allusions to nature and the weather on the album, borne in part out of the contrasting surroundings in which it was produced. The band's fascination with Americana led them to record some of the material Stateside, laying down some of the parts at Battle Tapes Studios in Nashville (Lambchop, Paperhead), as well as at Vision Quest Studios in Los Angeles with Rob Campanella. His work with The Quarter After, The Brian Jonestown Massacre, Beachwood Sparks The Tyde, and GospelbeacH was a perfect match to capture their sound and they even had San Franciscan legend Chrystof Certik step in on lead guitar for a couple of tracks.

Following the LA recordings, a trip to the Californian desert provided the core notion of what they wanted to produce - a shard of light that they clung on to whilst recording the rest of the album in the significantly more rain soaked atmosphere of Walthamstow, London, under the watchful eye of Brian O'Shaughnessy at Bark Studios (The Clientele, Comet Gain, My Bloody Valentine). As the band explain: 'Ultimately we hope you can hear both the sand and the rain in this record.'

The Hanging Stars place themselves firmly as part of a long folk tradition encompassing European and North American influences - as a continuation rather than a pastiche of these styles. This is the sound of a band really coming in to their own, fully formed and in no doubt of their vision. With Over the Silvery Lake they succeed in producing a record, which has the country, blues and folk traditions at its heart. And what a big heart it is. Embrace it.

"a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club." - Guardian

"Swampy psychedelia that recalls the Medway Delta as much as the Mississippi, the band's new single neatly conjoins these influences." - Clash

Auf limitiertem Vinyl: Rares und Obskures der Indierock-Band aus Peine.

"Schnappschüsse 1994-2007" ist eine Raritätensammlung der deutschen Indierock-Band Schrottgrenze. 16 Titel aus dem Archiv der Gruppe aus Peine: Rares, Obskures, Geiles! Von original Ferrochrom-60-MinutenKassetten überspielte Songs, Stücke vom verlorenen Album "Vormärz Sekrete" und Outtakes, von denen selbst Schrottgrenze nicht mehr wussten, dass es sie gibt. Diese ultimative Fansammlung wird nur in einer auf 500 Stück limitierten Vinylauflage im Klappcover veröffentlicht. Als Bonus gibt es noch dazu: die CDVersion von "Schnappschüsse 1994-2007", die CD-Version des Best-of "Fotolabor 1995-2015", ein achtseitiges Vinyl-Foto-Booklet mit vielen raren und unveröffentlichten Fotos sowie das CD-Booklet von "Fotolabor 1995-2015". Zeitgleich erscheint das Best-of-Album "Fotolabor 1995-2015".

Angriffslustiges Elektropunk-Feuerwerk aus Kiel: Das geht ins Tanzbein und bleibt im Ohr.

Wer sich bei dem Bandnamen an Trio erinnert fühlt, hat schon mal die richtige Fährte. Lassen wir mal außen vor, dass die Kieler Formation um Simme, Henner und Stulle ebenfalls aus drei markanten Individualisten besteht. Viel auffälliger ist jedoch die Ähnlichkeit mit dem Song "Sie kam Australien" des ehemaligen TrioSchlagzeugers Peter Behrens aus dem Jahr 1990. Und hört man dann noch in das Debütalbum von Sie Kamen Australien hinein, nimmt schnell der Gedanke feste Konturen an, es hier mit einem zeitgemäßen Update der Großenknetener zu tun zu haben. Will heißen: So könnten Stefan Remmler und Konsorten 2016 klingen. "Peter ist der Wolf" geht mit Wortwitz, Selbstironie und Minimal-Charme ins Tanzbein und macht trotz - oder vielleicht auch gerade wegen - klarer Botschaften und tiefgründiger Texte eine Menge Spaß. Sie Kamen Australien paaren Gesang, Gitarre, Bass und Drums mit flotten Beats aus der Konserve und köcheln daraus frische Indie-Disco-Sounds, für die auch Kraftklub, WhoMadeWho und Deichkind als Referenz herhalten könnten. Produziert wurde "Peter ist der Wolf" von Gudze Hinz und Tim Humpe (H-Blockx). Attacke!

