Pop & Rock Новости

This fifth record, On/Off, Bachar wanted to record it in his native Lebanon. More precisely in the main room of his family house, a stone house standing alone in the mountains north of Beirut.

In this big room there is all that’s needed: a piano, a chimney, the stove and some rare instruments who have been sleeping there for years, serving as decorations. For two whole weeks, Bachar welcomes, shapes and celebrates the urgency of creation. The recording takes place in decembre 2019, it’s rhythm follows that of the popular uprising which is shaking Lebanon since october.

In his own way, Bachar contributes to it - emotion is raw, his music is stripped down, just liked his country.

In the house, electricity goes on & off twice, a day. During the night, hostile and freezing, hyenas are heard; during the day, the birds whistle with serenity, and the light of day shines through the windows, each day slightly differently…

This constant duality becomes a source of inspiration for Bachar, obsessed as he is by this rustic environment which exacerbates the senses.

The record has 11 tracks, all written on the spot, as well as a duo recorded in 2017 with the french singer Christophe -Jnoun (unreleased up to now).

Three Queens in Mourning first gathered in summit to sing celebration
of the publication of Will Oldham’s book of collected lyrics, Songs of Love and Horror. Alasdair Roberts (Appendix Out), Jill O' Sullivan
(Jill Lorean), and Alex Neilson (Trembling Bells, Alex Rex) each arrived provisioned with a small armful of selections nearest and
dearest from Bonnie Prince Oldham’s far-reaching catalogue. Three Queens in Mourning’s takes on these tunes follow naturally from
the fit between Will’s words and their threedistinctive voices. Alasdair Roberts’ sweet, guileless delivery of “Christmas Time in the
Mountains” amplifiesthe lacerating quality of the lyric “we need an enemy / I’m saving all my rage for you”; even if at the outset of the
song we’re told that “time is the enemy,” the abiding sentiment—the red-hot word that organizes my memory of the song—is rage. Ali’s
and Jill’s trading of verses on “New Partner” puts a different spin on what had previously registered as an especially mercurial firstperson narrative voice, one that swoops between tenderness (“lay back, rest your head on my thighs”) and ecstatic self-absorption
(breaking it to the ex to whom the song is addressed that “I’ve got a new partner riding with me”). Add Alex’s voice, not only for his
madcap “Lost Blues,” but as part of the choir on “Ohio River Boat Song” (a song with origins in the traditional “Loch Tay Boat Song”),
and these three Scottish accents singing about the muddy Ohio, Smoketown, Oldham County, and Floyds Knobs, I mean, there’s not
much else this Kentuckian—these are all deeply familiar landmarks—can say. Type through tears. On this back to back records, The
Bonnie 'Prince' Billy LP is a collection of three cover versions from Ali, Jill and Alex directory and one original track. Three Queens in
Mourning / Bonnie 'Prince' Billy is a collaboration between Will Oldham (Bonnie Prince Billy), Alasdair Roberts (Appendix out / Drag
City), Jill O Sullivan (Jill Lorean) and Alex Neilson (Trembling Bells, Alex Rex) Sleeve notes by David Grubbs Three Queen in
Mourning / Bonnie Prince Billy (Will Oldham/Palace/BPB covers)

