Pop & Rock Новости

On their second album Broken Devotion, Portland-based duo Mint Julep instill their lush and gauzy, synth-centric brand of pop music with a raw and powerful emotionalism. The follow-up to their 2011 debut Save Your Season (praised as "melodically sophisticated and dreamy" by the NME), Broken Devotion came to life over the course of four years, with Mint Julep reaching a new level of lyrical precision while easing into more lavishly textured, intricately layered arrangements.

Throughout Broken Devotion, multi-instrumentalist/producer Keith Kenniff (also known for his work as ambient indie-electronic act Helios) and his wife Hollie Kenniff (Mint Julep's vocalist and lyricist) explore the many bright and dark dimensions of love, a tension that's masterfully embodied on the album's title track. Urgent yet ethereal, "Broken Devotion" blends driving rhythms and hazy guitar tones as Hollie's hypnotic vocal work achingly captures the unraveling of a romance. Lead single "White Hot Heart", meanwhile, emerges as an airy and shimmering, synth-laced number that's timeless in melody.

Also featuring a gorgeously sprawling cover of When In Rome's late-'80s new-wave hit "The Promise", Broken Devotion finds Mint Julep shifting from the frenetic energy of beat-driven tracks like "Incinerate" to the downtempo drama of songs like "Slow Spiral" with an uncommonly delicate grace.

"Krautrock-tinged, distortion-clouded synthpop covered in soft blankets of breathy, post-Cocteaus vocals... Just breathe it in." - Mojo

"(Kraut)-Rock im Stil der 70er von
einer ostdeutschen Band. Ein
wahrhaft farbenfroher Genuss!"
CLASSIC ROCK

"Ein Musiktraum in sechs Akten."
POWRMETAL.DE

Prolific Japanese artist Masami Akita, aka Merzbow here teams up with session musician, producer, and singer-songwriter Eiko Ishibashi for anew work which showcases yet another side to Akita's monumental catalogue

Kouen Kyoudai consists of two side long tracks that could be read as a contemporary take on the traditional avant-garde. Skittering electronics, percussion, piano, doom and noise all feature as exponents in this epic release which seamlessly incorporates many strands of experimental thought and practice.

The tension that arises from the human use of the tool is made explicit as these works unfold in a storm of ecstatic human/instrument/machine interaction. Drums hammer alongside an ecstatic drone. Notes on a piano jostle with a storm of splintered electronics.

Kouen Kyoudai highlights the pull between beauty and chaos, structure and the abyss leaving behind a thrilling display of human and technological interplay whilst opening up new paths for both musicians involved.

The Trail" ist das dritte Album der in Berlin lebenden Musikerin und Künstlerin Katrin Hahner aka Miss Kenichi. Aufgenommen in Berlins Chez Cherie Studio und produziert von Miss Kenichi und ihrem Langzeit-Kollaborateur Earl Harvin (Tindersticks) geben sich darauf so wohl klingende Namen wie Terry Edwards (Gallon Drunk, Tindersticks) und Chris Bruce (Meshell Ndgeocelo, Chris Connelly) die Ehre. Wurden Miss Kenichis erste zwei Alben "Collision Time" und "Fox" von Kritik und Publikum bereits sehr gelobt, so ist "The Trail" nochmals ein großer Sprung vorwärts: die wohl überlegte Arbeit einer souveränen Künstlerin, das Songwriting nuanciert und hypnotisch, die Arrangements vielschichtig. "The Trail" wird im November 2014 veröffentlicht und mit einer kurzen exklusiven Tour gefeiert werden. Zu Beginn des neuen Jahres wird Miss Kenichi ausgiebig in Deutschland und ganz Europa touren. Jetzt erhältlich als LP inklusive MP3-Download-Code!

Gagarin Kombinaatti Is Mika Vainio's earliest band project in Turku from early 80s. GK was influenced by industrial groups like Throbbing Cristle, Einsturzende Neubauten and Test Department.