Hingebungsvoller Pop zwischen tastenlastigem Electro-Indie-Rock und brachialfiligranem Folk.
Nachdem sie 2014 mit ihrer Debüt-EP "Curtains" die Spitze der schwedischen iTunes-Charts eroberten, diverse Awards in Schweden abräumten sowie Konzerte in Deutschland, Spanien, der Schweiz und Skandinavien ausverkauften, gelten Vita Bergen nicht nur in ihrem Heimatland als eine der "most talked about bands", sondern vielmehr als "next big thing" der europäischen Indie-Szene. Sänger William Hellström hat die Ausstrahlung eines Sektenführers auf Speed. An seiner Seite Robert Jallinder, der mit Hellström die Band gründete und den Ruf hat, einer der exzentrischsten Gitarristen Skandinaviens zu sein. Vita Bergens Auftritte sind bemerkenswert wuchtig. Auf der Bühne wirkt das Duo, das live zur achtköpfigen Band aufgestockt wird, chaotisch, getrieben und leicht exzentrisch. Hellström und Jallinder machen hingebungsvollen Pop, der zwischen den Polen tastenlastiger Electro-Indie-Rock einerseits und brachialfiligraner Folk andererseits pendelt. Doch egal in welche Richtung das Pendel ausschlägt, Vita Bergen schreiben einfach unfassbar mitreißende Melodien. Das auf Glitterhouse erscheinende Debütalbum "Disconnection" legt davon ein beredetes Zeugnis ab

Spanning from their humble beginnings way back in 1987 to the height of their popularity in 1993, from Olympia college radio to the stage of SNL, this collection showcases some of Nirvana's greatest live performances of all-time. Essential.

Nachdem sie 2014 mit ihrer Debüt-EP "Curtains" die Spitze der schwedischen iTunes-Charts eroberten, diverse Awards in Schweden abräumten sowie Konzerte in Deutschland, Spanien, der Schweiz und Skandinavien ausverkauften, gelten Vita Bergen nicht nur in ihrem Heimatland als eine der "most talked about bands", sondern vielmehr als "next big thing" der europäischen Indie-Szene. Sänger William Hellström hat die Ausstrahlung eines Sektenführers auf Speed. An seiner Seite Robert Jallinder, der mit Hellström die Band gründete und den Ruf hat, einer der exzentrischsten Gitarristen Skandinaviens zu sein. Vita Bergens Auftritte sind bemerkenswert wuchtig. Auf der Bühne wirkt das Duo, das live zur achtköpfigen Band aufgestockt wird, chaotisch, getrieben und leicht exzentrisch. Hellström und Jallinder machen hingebungsvollen Pop, der zwischen den Polen tastenlastiger Electro-Indie-Rock einerseits und brachialfiligraner Folk andererseits pendelt. Doch egal in welche Richtung das Pendel ausschlägt, Vita Bergen schreiben einfach unfassbar mitreißende Melodien. Das auf Glitterhouse erscheinende Debütalbum "Disconnection" legt davon ein beredetes Zeugnis ab.

- London-based singer and composer Gwilym Gold releases a special two-track EP of acoustic versions taken from his new 2015 album 'A Paradise'.
- Recorded live at Doug Aitken's Station To Station event and pressed by The Vinyl Factory Press, the 12' features stripped back versions of 'Greener World' and 'Evergreen', exposing Gold's spectral, melancholy sound to the elements.
- Released in a limited edition of 300, 'Greener World' is packaged with artwork inspired by Kevin Bray's official video.
- The Vinyl Factory partnered with American multi- media artist Doug Aitken and the Barbican to bring the acclaimed Station to Station: A 30 Day Happening to the UK for a month-long, building-wide, art intervention in summer 2015.
- For the duration of the event, which featured residencies, installations, live performances, workshops, screenings and more, The Vinyl Factory hosted The Vinyl Factory Recording Studio, providing a space for musicians and artists to experiment and improvise with their music. Gold recorded his two acoustic versions within this studio over the course of two days. These recordings were then pressed into a vinyl edition on The Vinyl Factory Press, our on-site manufacturing plant that was showcased at the Barbican exhibition.
- Engineered and mixed by Justin Stanley.
- Strictly limited edition of 300 copies.