Für Peter markiert Blackberry nach fünf Jahren das erste Studioalbum, auf dem er wieder als Sänger zu hören ist; zuletzt hatte er das Gesangsalbum Colours Of The Night im Jahr 2015 vorgelegt. Die neue Platte hat er im Sommer 2019 komplett im eigenen Schlafzimmer in London aufgenommen - weshalb er es selbst als "experimentellen Schlafzimmer-Folk-Pop" beschreibt. Während der 33-Jährige sämtliche Instrumente selbst eingespielt hat, bekommt er einzig auf dem Abschlusstitel Wild Food Unterstützung, wenn sich Peter das Mikrofon mit seiner Frau, der Sängerin Brigid Mae Power, und seinem Stiefsohn Seán Power teilt. Die inhaltliche Palette von Blackberry ist breit gefächert. Unter anderem befasst er sich mit dem Thema Familie, mit den Bindungen, die wir als soziale Wesen alle brauchen. Ein weiteres Thema ist die Technik, verbunden mit der Frage, ob sich der Fortschritt als Segen oder aber als Verhängnis entpuppen wird. Und natürlich schreibt Peter auch über die Natur: Über das Sammeln und die Suche nach Essbarem, darüber, wie wichtig es ist, eine Verbindung zur Außenwelt herzustellen, gleichermaßen in den Städten wie auf dem Land. Angezogen von der spektakulären Natur Irlands, ist Peter mit seiner Familie erst kürzlich ins County Galway zurückgekehrt, wo sie vor dem 2019 erfolgten Umzug nach London bereits gelebt hatten. Am bekanntesten ist Peter Broderick vielleicht als Live-Mitglied von Efterklang, da er von 2007 bis 2013 regelmäßig mit der dänischen Band auf Tour war. Außerdem hat er sich jahrelang intensiv mit den Archiven von Arthur Russell befasst und brachte in seiner Rolle als Restaurator, Editor und Mixing-Spezialist das letzte postum veröffentlichte Werk der US-Ikone auf den Weg. Dabei hat Broderick auch als Solomusiker mehr als 20 Alben in den letzten 13 Jahren veröffentlicht und zudem die Musik für diverse Film- und Tanzproduktionen komponiert; zuletzt erschien sein Soundtrack zum vielfach preisgekrönten Animationsfilm Two Balloons. Anstatt seine Kreativität zu zügeln und sich auf ein einziges Genre festzulegen, hat Peter in seinem bisherigen Werk alles von Gospel und Soul über Spoken Word und Beatboxen bis hin zu Folk, Rock und Klassik einbezogen. Seine Experimentierfreudigkeit ist hingegen eine Konstante, wie auch seine bedingungslose Offenheit für Kollaborationen mit Gleichgesinnten wie u.a. Nils Frahm. Erst Anfang 2020 wirkte er beispielsweise in der Band von Tim Burgess (The Charlatans) mit, auf dessen aktuellem Hit-Album Broderick als Geiger zu hören ist. Die allererste Zeile von Blackberry lautet "You can only be as happy as the world that you live in..." - man kann nur so glücklich sein, wie die Welt es ist, in der man lebt. Ein Gedanke, mit dem sich angesichts von drohender Klimakrise, globaler Pandemie und Lockdown sowie der Ungewissheit darüber, wie sich diese moderne Welt weiterentwickeln wird, sicher viele identifizieren können. Indem jedoch Musiker*innen wie Peter Broderick einen Soundtrack zu diesen turbulenten Zeiten vorlegen, geben sie uns zugleich eine Rettungsleine an die Hand, präsentieren eine neue Sicht auf diese Welt, in der durchaus auch Hoffnungsschimmer und das Staunen ihren Platz haben.

Beat Tape 1 marks Tom Misch's first official release of his instrumental beats, which combine elements of jazz, soul and grooves all heavily inspired by Toms love for J Dilla. Composed, Performed and Mixed by Tom Misch.
Spanning over 19 tracks, the mixtape also includes a brand new, never heard track before 'Marrakech'.

With an acclaimed debut album “Geography”, stratospheric streaming figures, sold out shows across the globe, collaborations with the likes of De La Soul, Loyle Carner, GoldLink and Novelist and support from John Mayer, Eric Clapton, John Legend and Elton John, Tom Misch has quietly but rapidly become one of the most celebrated artists of the last decade.
He takes it back to where it all began with the long awaited release of “Beat Tape 1”. First released on Soundcloud and Bandcamp in 2014, “Beat Tape 1” was an early showcase of Misch’s singular skills. Now featuring the previously unheard “Marrakech” , this collection of low-lit instrumentals perfectly weaves elements of jazz, soul and hip hop, composed, performed, mixed and mastered by the polymath himself. Taking inspiration from one of Misch’s key influences, J Dilla, it is an exquisite collection.
With a joint album with drummer, producer and jazz innovator Yussef Dayes set for 2020, Misch’s musical artistry and restless experimentalism will undoubtedly continue to push the boundaries of writing and production in unexpected and enthralling ways.