The Dutch alternative rock band De Staat was formed by lead singer Torre Florim and started of as a one-man project. In 2007 the band recorded their first demo in the original formation. Debut album 'Wait for Evolution' was released in 2009 and brought the band the 3voor12 award for Best Album in 2009. In no time De Staat was asked to play at festivals such as Glastonbury, City to City, The Great Escape, Sziget and Lowlands. Follow-up 'Machinery' appeared in 2011 and for the latest album 'I_CON' Grammy Award winner Vance Powell was asked to co-produce the album. 'I_CON' was highly praised. It was rewarded with an Edison Award and single 'Devil's Blood' was 3FM Megahit. Album 'O' is the first album recorded & produced in the band's very own studio in their hometown Nijmegen that they've built in the old building of pop venue Doornroosje. This is the band's fourth album after one with Dutch indie Excelsior and two on Mascot. All three were Top 15 albums in Holland.

New album 'O' doesn't just represent the sound 'Oh', but also symbolises a circular movement, which is resembled in every aspect of the album. The new songs are repetitive; you could say they can go on forever.

Jimi Tenor has made an instrumental album "Mysterium Magnum" with the Finnish "national" Jazz Orchestra, UMO. UMO is a professional 16 piece orchestra. Specialized in jazz and contemporary rhythm music. Throughout it´s history UMO has had a focus on Finnish composers and has performed hundreds of compositions that were made especially for UMO. Jimi Tenor is a Finnish composer/performing artist maybe best known for his electronic music from the 90´s. This album is the first album that´s is composed entirely for a big band. In 2003 Jimi Tenor had his own big band and made a 6-week European tour, which included Montreux Jazz and North Sea Jazz Festivals. After 2003 Jimi Tenor has worked with an afrobeat group Kabukabu and made three albums with them: "Joystone" (2007, Sähkö), "4th Dimension" (2008, Sähkö) and "The Mystery of Aether" (2012, Kindred Spirits) In 2009 Jimi Tenor made an album with the afrobeat legend Tony Allen called "Information Inspiration" (2009, Strut) Mysterium Magnum was recorded at the rehearsal space of UMO, which is situated at the YLE studios in Helsinki. The music on "Mysterium Magnum" is not typical big band music.

First new 45 for the year for The GPS sees a welcome return to the label from the always great Dean Wareham (Galaxie 500 / Luna) and Britta Phillips.

A double A sided 7' which sees Britta covering Dylan's 'Don't Think Twice, It's Alright', (which precedes a full length solo album due in April this year on Double Feature Records. This is a recording from those sessions...)

The AA sees Dean and Britta covering 'Hey Paula', (a Number One hit from 1962 for Paul and Paula) and was produced by Papercuts' Jason Quever.

Cover art was done by Californian artist Brian Calvin and features an erotic painting resulting in an additional 'censoring' over sleeve so as not to offend curious youth. A limited numbered pressing of 400 ready mid to late January and sure to sell out in rapid fashion.

The songs were recorded live to tape with simple instrumentation: drums, bass, Wurlitzer
and 12-string acoustic guitar on almost every track. These come courtesy of the band
Icewater (Malcolm Perkins, Jonathan Rosen, Michael Rosen, Noah Hecht), with Dorian
DeAngelo contributing a handful of well-placed guitar solos. Producer Knieper (son of
Jurgen Knieper, the German composer whose credits include the score to Wim Wenders'
Wings of Desire) gives the album a classic sound, like something that's existed forever on a
record collector's shelf, wedged in with Dylan's New Morning and John Cale's Vintage
Violence.












For everything new about New View, it still fits comfortably in the continuity of
Friedberger's work. Songs like "Open Season" recall the Furnaces at their most magisterial.
The wry, plainspoken "Because I Asked You" builds on the style Friedberger first polished
on her solo debut Last Summer. And then there's "A Long Walk," the sun-striped finale
that lends a memorable afterglow to New View. She's never lacked confidence -- this is
someone who once took a fractured nine-minute ballad about the international blueberry
trade and put it across like it was "Thunder Road" -- but there's a new kind of confidence
on this record. It's a sweet, aching goodbye from an album that seems full of them.