* 180 gram audiophile vinyl
* Gatefold sleeve / 6 page insert
* Printed innersleeves

Industrial Silence is the debut album by Norwegian alternative Rock band Madrugada. The album contains the singles "Electric", "Higher" and "Beautyproof" plus live favourite "Vocal".

The album kicks off with the majestic "Vocal", with its dense and thick guitar sound and singer Sivert Høyem's distinctive crooning on top of it all. What's really impressive on this album, besides the quality of the songs, is guitarist Robert Burås' creative and versatile playing. He plays everything from country-like slide guitar leads to fierce punk rock power chords, gentle acoustic strumming, and something not unlike flamenco on the apocalyptical "Salt".

Madrugada, although having successful singles and EPs on the Norwegian charts, are most definitely not a singles band. Their strength is not catchy three-minute pop songs, it is their epic, melancholic ballads like "Electric" and "Shine," and intense rockers like "Higher," that make Madrugada stand out.

DIGIPACK + 8 ARTWORK PRINTS ON 4 DOUBLE SIDED POSTERS

IN THIS TIME OF PROXY WARS AND FALSE FLAG ATTACKS AS WORLDS COLLIDE NOW, MORE THAN EVER IS THE TIME TO SAY AGAIN HOW MUCH LONGER DO WE TOLERATE MASS MURDER

Long out of print, this will be the first time the highly sought after album has been reissued, let alone made available digitally or on CD. Originally released in March 1980 on their own Y label through Rough Trade, For How Much Longer Do We Tolerate Mass Murder spent 20 weeks in the Indie charts, peaking at #1. Produced and mixed by the band, For How Much Longer Do We Tolerate Mass Murder represents the quintessential independent Pop Group album -untethered, entrenched and completely committed to challenging the political orthodoxy of the day and savagely denunciating its failings. The Pop Group singer and lyricist, Mark Stewart says: Context is crucial. At the time The Pop Group were playing multiple rallies and benefits across Europe from Scrap SUS to Aid for Cambodia to our final blow out at the 500,000 strong Campaign for Nuclear Disarmament rally in Trafalgar Square.' Declared a revolutionary, anti-imperialist manifesto' by Mark Paytress (MOJO, Record Collector, Rolling Stone), the album has been celebrated by Uncut as one of the 50 Greatest Lost Albums.

- First reissue of highly sought after album & first time on CD featuring post-punk anthem 'We Are All Prostitutes'
- Remastered from original tapes
- Indie #1 Album (20 weeks in chart)

Recorded over two very special, long sold out nights at London's beautiful St Pancras Old Church in May 2015, this record perfectly captures the incredible atmosphere and acoustics as Kevin played through songs from his eight studio album back catalogue. The vinyl includes a download card to pick up 17 bonus tracks, allowing you to hear even more from these two stunning nights, as well as some of the funny and insightful stories behind the songs. Kevin tours the UK tour supporting The Front Bottoms in January, with half of the dates already sold out and the rest very close behind.















Digital bonus tracks on download card:
14. Just Stay
15. Me And My Friends
16. Letting A Good One Go
17. Protest Singer
18. Yr Damned Old Dad
19. Cotton Crush
20. Tapdance
21. You're My Incentive
22. Off Screen
23. Private First Class
24. Bubblegum
25. Now Navigate
26. It Never Stops
27. Gießen
28. Another Bag Of Bones
29. She Stayed As Steam
30. All Of Everything Erased

'On The Never Never', Liverpudlian singer-songwriter Laura J Martn's third studio album, tells of the disconnect she felt when returning home to Liverpool to fnd that all individuality had been erased and replaced by gleaming empty fats.
A chance conversaton with Lambchop's Mat Swanson and Tony Crow proved fruitul and they planted the seeds of an idea in Martn's head that 'recording in Nashville and working with Mark Nevers was a real possibility'. Swanson and Crow join the all-star band for 'On The Never Never' alongside Silver Jews' Brian Kotzur on drums and The Jesus Lizard's Duane Denison reviving Fame-era Jimmy Johnson on electric guitar. Shot through with wit and humour alongside the sociopolitcal themes - one of the
characters talks of bleaching toilets and taking trips to Lanzarote - 'On The Never Never' skips through waltz tmings, bears infuences from Scot Walker to the Compass Point Allstars and picks up a guest vocal from Benjamin Zephaniah along the way. With 'On The Never Never', Martn has produced a hopeful record, full of joy, beauty and tongue in cheek looks at those in charge.
'Finely detailed and diverse... and Martn is glorious company live' - The Quietus 'songs that futer into lateral territory of her own exploratory making' - The Independent' A musician of startling originality... Musically she comes from the school whose alumni include Tom Waits, Kate Bush & Joanna Newsom' - The Sunday Times