Schwarze 180G Vinyl mit bedruckter Innenhülle und Downloadkarte

Yellow Vinyl

Der jüngste Teil der Magnetic Eye’s Redux Series ist einem
der Meilensteine der Grunge-Ära gewidmet: Eine Reihe von
Künstlern aus dem Doom- und Stoner-Underground
interpretieren Alice in Chains’ Dirt neu, einen vertonten
Alptraum über Drogenabhängigkeit und innere Finsternis.
Ähnlichkeiten zwischen Grunge und der Entwicklung des
Stoner Sludge Metal lassen sich besonders deutlich auf diesen
Meilenstein zurückführen, der den kulturellen Wandel vom
geistlosen Hair Metal zu roherem, dreckigerem und
authentischerem Stoff in den frühen 1990ern endgültig
machte, woraus dann der vorherrschende Stil populärer
harter Musik wurde.
Dirt Redux bietet den gesamten Albumklassiker von Anfang
bis Ende in Form von Coverversionen und Überarbeitungen
durch Szene-Schwergewichte und Aufsteiger wie Khemmis,
Thou, -(16)-, Howling Giant, Forming The Void, The Otolith
(ex-SubRosa) und weiteren.

12′’ Maxi SP with original exclusive artwork by artist Paul Shipper, for the 40th anniversary of the motion pictures Mystery Men, directed by Kinka Usher, starring Ben Stiller, Hank Hazaria, William H Macy, Paul Reubens and Geoffrey Rush. A true collector’s item for any fan of this cult film, which saw a new generation of comedians led by Ben Stiller take the power over Hollywood, and which way ahead of its time invented the super heroic comedy genre, years before Guardians of the Galaxy or Shazam. This Maxi SP features the original song All Star by Smash Mouth. The song was used for the first time ever for Mystery Men original soundtrack. The song would soon after become a worldwide hit (and later an internet meme) when featuring to the movie Shrek Vital Sales Points: Artist Paul Shipper has become a pillar of the revival of the painted artworks in the movie industry, after decades of photoshop excesses. He has created prestigious posters for Steven Spielberg’s Ready Player One, Marvel’s Avengers Infinity War, Disney’s Star Wars The Rise of Skywalker. Includes a printed inner sleeve. Pressed at only 500 copies

Das Debutalbum endlich wieder als LP Version erhältlich!

Anniversary LP with personilized Sleeves.
Double LP CRAZY FANTASTIC passionate musicians strike...

SUPERB

Following highly praised releases by Hermeto Pascoal & Grupo, Leonardo Marques, Xenia Franca and Moons, 180g and the legendary Disk Union continue to explore the best of today's Brazilian music scene with this wonderful psychedelic and funky pop album by Rio de Janeiro's Gus Levy: Magia Magia.


The mystical universe of Magia Magia reflects influences from the samba rock of Jorge Ben, the romantic grooves of Djavan and the psychedelic pop of Connan Mockasin and Negro Léo. The lyrics and sensations suggest a new way of seeing the reality of the world and relationships: union, spirituality, magic, complicity, happiness, courage, love, fraternity, dilemmas and contradictions lead the poetical subject of Magia Magia. Inspired by a conception of the universe ruled by feminine entities, Gus Levy brings with Magia Magia a masterpiece of modern Brazilian psychedelic and funky pop, with exquisite artwork by Fernanda Varella.

A composer and multi-instrumentalist from Rio de Janeiro, Brazil, Gus Levy has been gaining more and more attention on the Brazilian music scene during the last few years. He is also a producer at Rio de Janeiro's Estúdio Carolina studios, a member of the band "Os Dentes" for more than 10 years, and the guitarist of choice for artists like Antonio Neves, Filipe Marones and João Werneck.

DROOL has been making austere and confrontational art rock since 2016.

Core members Hersh D. Chabra and Ben Leach have strong roots in Chicago’s DIY community, playing in bands like Lala Lala, Labor, and Pisces at the Animal Fair.

But the pair view the band as more of an ever evolving art project than a conventional punk band, maintaining an open door for collaborators and constantly experimenting with their live performances.

Their new full-length record DROOL II features the band as two-piece of Chabra’s saturated, deep guitars and Leach’s hulking and cathartic drumming. From the loping opener “Canary” to the tender, orchestral art-rock climax of “Shoes”, the duo uses their limited sonic palette to create a dynamic collection of songs.

Trading lead vocals, both members use delicate poetic imagery in contrast to their dissonant and contorted music, often dealing with leftist-skewed themes of introspection, authority, bigotry, and dehumanization. DROOL’s influences are as unique as their sound, taking inspiration from early aughts Providence noise rock, contemporary DEVOtional bands, and the “Jam Econo” ethos of The Minutemen. DROOL is as unique as they are powerful in both their composition and their live performance, constantly trying to undermine rock norms and go beyond conventions of what it means to be a band today.