Elenaor has planned a headline tour in February (solo) across Europe & and also later in
May (full band).

Liquid Liquid emerged from New York City's vibrant Downtown scene in 1981. Formed by drummer Scott Hartley, bassist Richard McGuire, vocalist Sal Principato and marimba player Dennis Young, the group cut their teeth in underground clubs and street art circles before solidifying their trailblazing style—a fusion of irresistible basslines, junkyard percussion and urgent, free-flowing lyrics. Their three EPs, all originally released on legendary 99 Records, would heavily influence dance-oriented indie rock of the early aughts (LCD Soundsystem, DFA Records et al.).

Their eponymous debut establishes Liquid Liquid's uncompromising vision, from its startling black-and-white sleeve design to the minimalist grooves found within. While Principato's striking pitch-shifted shouts on "Bell Head" lead hypnotic circular rhythms, "Rubbermiro" brings in dub-inflected melodica and Richard Edson (Sonic Youth, Konk) on trumpet, closing appropriately in a locked-groove.

After years of radio silence, 2016 finally sees the re-emergence of Bristol's mighty, cult instrumental sitar/psych combo Saddar Bazaar; as they release their long-awaited third studio album "Seventh Valley", on the esteemed Great Pop Supplement label.

'Seventh Valley' showcases the band's dynamically evolving, heavy sound orbiting around the sitar/guitar fusion of the Hyder brothers and driven by new drummer Thomas Elgie (Gonga). Recorded in Stokes Croft, Bristol by Latch Manghat (producer of Taint and The Heads) the album incorporates repetitive drones and riffs, dreamy blues-ragas and head-spinning psych-outs.

First emerging during the 1990s Saddar Bazaar secured their reputation as Britain's foremost purveyors of psychedelic sitar blues-rock with the release of two acclaimed albums (on the legendary Delerium label) 'The Conference of the Birds' - (described by Mojo as; 'a haunting hybrid of transcendental ragas and psyched-out slide guitar') - followed by 'Path of the Rose'.

Further exclusive recordings with post-rock underground labels Enraptured and Earworm (including a split album with Detroit's revered drone/space maestros Windy & Carl) reflected the band's inexorable drive for sonic experimentation.

Saddar Bazaar's immersive live performances have been developed by performing alongside artists such as Bevis Frond, Porcupine Tree, Gong, Silver Apples, Damo Suzuki and Dylan Carson. The band's ongoing sound experiments have generated stunning studio collaborations with the likes of Solitude Aeturnus, Bark Psychosis and Cathedral.

With the completion of their third studio album 'Seventh Valley', Saddar Bazaar have once again emerged, sitar in hand to transform the contemporary tapestry of psychedelic rock.

A beautiful record limited to 300 hand numbered pressings on sky blue wax with stickered front sleeve and insert and will sell out super quick so get on it!

Tarotplane is the solo project of PJ Dorsey from Baltimore MD USA. Over the last few years he has been gradually crafting his debut album, appropriately called First. The end result is a tremendous album etched on the great krautrock & experimental psychedelic records from the 70s. Vintage electronic sounds are mixed with effected guitar parts. It might sound quite familiar at first, but once you enter the heart of the album it all gets spectacularely exhilarating. The true power of this album is how it swirls around and captivates you without any effort.

Records such as Franco Battiato's Pollution, Bill Holt's Dreamies, Popol Vuh's Affenstunde and Deuter's D were strong influences. All of these artists use tape loops, environmental sounds, filtering and other effect processing in an exceptional way. Their desire to create their own distinct sonic world was the driving influence behind this LP. These artists never let the experimentation get in the way of creating something musical, beautiful and sonorous. First integrates those influences but it also has a more traditional psychedelic rock sound built into its sonic viewpoint.

PJ took all these diverse influences and blended them together in the most seamless way possible. Something akin to a mix tape. First is a continuous flow from the start to the end. The album was originally going to be called excursions, because he would walk for hours on Baltimore's waterfront listening to fragments of his playing, as well as samples from films and records to find a balance that worked. The ultimate goal was to make what some would call a head record. Something you could listen to on your own personal excursions that would have a sonic headspace that was distinctive and enjoyable.