After crafting Kykeon, the most detailed and finely intermeshed recording of their output, the cosmic compatriots Rhyton decided to get back to basics and kick out the jams with both ferocity and stateliness. Their newest slab entitled Navigating by Starlight features two sidelong improvised slices of molten music recorded by the redoubtable Jason Meagher at apex temperatures at his upstate New York Black Dirt Studio. The first side "Lovejoy Vapor Trail" comprises a journey from an initial solemn invocation, rushing through areas of blinding scree toward a summit of relaxed but rough and tough guitar elevation. The second side with its natural bifurcation was an instant composition of two halves that balance perfectly and exhibit a subdued menace. Rhyton is very pleased to be joining the stellar MIE family, just in time for the rebirth of the sun!

"Navigating by Starlight is the elegantly distended fourth LP by a New York band known for its fine taste in bourbon as well as its ability to explore strangely forested nooks of space. Composed of two side-long excursions of heavily-bearded improv, this is what Bruce Dern should have been listening to throughout Douglas Trumbull's Silent Running.

The first side is called 'Lovejoy Vapor Trail,' after the recently discovered comet said to be releasing enough alcohol to fill 500 bottles of George T. Stagg every second. Who could fail to be staggered by such a suggestion Not these guys. Dave Shuford's guitar vomits stars in all known directions, Jimy Seitang's bass and synth cover the proceedings with a blanket of darkness and Rob Smith's drums drive things along like a pulsar.

The flip, 'Scylla and Charybdis,' continues Rhyton's linguistic love affair with Ancient Greece. But with Shuford on electric mandolin, and the rhythm section picking their way between the twin threats more carefully than usual, the band creates a vibe that is more space-swamp than whirlpool (at least in this writer's opinion). By which I mean its method of sucking you into its vortex is staggered rather than continuous. Of course, once you've stuck your head into Rhtyon's sound-barrel, the specifics of destruction don't matter much do they

500 bottles of Stagg a second...that would sure take care of the world shortage, wouldn't it" - Byron Coley

Soll man in die zweite Reihe zurücktreten, wenn man seinen Gutschein für die Warhol'schen 15 Minuten
Ruhm schon eingelöst hat Besser nicht! Denn sonst würde uns das wunderschöne Album "What Do People
Do All Day" entgehen. Einer seiner Vorläufer, "Businessmen & Ghosts" von 2007, enthielt den Song "Dead
Fingers". Und der tauchte an prominenter Stelle in der ersten Folge von "Breaking Bad" (2008) auf. Aber
Working For A Nuclear Free City darauf zu reduzieren, wäre nicht allein wegen des großen zeitlichen
Abstands fragwürdig. Wie kaum eine andere Band versteht es das britische Quartett, sich musikalischen
Kategorien und damit nicht erfüllbaren Erwartungen zu entziehen. Statt berechenbar zu sein, konzentrieren
sich die Herren Gary McLure, Phil Kay, Jon Kay und Ed Hulme lieber darauf, expansiv-dynamischen
Prozessen zu folgen. Wer also wissen will, was all die Leute den ganzen Tag über so treiben, der bekommt
eine zwar poppige, aber letztlich doch recht experimentelle Antwort zu hören, die einen weiten Bogen von
Beck über Brian Eno bis zu den Super Furry Animals schlägt. Besonders brillant ist dabei, dass es "What Do
People Do All Day" bei aller Vielseitigkeit nicht an stilistischer Kohärenz missen lässt.

Third album by Hamburg's TELLAVISION who calls her original aesthetic "hardware post-pop", deconstructing borders between (anti-)pop and avant-garde, hi- and lo-art.