St. Louis’ very own Glued has been playing angular, dissonant prog-punk since the winter of 2015. At the core of their songs is a parade of rueful hours; an uncertain and acrid nostalgic overload led by interweaving guitar lines mutating and changing direction just as they settle in.

Cool Evil repeatedly finds ways to shift gears from dynamic, melodic verses to expansive
tunnels of four-piece instrumental conversation, revealing a fascinating chemistry few bands will ever approach. Drummer Chelsi Webster shares vocal duties with guitarist Sean Ballard, the former taking the majority of the songs on Cool Evil. On the opening track, “Used To It”, Webster sets the emotional tone of the album, a resilient disgust battling an inescapable disillusionment: “Breathing well is a dying form of art / Getting well is a dying art / Sleeping well is a dire form of art / Living well is a dead and a dying art / And I should get used to it.” The immediacy of “Used To It” finds common ground in modern post-punk (Nots, Marbled Eye, Negative Scanner), where leggier songs “Beach Boys”, “Fish Song”, and penultimate track “Grounded By Pavement” recall hyper avant-punk (Deerhoof, Lithics, Polvo).

Recorded at Roseraft by Philip Lesicko (The Funs, Swear Beam) and mastered by Dave Vettraino, these sessions abandon the reverb of the group’s previous releases in favor of a drier, restrained, and more immediate sound. Their debut LP, Cool Evil is a captivating snapshot of a band fully realized, somehow, without losing the risk and curiosity of the first practice space demos. The band describes it as “30 minutes of pulsating mid tempo eighth notes to lobotomize your soft and supple brain, and perhaps help fill the void where a soul might reside.”

"Bcos U Will Never B Free" ist das Debütalbum von Singer-Songwriter und Multiinstrumentalist Rex Orange County. Geschrieben und aufgenommen in In seinem Schlafzimmer im Alter von 16 Jahren, erregte es viel Aufmerksamkeit als es im September 2015 auf seiner Bandcamp-Seite veröffentlicht wurde. Die Lo-Fi Texturen und Hi-Def Emotionen führten zu einer Zusammenarbeit mit Tyler The Creator, welcher den Teenager, der als Alex O'Connor geboren wurde, nach Los Angeles einlud. Dort schrieben die beiden dann zwei Songs für Tylers Album "Flower Boy". Rex veröffentlichte seitdem zwei Studioalben, in 2017 "Apricot Princess" und "Pony" in 2019. Zum fünfjährigen Jubiläum von "Bcos U Will Never B Free" erscheint das Erstlingswerk jetzt erstmalig auf Vinyl!

If you could recreate a time before you experienced the most extreme grief of your life, would you do it? For Rituals of Mine’s Terra Lopez, she did just that. With her latest album HYPE NOSTALGIA – her first as a solo artist – Lopez wanted to create a soundscape from a pre-loss perspective, revealing how the darkness she experienced was just microcosms of her being.
 
HYPE NOSTALGIA reckons with the emotional rollercoaster Lopez has been riding the past few years, and reimagines it. In 2015, Lopez lost her father to suicide and six months later her best friend passed away in a water accident. “Those two events within that six month-period, forever changed me, and I'm only now starting to feel like I've processed it after all these years,” Lopez says.
 
The same week her father died, she went on tour, and the same week that her friend died, Lopez signed to a major label, immediately working on new music. She never slowed down and neither did her emotions. Lopez went from being a high-functioning depressed person to encountering the most crippling mental health experience of her life.

Art had always been her outlet, but it was no longer a coping mechanism that worked. Trauma had taken away her voice, leaving Lopez unable to sing for a year. It wasn’t until 2018 when she decided to go to therapy and began taking medication for the first time that she could process the trauma she had experienced, not only in the recent years, but intergenerational trauma she discovered in eye movement desensitization and reprocessing (EMDR).

Sure, there are heavy elements to the record: dark synths, future R&B undertones, propulsive bass and moody lyrics, but the softness of Lopez’s vocals elicits a quiet confidence. On the self-assured lead single “Come Around Me,” the most straightforward song Lopez has ever written, she confronts being taken advantage of as a gay woman of color in the music industry. “None of this fake shit when you come around me,” she sings breathlessly. Lopez enlists musician Kristina Esfandiari (King Woman, Nghtcrwlr), to tackle the same subject on the anthemic “Free Throw,” meditating on the fake support that comes from their male counterparts in the music industry.

Stuck is a post-punk band for people who think the genre is predictable. On their debut album the Chicago quartet strive for musical dissonance and lyrical vulnerability, a combination that’s deeply cathartic for the band and for listeners alike.