Medline is a musician, producer and DJ from Rennes, France with roots in
Chile. Born Orlando Diaz Corvalan, Medline calls his music brown music - a
mix of afro, latin, funk and jazz with a hip-hop state of mind.

Surrender yourself into Naked Lights' dark and intense orbit!
From the first few seconds through to the end, On Nature
is intensely addictive and welcomely unpredictable. Shades
of post-punk, dub, even anarcho-punk are thrillingly blended
into wholly futuristic shapes that defy easy categorization.
The cross-talking guitars speak their own thorny language,
the atmosphere is wide-focus and carries a subtle
tang of danger, and it's topped off with unique vocals that
are as in-your-face as they are intriguing and foreign.
An altogether refreshingly vital listen, Naked Lights' On
Nature comes courtesy of Castle Face Records.

TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

Limited deluxe pressing on 2x transparent red vinyl
TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

Get ready for another shipload of fresh musical discoveries gathered by the renowned French imprint : the 17th issue of Kitsuné Maison lands October 23rd ! And as ever it's filled with the quirkiest pop you'll find this side of good taste. The World Wild Issue introduces you to the global cream of the moment: USA, UK, Australia, Brazil, Germany, France... 17 tracks courtesy of an exciting selection of gifted agitators combining immaculate choruses to a certain attitude: youthful, finger on the pulse, oftentimes edgy. World Wild It's not so much a sound than a vibe, an organic sensation that could be from anywhere. In a constantly evolving world, where digital reigns supreme, nature - wild and universal - brings us back to our roots and a certain authenticity. It's also about us Westerners embracing the rhythms and moods of other cultures and yet again pushing the envelope of creativity. Yes, the jungle is where the party's at!

Never keen on rehashing the same old, Kitsuné is forever morphing. More than ever, the Parisian imprint is geared at the future and moving on with the times helping giving birth to new musical directions, groundbreaking sound innovations, always tied to killermelodies - a constant on Kitsuné.  Rather feminine, at times introspective, often glorious, this latest chapter is also probably groovier than previous installments, digging deep in soulful territories. Make no mistake though, guitars are still loved - indie pop remains tattooed on Kitsuné's heart. It is character and personality, which above all prevail on the little fox's label

The Best of the B-52's: Dance This Mess Around is an excellent summation of the group's late-'70s/early-'80s heyday, featuring such staples as 'Wig', 'Give Me Back My Man', 'Song For A Future Generation', '52 Girls', 'Private Idaho', 'Strobe Light', 'Devil in My Car', 'Planet Claire' and 'Rock Lobster'.

It is arguably the best compilation of the group's work. Dance This Mess Around is a first-rate survey of the band's best (and most groundbreaking) years.

Seth Troxler continues to shed light on the frontiers of his musical interest and offers up the next record on Soft Touch - his imprint specialising in the more celestial strains of Indie, Rock, Electronica and everything in between.

Following releases from Lovecall and Clarian - this third instalment comes from a fresh nomadic trio: AOU who align their esoteric set up and a wide range of influences to present their 'Gordo Laika' EP.

Initially Brought together via a love of the culture surrounding skateboarding, and with one foot on each side of the English Channel, AOU combines the vocal aptitude of Guy Stevenson, multi-instrumentalIST flair and the production knowledge of William Moreau and Quentin Sarda.

Listing influences as polaric as Air and Joy Division and with a creative attitude anchored in a love of travel and exploration, AOU produce music that gives a nod to their inspirations in the creation of something entirely new.

With Futureboogie's Christophe bridging the gap between label and artist, an apt pairing is formed and, with the release of 'Gordo Laika', we get an enlivening insight into an auspicious new musical collective as well as the further strengthening of Soft Touch's evolving catalogue

Working for a Nuclear Free City have never been too concerned with genre. Since their debut release almost a decade ago they have danced around the constraints of genre, eschewing predictability and expectation in the process by creating a body of work dictated by invention and momentum.