Deeply rooted in DIY culture right from the start in 2007, TELLAVISION alias FEE R. KUERTEN delivers her third album after "Music On Canvas" (released on FEEDING TUBE RECORDS, run by SUNBURNED HAND OF THE MAN's TED LEE) and 2014's "Funnel Walk" which was recorded with TOBIAS LEVIN (TOCOTRONIC, MUTTER, JA, PANIK). Developed and produced during a stay at the Whitehaus, one of Boston's self-governing cultural centers, the tracks play with TELLAVISION's reception across different genres: too "punk" for an arty audience, too arty for the punks, KUERTEN who studied arts at Hamburg's HFBK (attending classes a.o. by JUTTA KOETHER and FELIX KUBIN) follows her interdisciplinary approach which combines visual arts, film and music, taking in a wide range of pop-cultural references, rejecting them to finally mash them up for new positions in contemporary arts that defy conventions. Defied too the concept of the classical A / B side - instead "The Third Eye" splits into 2 sides that each carries its own name with "Ease Tikky Tab" continuing / refining TELLAVISION's atonal, dub-infected trademark sound while "Cryptic Snash Man" crystallizes as an oscillating field of krauty repetition and industrial ambiances. Oppressive, dissonant soundscapes, created by a reduced set-up of analogue synthesizers, percussive elements and fragmentary field recordings that go along perfectly with KUERTEN's elegic, soulful voice. A unique sound that the 27 year-old baptized "Hardware Post-Pop" and which situates the young artist among like-minded lofi-advocates ARIEL PINK and JOHN MAUS, the rhythmic grooves of ESG and a newer generation of female artists such as FATIMA AL QUADIRI, INGA COPELAND (whom she recently supported), GAZELLE TWIN or KLARA LEWIS on the other hand.

Big Ups' second LP, Before A Million Universes, is at once a fist in the face of complacency and a sonic affirmation to, in Walt Whitman's words, "let your soul stand cool and composed before a million universes."

Pretty heady subject matter... Joe Galarraga (vocals), Amar Lal (guitar), Carlos Salguero Jr. (bass), and Brendan Finn (drums), met studying music technology at NYU. Five years later, the city's notorious crucible of garbage, money, and humanity has had a profound and delightful impact on their art.

"Tell me what you're worth / Salary, two weeks off work" Galarraga screams on "Capitalized," as the bassline frantically roams our conscience like a wet-nosed dog. Galarraga's vocals burn with the heat of a thousand day jobs.

Yet all this righteousness is worth as much as a Che t-shirt if it lacks humility, and more than any of the band's previous work, Before A Million Universes plumbs the depths of self-deception in wickedly clever ways. Who doesn't own a coat made of "The Feathers Of Yes"

"Count the ideas in my head so I can love every one," our protagonist coos before Lal's guitar tosses lightning bolts through his cloud. "And it feels so warm / wrapped in self-righteous truths."



"Yawp" unspools the exercise in futility that is the overexamined life to the tune of a lumbering giant stomping across a field of insecurities. "How many times can you be poured through the still to the point of perfection / I've dropped myself through the coils so many times but always come out with something missing / And the proof's so high it makes me dizzy."

The album's emotional and musical core lies in "National Parks," a song Galarraga wrote as a tribute to the sacrifices his mother made to raise him.

We're led through the anger and bewilderment—at his mom's solitary walks through their neighborhood and the selfishness inherent to childhood—and into a coda where you can almost see the sun streaming through the trees of Galarraga's park, drums steady and swelling, a transition in tone and mood that this band has nearly perfected. "I think I saw her say to herself / This is everything I've missed."



Before A Million Universes is Big Ups at their most sincere, urgent, and vital— a salty kiss from the wet lips of Brooklyn's bard

Circle's Pharaoh Overlord is bound to contest all speculations you ever heard of these savant ritualists. What's clear is that Pharaoh Overlord means the intrusion of the namesake of this album into Circle.

It is a forest of fire. Their self-possessed purge from self-referentiality, oddly enough, intensifies the paradox-ridden spree with which Circle have ignited the very building blocks of the band itself into fiction that is ever leaking out into reality-infested horizons surrounding the voluptuous standstill of the vortex of music that is Circle's Pharaoh Overlord. Horns and vocal chants hover like a hail storm above the stabbed soil of murky beats. This is epic experimental rock that will condense any impulse or mundane logic into pure inevitability.