Equal parts atonal and contagious, Change Is Bad is caught in a cycle of time, grief, and transition, and Stuck are hitting the walls trying to stop it from spiraling out of control. To confront it, the band drew from a wide range of influences—Omni, Shellac, Landowner, video game glitches, speedrunning, and sci-fi book series Three Body Problems—that aren’t just namechecks. They’re influences you can actually hear in the music.

Interweaving guitars on “Plank II” move gracefully despite their sharp edges. “Bells” barrels through machine gun drumming that never ceases fire. Wiry guitars duel for the spotlight on “Wrong Question” like they’re fighting for their lives. There’s a momentum and insight to it all that keeps you invested until the very end.

The Man Who: The Man Who sounds as fresh today as it did then. One of the most successful British albums of the last 20 years, it spawned the timeless singles, “Writing to Reach You,” “Driftwood,” “Turn,” and possibly the band’s most iconic song, “Why Does It Always Rain on Me?” Produced by Nigel Godrich (Radiohead, U2, Pavement), The Man Who spent an astonishing 11 weeks at Number One in the UK, going on to sell 3.5 million copies worldwide. Critical recognition quickly followed including Ivor Novello Awards for Best Songwriter and Best Contemporary Song for “Why Does It Always Rain on Me?” and BRIT Awards for Best British Band and Best British Album. Travis would spend the next 18 months on a 237-date world tour. The deluxe box set features 2-LPs, 2-CDs and a 58-page commemorative photobook, and includes 19 B-sides hand selected by the band themselves.

Presented by Mitsuko & Svetlana Records, distributed by WRWTFWW Records.

Archival reissue of highly sought-after 1979 soundtrack from funky maestro Yuji Ohno, the genius jazz player/composer behind the music of Lupin III (?????) and Capitaine Future (?????·??????) and much much more. Big grooves, irresistible basslines, horns for days, funk for-ever. This superb piece of music from the legendary Toho Records catalogue is a MUST HAVE for fans of Japanese gems.

It’s the original soundtrack of Shigeyuki Amane’s excellent TV movie Golden Dog (Ôgon No Inu). With a secret agent dog carrying secret documents. Last appearance by the one and only Reiko Ike!

Highly recommended to everyone who loves good dogs and good music.



Points of interests

- For fans of funk, jazz, Japanese music, rare groove, boogie, 70s soundtracks, rare gems, WRWTFWW Records, Lupin III, library music, and beautiful dogs.

- Rare gem reissued on vinyl for the first time since 1979.

- Fifth release from Mitsuko & Svetlana Records (Bells of Koyto, Masahiko Sato - Kayobi No Onna, Piero Milesi - The Nuclear Observatory of Mr. Nanof, Sora - Re.sort), distributed by friends WRWTFWW Records (Midori Takada’s Through The Looking Glass, Lunar Cruise and MWKAJU en-semble’s projects, Kenji Kawai’s Ghost in the Shell Original Soundtrack, Yasuaki Shimizu’s Kakas-hi, John Carpenter’s Dark Star Soundtrack, Piero Umiliani’s Tra Scienza e Fantascienza and Il Mon-do Dei Romani, Bernard Parmegiani soundtracks, Colored Music’s self-titled album, EP-4’s Lingua Franca-1, Normal Brain’s Lady Maid…), label founded and curated by Olivier Ducret of Mental Groove and Musique Pour La Danse (Miss Kittin, Orbe, Donato Dozzy, Imperial Tiger Orchestra...) and Stephan Armleder of Villa Magica Records (Genesis Breyer P-Orridge, Christian Marclay, Ste-phan Eicher & Rainier Lericolais, John Armleder, Sylvie Fleury…)

Lustmord is a Welsh electronic musician, composer and sound designer based in Los Angeles. Active since 1980 he has released a prolific body of work across various labels such as Touch, Hydra Head and Blackest Ever Black. Often credited for starting the dark ambient genre with his ‘Heresy’ album in 1990, Lustmord’s music has been described as sweeping and profound, a vast dreamlike soundscape that utilises organic and real-world scenes as source material. Lustmord albums have been made from caves, crypts, car crashes, cosmological activity, the Los Alamos National Laboratory and the site of the first ever nuclear detonation. Lustmord and Cargo Records are happy to announce the launch of Vaultworks. Originally an imprint intended to release short editions of live CDs at his live shows, it is now launched as a wider platform for his work in general. Kick starting a planned series of new releases and reissues is the first time Vinyl and CD release of his soundtrack to Paul Schrader’s 2017 film First Reformed, starring Ethan Hawke, Amanda Seyfried and Cedric Kyles. The release features extended versions of the score formatted as a standalone album. The double vinyl edition includes an extra track “Venice” which was featured at the Venice Film Festival red carpet event. The CD edition has tracks formatted to crossfade into each other for a continuous listening experience.