Their latest release is no exception although, like much of their previous work, whilst it is difficult to pinpoint it is not lacking in stylistic coherence, 'When putting the record together I was trying make something cohesive in some way.' Says one of the group's founding members, Phil Kay.

The end result is an expansive, pop-tinged, experimental album that can be as propulsive as it can be restrained, bringing to mind artists as diverse and brilliant as Beck and Brian Eno to the Super Furry Animals.

The situations and inspiration around the record have been rather hodgepodge, 'I listen to the radio most of the time, stations that play pretty diverse things, or I put things on shuffle a lot - mainly just trying to take the decision making process out of what I choose to listen too' Kay says, whilst also stating that the environments in which the record were created were just as all over the place, 'I move around a lot so all the tracks are from different areas. Some from back in Manchester, a few from here in London, a couple I recorded in LA up in the Hollywood hills in Jennifer Anniston's old apartment.' This geographically vast record was also done over a period of time too, making it a continent-spanning record that has had years' worth of thoughts and ideas funnelled into it, 'It was recorded over such a long period of time that each track has its own distinct memories for me.' Kay says of the process.

The title of the album What Do People Do All Day Has a dual meaning, as Kay points out, 'I was writing a kids book at the time so had loads of Richard Scarry books lying around. I think we hit on the title as it of course reminds you of Scarry and puts you in that playful territory but the second meaning of it is about the mundanity and futility of life, so there's that juxtaposition. It was supposed to be this loose concept album about peoples lives or various snapshots of people lives. The songs also all seem to relate to these imagined characters and their lives - perhaps a days in their lives'

As a result the songs vary enormously and when discussing what some of the individual tracks are about, Kay paints a picture of a little universe of strange tales and stories, one song is about 'Media and politics and bullshit and living in a city and everyone wired up and concrete and adverts and too much noise' whilst others are about: 'A girl who dreams of killing her boss, quitting her mundane job and living in a magazine'; 'The heir to Blackpool Pleasure Beach who turns it into a Vegas-style resort, makes millions, moves to Venice beach and turns it into Blackpool' and 'Teenagers getting stoned in a park in suburbia and discovering a secret portal'. As illustrated by these unique and vast narrative situations, it's an album with huge scope and one that has set out to be as lyrically ambitious as it is sonically.

Flipside Amnesty International Report is a similarly audacious dispatch in which the torture of Irish prisoners by the British Army is directly quoted from Amnesty literature.
A timeless nerve-obliterating insurrection, We Are All Prostitutes was released in 1979 to a climate of political unrest. On hearing it for the first time Nick Cave commented, It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever.' It was everything that I thought rock & roll should have...it was violent, paranoid music for a violent, paranoid time.'

A great demonstration of We Are All Prostitutes' enduring relevance was its recent pick for The Washington Post's 'Week In A Song' feature when bribery and corruption were hot topics of the week.

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

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

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

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

New single 'The Dying Of The Light' is taken from the album 'Chasing Yesterday' and released on December 11th. It includes B side 'The Girl With X-Ray Eyes (Demo)'.

'Chasing Yesterday' went straight to Number One in the Official UK Album Chart after its March 2nd release - and remains the highest selling album in its first week on sale in 2015.

Noel Gallagher's High Flying Birds were recently honoured with the reader voted Q Award for Best Album ... adding to Noel's long list of accolades including the Ivor Novello Award for Outstanding Song Collection in 2013, the NME Godlike Genius Award in 2012 and the Q Icon Award.