On 'Pharaoh Overlord', Circle explore the smouldering terrain of their kindred spirits to find the means of transgressing the border of parallel existence with their idols (that is, Pharaoh Overlord) with the intent of merging into one abstract entity of sonic flesh. There is no sobriety like loss of identity.

SIGE Records/Ektro Records 2015. Edition of 50 copies. Custom letterpress packaging, hand stamped & numbered.

Frank Turner's fourth studio album 'England Keep My Bones' is his most commercially successful album to date. Selling over 100K album worldwide it spawned his hit singles 'If Ever I Stray', 'I Stll Believe' and 'Wessex Boy' all three of which are mainstays in his live show tll this day.
It was the success of this breakthrough album that lead to Frank headlining and selling out Wembley Arena in April 2012 - and brought him to the atenton of one Mr Danny Boyle who then hand-picked him for the stunning London Olympic Opening Ceremony.Recorded in Crouch End's Church Studios, and released in June 2011 Frank, together with his band The Sleeping Souls and producer Tristan Ivemy created a record with a quintessental English sound.
'England Keep My Bones' has a nostalgic feel to it - an homage to his homeland, friends and family. Featuring contributons from ex-Hold Steady keyboardist Franz Nicolay, folk singers Emily Barker and Chris T-T, and Unbelievable Truth's Andy Yorke, he covers themes of mortality, relatonships and religion in what is a bold, ballsy yet beautful album.

PRODUCT DESCRIPTION
- To coincide with the 20th anniversary of the release of this monumental and ground-breaking album, Edsel is pleased to announce the reissue
of the Fun Lovin' Criminals 1996 debut album 'Come Find Yourself'.
- The album will be re-issued in two formats:
DELUXE EDITION:12' Vinyl Picture Disc + 10' Vinyl EP + 3CD + DVD in a 12'×12' casebound book
EXPANDED EDITION:3CD in a Digipak
- The release features a plethora of rarities, live recordings, alternate mixes and unreleased instrumental versions from the vaults of this landmark
record, bringing a unique collection together from this seminal era for the very first time.
- Fun Lovin' Criminals are supporting the anniversary of the album's release, by undertaking a 22-date UK & Northern European Tour, where the
band will perform the album live in its entirety for the first time.
- 'Come Find Yourself' has spent 186 weeks on the UK Artist Albums Chart.
- Features the singles 'King Of New York', 'The Fun Lovin Criminal', 'The Grave And The Constant' and the infamous Quentin Tarantino
dialogue sampling single, 'Scooby Snacks'.
- In addition to the 3CDs featured in the Expanded Edition, the Deluxe Edition includes a previously unreleased Instrumental Version of the origina
album on a 12' Picture Disc, along with a 4-track BBC Sessions 10' EP and a DVD featuring the promo videos, TV appearances, new interview
and the original album EPK.
- Includes a 4,000 word liner note from renowned music journalist Paul Lester, transcribed from his recent interviews with Huey and Fast.

Mark Kozelek und Justin Broadrick veröffentlichen das Debütalbum ihrer Zusammenarbeit als Jesu/Sun Kil
Moon am 22. Januar. Das Album ist 79 Minunten lang und enthält Gastbeiträge von Rachel Goswell, Low,
Isaac Brock, Will Oldham und anderen. Zwei Songs gab es bereits vorab im Netz zu hören, einer davon,
"Exodus" ist Nick Caves verstorbenem Sohn gewidmet.

The debut release by Mára, the solo project of Faith Coloccia (Mamiffer, Everlovely Lightningheart).

Time. Death. Transcendence. These are the allusions and allegories that Faith Coloccia extends through her piano-bloom plainsongs under her moniker Mára. Her elegant and deceptively simple compositions situate at the crossroads of these grand narratives with all of the existential portent of a spiritualist hymnal; yet there is an intimacy to her visions traced in the delicacy of her touch on the piano and the idiosyncratic etherealism in her lyrical mewl.