The psychedelia of Purple Desert Rain God is playful and innovative in a way that brings early Pink Floyd to mind, where classic blues elements were mixed with tape loops and tremolo/feedback guitars. But more than 50 years has passed since Barret’s trip through universe was caught on tape and the comparison stops there: Purple Desert Rain God is a new take on acid rock!

Purple Desert Rain God is nature music and transcendental dance music and they overlap between genuine psychedelia and electronic music with filter sweeps on guitars and drums. Sudden bursts of drum fills brakes the monotonous groove and amplifies the feeling of lost control and the band often balances on what is considered a beat that is on time. However, they keep momentum and hammers the pulse on your eardrums, into your mind.

To add some more mystery the band gives this explanation to their name: "Deep in the purple desert is a pervasive need for a logical universe that makes sense. But the Rain God is always one step beyond logic."

Das temperamentvolle, zweite Album der amerikanischen Grunge-Pioniere L7. Diese Auflage zum 30-jährigen Jubiläum des Underground-Rock-Klassikers aus den 90er Jahren enthält alle neun Songs des Albums, neu gemastert und zum ersten Mal überhaupt zusammen auf Vinyl erhältlich! Ursprünglich 1990 veröffentlicht, ist ,Smell The Magic" ein Wahrzeichen des feministischen Rock der 90er Jahre.

Exclusively on vinyl - 30 incredible tracks that defined an era of music.

In the early ’90’s Indie and Dance music came together to produce some of the most incredible & genre-challenging hits ever. Defining tracks from Primal Scream, The Stone Roses, Happy Mondays and Saint Etienne are featured. Club hits became anthems for a generation with Faithless, The Chemical Brothers as well as the incredible ‘Born Slippy’ from Underworld (from the film ’Trainspotting’) are all also included.



By the mid ’90’s ‘Brit-pop’ had become a cultural movement with both the music and the fashion it inspired, its driving force were legendary artists with defining tracks on ‘Loaded’ such as Pulp, Embrace, The Bluetones, Ocean Colour Scene, Stereophonics and the most successful band of the era, Oasis, opening this collection with ‘Don’t Look Back In Anger’.

Established acts released some of their most beloved tracks during this period including Paul Weller with ’The Changingman’ and Manic Street Preachers with ‘A Design For Life’, The Cure with ‘Friday I’m In Love’ and The Lightning Seeds with ‘Lucky You'.The era also produced some amazing indie pop tunes that sound just as fresh today from The Boo Radleys, James, Dodgy, Travis, The Dandy Warhols, The Wannadies, Sleeper, The Cardigans, Shed 7, Placebo and the timeless ‘There She Goes’ by The La’s all of which are featured alongside the US Indie pop of Weezer and Hole.



30 iconic artists with 30 amazing songs - ‘Loaded’ is an essential addition to any good record collection - and the perfect gift for Father’s Day.

Over the years Self Defense Family’s revolving lineup and improvisational writing process has led to the band often recording new music while on tour, putting the focus on capturing a specific moment between the current collaborators. The Island singles have been snapshots of the band in studios all over the world, from Jamaica, to Ice-land, to Scotland, and now Australia. The songs on Make Me A Pallet Fire On Your Floor / Local Clerics are marked by a raw, spacious recording, winding guitar lines mixed with swirling organ, and of course Kindlon’s one-of-a-kind vocals and un-flinching lyricism.

Anna Meredith today announces her eagerly anticipated second studio album, FIBS, due for release on 25 October via Moshi Moshi. The album is heralded by the release of ‘Paramour’, its first single and spectacular accompanying single-take video, and a song that forbids you from turning away - its sweeps, jerks and wrong turns pinning your ears to the speakers whilst heading for warp speed at a blistering 176 BPM before rounding the journey out with an (utterly unexpected) tuba-led half-time rock-out.