Following their first release on Darla, Eternal Horse is the ninth album of the Icelandic ambient rock band Stafraenn Hakon. On Eternal Horse, Stafraenn Hakon move away from the DIY experimental drony ambient and the lo-fi indie-rock sounds of their last albums, Prammi and Kælir Varðhund, and revisit the sound-spectrum of their previous Darla album, Sanitas (2010). Eternal Horse contains nine pop-oriented and vocally driven melodies. The album builds on certain elements heard on Gummi (2007) and Sanitas (2010), filled with soft and floating guitars mixed with heavier guitar sounds, layers of acoustic instruments and vocals. Vocals and lyrics on the album are in the hands of Magnús Freyr Gíslason and At The Close Of Everyday frontman, Minco Eggersman, who again collaborates with the band, providing his deep and soothing vocals to three songs on the album. As heard on the opening track Bræla, Stafrænn Hakon combines heavy sonic pallette of guitars mixed with airy melodic vocals. On Frigid/Bag a familiar tone is presented, heard on his highly acclaimed album from Ventill/Poki (2004). The journey continues with poppier elements and almost doomy sounds of the composition "Rene Russo". The band´s current line up consists of guitarists Ólafur Josephsson and Larus Siguðsson, bass guitarist Árni Þór Árnason, drummer Róbert Mar Runólfsson and singer Magnús Freyr Gíslason. Eternal Horse is the first Stafrænn Hakon album featuring the whole band collaborating on the songs in their studio, making the compositions more organic and fuller. Longtime and now previous member of the band, Samuel White contributes two songs. Recorded at Vogor Studios between 2011-2015. All songs by Stafrænn Hakon. Mixed by Daniel Lovegrove. Mastered by Finnur Hakonarson.Produced by Ólafur Josephsson and Daniel Lovegrove. Stafrænn Hakon: Árni Þór Árnason: Bass guitar Larus Sigurðsson: Electric Guitar, Acoustic instruments.. Magnús Freyr Gíslason: Vocals on Bræla, Kaos, Sót and Rene Russoi. backup vocals on Burning at both ends, I´m the beholder and Light. Ólafur Josephsson: Electric Guitars, Acoustic Guitar, Pianos, Organ, programming, percussion Róbert Runólfsson: Drums With.. Samuel White: Electric Guitar on Light and Falkor Minco Eggersman: Vocals on Burning at both ends, I´m the beholder and Light Additional Musicians: Frank Aarnink: Vibraphone Nói Steinn Einarsson: Drums on Falkor Tumi Árnason: saxaphone Þórður Hermannsson: Cello Þröstur Sigurðsson: Trombone Fredrik Robertsson Boulter: Additional piano on Burning at both ends Artwork by Árni Þór Árnason

Go March are an instrumental group based in Antwerp, Belgium and consist of Philipp Weies (guitars), Hans De Prins (synthesizers) and Antoni Foscez (drums). It is a new project born out of jam sessions that have resulted in their self-titled debut album, Go March, an electronic, Germanic-infused, post-rock screamer that is a sort of Mogwai meets Kraftwerk synthesis yet with all the futuristic propulsions of a new, fresh and hungry band making music not just for 2015 but for beyond. That said, while the group have landed on this irresistible blend of electronics, rock and more ambient passages, on Go March the initial conceptions for the record varied somewhat "My initial ideas for a possible sound were actually based around bands like Boris or Lightning Bolt, but the moments when we just improvised were simply far more interesting." Says Weies of the groups early evolutionary period. "When I first showed our demos to a friend of mine he said it reminded him of something between Trans Am and Maserati. My reply was: "Wow, we need to check them out!"

Whilst the group state that "It's quite difficult to pinpoint where inspiration actually comes from" Weies does concede that one particular inspiration holds especially strong for him, "I am vastly inspired by the movies of David Lynch, especially Lost Highway and even more specifically the sequence where a car is driving through the dark and all you see are the median strips passing by. The image has this distinct tunnel vision-feel to it that I am often looking for when making music." The beauty in repetition and hurtling down a pitch-black highway at midnight is an idea that runs through the record. "The first time I played demo versions of our tunes for somebody was in a car when we drove home around dusk. I can be a bit insecure about showing people what I do, but that situation seemed about perfect. I can totally dig a perfect 3:22" pop song, but I always had a weakness for seemingly endless repetition, mainly because it can put you in that state of trance. At a certain point you just get sucked in there and lose yourself completely"

Repetition, groove and minimalism are words that might spring to mind when describing Go March, but that's not to say the album is singular in it's vision. While the impact of Germanic proto-techno bands is a clear influence on the group, the freedom of contemporary electronic music, math rock and modern classical are all audible in the grooves of the album. "Personally I am diving into electronic music for some time now, which definitely had a big influence on how I produced the record" says Phillip ; "We didn't go for acoustically well sounding instruments. It was more important that every bit within a song served the other. And we took care that we didn't add more elements than necessary. It's something I'm looking for and I often find that kind of approach in electronic music (yes, I know there's a gazillion genres hidden in that term...) You often encounter more freedom there, especially in the way they process instruments.