Coloccia reflects on such universal themes as an agnostic psalmist -- one seeking answers to the mysteries of being alive on her island, on this planet, in this universe, with the scope of the divine both evident and unknowable. She bares witness to the divine in the human connection and the resonance of the natural order, yet the fears of loss of connection and ultimately death loom large. Her voice lilts in a multi-tracked homophony that entangles itself amidst the gilded reverberation broadcast from the inside out of her arrangements for piano. 'Warmth, Shelter, Oblivion' thrums with a simple tone-pulse modified into a blur of echo and tears amidst the dematerialization of her candle flickered voice. Bookended tracks 'The Gift Of Life' and 'Healing for the Wounded' reprise variations on the same piano melody, to bring full circle Coloccia's methodology for repetition and difference. The seemingly instrumental track 'Flask of Hermes' finds its voice through the radio quietly muttering to itself in the room next to where Coloccia was recording, furthering the transmission of the divine to this mortal coil and back.

Solodebüt des Delta-Spirit-Frontmanns: Größenwahnsinniges Werk mit ganz eigener Magie.

2015 war für Matthew Logan Vasquez ein Jahr großer Veränderungen. Zum einen, weil er mit seiner
norwegischen Frau Marthe von Brooklyn nach Austin zog und dort die Geburt seines erstens Kindes Thor
erlebte. Zum anderen, weil er sich dazu entschloss, nach einem Jahrzehnt mit seiner nicht nur von Kritikern
gelobten Band Delta Spirit mal etwas alleine auf die musikalischen Beine zu stellen. So entstand Vasquez'
Solodebüt "Solicitor Returns" sowie die gleichzeitig ebenfalls bei DevilDuck, aber nur digital und im Doppel
mit dem Vinylalbum erscheinende EP "Austin". Vasquez hatte gute Gründe, auf Solopfaden zu wandeln, denn
er wollte zurück zu der Art von Rockmusik, die er so sehr liebt. Und wenn er solo sagt, dann meint er auch
solo. Auf "Solicitor Returns" hat er alle Instrumente, außer die Drums bei zwei und die Gitarre bei einem
Song, selbst gespielt. Natürlich bedeutet das nicht das Ende von Delta Spirit. Es ist wohl nur natürlich, wenn
ein Frontmann sich einfach mal solo fallen lassen will. Hört man sich seine Songs an, so hört man Iggy Pop,
Neil Young, Kurt Cobain und Gram Parsons, aber letztlich doch immer den puren Matthew Logan Vasquez.
Das heißt einen Künstler, der brennt und den "shit out of rock music" liebt und lebt. So sehr, dass es sein
Lebensziel ist, die Massen wieder mit diesem Spirit zu verbinden. Das sollte klappen!

Solodebüt des Delta-Spirit-Frontmanns: Größenwahnsinniges Werk mit ganz eigener Magie.

2015 war für Matthew Logan Vasquez ein Jahr großer Veränderungen. Zum einen, weil er mit seiner
norwegischen Frau Marthe von Brooklyn nach Austin zog und dort die Geburt seines erstens Kindes Thor
erlebte. Zum anderen, weil er sich dazu entschloss, nach einem Jahrzehnt mit seiner nicht nur von Kritikern
gelobten Band Delta Spirit mal etwas alleine auf die musikalischen Beine zu stellen. So entstand Vasquez'
Solodebüt "Solicitor Returns" sowie die gleichzeitig ebenfalls bei DevilDuck, aber nur digital und im Doppel
mit dem Vinylalbum erscheinende EP "Austin". Vasquez hatte gute Gründe, auf Solopfaden zu wandeln, denn
er wollte zurück zu der Art von Rockmusik, die er so sehr liebt. Und wenn er solo sagt, dann meint er auch
solo. Auf "Solicitor Returns" hat er alle Instrumente, außer die Drums bei zwei und die Gitarre bei einem
Song, selbst gespielt. Natürlich bedeutet das nicht das Ende von Delta Spirit. Es ist wohl nur natürlich, wenn
ein Frontmann sich einfach mal solo fallen lassen will. Hört man sich seine Songs an, so hört man Iggy Pop,
Neil Young, Kurt Cobain und Gram Parsons, aber letztlich doch immer den puren Matthew Logan Vasquez.
Das heißt einen Künstler, der brennt und den "shit out of rock music" liebt und lebt. So sehr, dass es sein
Lebensziel ist, die Massen wieder mit diesem Spirit zu verbinden. Das sollte klappen!