Freedom from "gear heads", genre tropes and pre-conceived musical ideas is a rare thing, and Go March have managed to create a body of work through gut-instinct, intuition and feeling allowing the music to develop naturally to them. From debut single "Rise" which stretches a post-rock groove over the five minute mark, to 'Slow Horse' and 'White Lodge' which are smothered in glacial keys, synthesised throbs and shuffling poly-rhythms, Go March is a record that defies expectations and challenges the listener in equal measure. "The record obviously doesn't file under "summer hits of 2015" jokes Philipp, 'But even though the word "dark" slipped through my mind quite some times, I don't think it covers the intentions and how the album turned out to be. What we are looking for is more of an undistinct feeling somewhere in between melancholy and hopefulness", and you won't find that on a Now 54 compilation.

Beautiful Cover Versions Vol.II is a charmingly positive album, an antidote to weariness with tasteful samples. Will definitely be one of your favourites all day through everywhere; at home, at a café, in the car, while lounging, eating, partying... Just get the good vibes!

CD: 1
01. Youn Sun Nah - Avec Le Temps
02. Lisa Dillan & Asbjørn Lerheim - Love Me Tender (Ulf Holand & Quite Quiet Project)
03. Natalia Mateo - Take A Walk On The Wild Side
04. Heiko - Let's Stay Together
05. Pimpi Arroyo - I Can't Get No Satisfaction
06. The Bamboos - The Wilhelm Scream feat. Megan Washington
07. Pink Turtle - Breath You Take
08. Alaa Wardi - Aicha
09. Ahmad A. El Haggar - Rude
10. Nicolas Menheim - Commandante Ché Guevara
11. Blondie - The Tide Is High
12. Quantic & Anita Tijoux - Doo Wop (That Thing)
13. Busy Signal - Sweet Love (Night Shift)
14. Bosla - Somebody That I Used To Know (Bosla Arabic Cover)
15. Laurel Aitken - Perfidia
16. Antwerp Gipsyska Orkestra - Misirlou
17. Polkaholix - I Was Made For Lovin' You
CD: 2
01. Olivia Ruiz - My Baby Just Cares For Me
02. Dhany - Smooth Operator
03. Melania - Tu Vo' Fa' L'Americano
04. Ximena Herrera - La Vie En Rose
05. Imelda May - I'm Lookin' For Someone To Love (Album Version)
06. Marquess - El Porompompero
07. Skeewiff - Nitty Gritty
08. Smoove & Turrell - It's The Falling In Love
09. Zed Bias - Fairplay feat. Jenna G.
10. Dufunk feat. F.O.N. - Papa Was A Rolling Stone (Radio Edit
11. Fingathing - I Feel Love feat. Jesca Hoop
12. Santi & Tugçe Kurtis - Üsküdar (Original Mix)
13. Violina - Hava Nagila
14. Moon's Chameleon - Running Up That Hill
15. Raffunk feat. Gushi - Riders On The Storm
16. Belleruche - Mirror In The Bathroom
17. Nacho Sotomayor - Streets of Philadelphia (In love Mix/Francisco Sotomayor)
18. Gushi & Raffunk - Yellow (Original Mix)

Silver-tongued songsmith and true American treasure Kelley Stoltz presents a new collection of instant classics with just a hint more synthery than 2013's Double Exposure.

For those not yet in the fan club, Kelley's like a Ray Davies / Brian Wilson / Tom Petty power pop Cerebus from another dimension where well placed tambourines, handclaps, and wry observations are a universal language. Criminally under-appreciated, Kelley's face should be on Amoeba-bucks for his contributions to the pop canon—the black-lipstick-smeared stand-out and lead-off track 'Cut Me Baby' could be his walk-on music for the acceptance speech.

Each track here leaps off the table with Kelley's carefully considered wit and expertly layered arrangements. His innate way around a sticky hook and no shortage of tasty studio flourishes will bring out the listener's inner record nerd, guaranteed. It's got a little glam in it and it's out on Castle Face.

180g Vinyl Edition

Here we have a ONE OFF pressing of this classic album in SILVER GREY vinyl

Limited to 250 copies in UK, 1500 made - NUMBERED!!

IN STOCK NOW - ORDER NOW!!

Die drei Bigstyler sind zurück, um mit ihrem programmatischen Meisterwerk WELCOME TO THE INTERNET abermals die Tür zur Zukunft einzutreten. Wer glaubt, drei Elektro-Opas auf der
Wiederholspur zu erleben, bekommt von den Techno-Pionieren die rote Karte gezeigt. Schluss mit verlogener Zurückhaltung: HERE COMES THE REAL SHIT! Mit diesem Opus Maximus vereint FRAKTUS endgültig die Akzeptanz der Opinionleader mit der Kompatibilität am Massenmarkt. Heißt:
FRAKTUS gehen endgültig durch die Decke! Dickie Starshine (ehemalig Schubert), Bernd - Bernd' Wand und Torsten Bage (sprich Bäätsch), deren - Köpfe den gleichen Innenarchitekten' (O-Ton Wand) haben, beweisen mit ihrem Mach3-Kraftwerk, dass sie alles andere sind als ein Freak Accident, ein psychotischer Farbtupfer im globalen Musik-Schrott. Technisch auf Pole-Position, ausgerüstet mit den modernsten Tools, Apps und Gadgets, buchstabieren sie mit diesem Masterpiece die Zukunft der Musikgeschichte. Wie immer haben sie sich nichts geschenkt.

Snowflake 9 features two songs by Juniore, from Paris, France. Juniore is the brainchild of Anna Jean, a singer who lent her voice to songs of Parisian electro acts like Jackson, Jérôme ''Tacteel' Echenoz and Bot'Ox. Juniore, in which Anna Jean is joined by four other female musicians, is something competely different: surf, psychedelica, french female sixties pop and space age music are all blended together by producer Samy Osta (Rover, La Femme, Louis Chedid), while Anna Jean sings stories about being sleep deprived, restless or falling out of love. Anna's mysterious voice is reminiscent of 60s muses, think Nico meets Françoise Hardy. Juniore released three singles so far, and their Snowflakes Christmas Singles Club single is the fourth.

For their Christmas single, they have composed a reverb drenched dreamy original about the Christmas season. On the B-side, the band gave one of the biggest Christmas hits ever, Mariah Carey's 'All I Want For Christmas Is You' a total makeover- it now sounds like a psychedelic pop song from the sixties, sung Françoise Hardy in the small wee hours of the night. The single comes on snow white vinyl and is limited to 350 copies.

Revered by the music press and respected by his peers for his work as sound designer at the Pompidou Centre, Pierre Lefeuvre - the Parisian producer better know as Saycet - doesn't seem to have quenched his thirst for bright, dreamy, cleverly constructed melodies. Indeed, the extended version of Mirage is positive proof of his continued curiosity and creativity. Firstly, because it oscillates between abstract and orchestrated, animated tracks such as 'Météores' and 'Half Awake', one of the EP's high points recorded with Yan Wagner and Phoene Somsavath, now sporting its own music video. Secondly, because this new version - finally available on vinyl - contains a track from the Volcano EP ('True Love (Part.3)') and two new tracks taken from the Mirage B.Side EP, released on 16th October - the gentle 'Cherries & Memories' and a new acoustic version of 'Mirages' with vocals from Juliette Armanet, whose recent signing byUniversal and support tours for French pop deities (Sébastien Tellier, Brigitte, Julien Doré...) leave little doubt regarding her talents of seduction. All of which announces a host of exciting new directions for Saycet's music.