Arriving three and a half years on from the release of her Scottish Album of the Year Award-winning debut studio album Varmints, FIBS is 45 minutes of technicolour maximalism, almost perpetual rhythmic reinvention, and boasts a visceral richness and unparalleled accessibility.

FIBS is no “Varmints Part 2” — the retreading of old ground, or even a smooth progression from one project to another, just isn’t Meredith’s style. Instead, if anything, it’s “Varmints 2.0”, an overhauled and updated version of the composer’s soundworld, involving, in places, a literal retooling that has seen Meredith chuck out her old MIDI patches and combine her unique compositional voice with brand-new instruments, both acoustic and electronic, and a writing process that’s more intense than she’s ever known. Despite Meredith’s background and skills these tracks are no academic exercise, the world of FIBS is at both overwhelming and intimate, a journey of intense energy and joyful irreverence.

FIBS, says Meredith, are “lies — but nice friendly lies, little stories and constructions and daydreams and narratives that you make for yourself or you tell yourself”. Entirely internally generated and perfectly balanced, they can be a source of comfort and excitement, intrigue and endless entertainment. The eleven fibs contained on Anna Meredith’s second record will do all that, and more besides.

Three years after their album "Eine andere Option" Munich based dASbAND is back with a new single, two new songs and newcomer Gringo on bass.

„Oh Ja (Wir sind ein Garten)“, psychedelic post-punk in a casual melange, because "We still believe in the sacred power of guitar riffing, in the right to intoxication and ecstasy, shalala-la!"

„Geh Weg", a serene call to dub and dance elements. If you can't change the circumstances, you should at least make them dance.

My Morning Jacket release their new album via ATO Records. ‘The Waterfall II’ was massively inspired by the band’s idyllic surroundings in Stinson Beach, CA - and a sense of charmed isolation that frontman Jim James likened to “living o n o u r o w n lit tle m o o n .” There, the Kentucky-bred five-piece ended up creating over two dozen songs at the mountaintop studio known as Panoramic House. Though they flirted with the idea of putting out what would have been a triple album, the band ultimately decided that less would be more at the time and divided the project into two halves, releasing the first segment as ‘The Waterfall’, a 2015 full-length that earned a Grammy Award nomination for Best Alternative Music Album. My Morning Jacket are now set to share the second half of the project as ‘The Waterfall II’, an unforeseen and timely continuation of a psychic and sonic journey begun long ago.

The second LP by Belarussian trio Molchat Doma, Etazhi, meaning “Floors”, was first released in 2018 on Berlin-based Detriti Records. It became a viral hit, garnering over one million views on YouTube and becoming a legitimate phenomenon on Bandcamp. The band may fly under the radar in their native Belarus, but they’ve reached huge audiences across Europe and beyond. Six separate vinyl pressings of the album have sold out in quick succession, and Sacred Bones Records is now thrilled to bring the record back in print for good. Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own
.
The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synth

The second full-length album of Danish Fifties/Psych Pop duo The Raveonettes was released in 2005. On Pretty In Black, Sune Rose Wagner and Sharin Foo abandoned the strict recording rules the band laid upon themselves on their preceding efforts. Instead, the group further expands on their signature sound of Fifties inspired Rockabilly Noise Pop with the eerie feel of a thriller movie soundtrack. Special appearances on this album are made by Maureen Tucker of Velvet Underground on drums, Martin Rev on drum machine and Ronnie Spector, also known as Veronica Bennett of the fabulous Ronettes on backup vocals.

Available as a limited 15th anniversary edition of 1500 individually numbered copies on crystal clear (transparent) vinyl. The package includes a 4-page insert.

Late last year, anarchist punk icons Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download on One Little Indian Records. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.

First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said. “You do it, we’ll stew it. Mix it backwards, forwards and upside down. Turn up the heat and fix it with a downbeat, bring in the trumpets and let ‘em blow, let the piper call the tune to let us all know, it’s up to you to do what you like with it. The only limitation is your imagination.”

The response was fantastic with close to one hundred submissions from professionals, amateurs, do gooders, do badders, DIYers and give it a tryers twisting and morphing the sounds.

The first results of this creative process are ready to be heard and released in the form of a twelve-inch EP (alongside a limited 1000 red vinyl pressing) of remixes by producer and XL Recordings honcho Richard Russell under the guise rLr, who tackles and further subverts the anti-war anthem ‘They’ve Got A Bomb’, turning it into a stuttering, rhythmic rattle, whilst Boston, Massachusetts experimental synth-pop artist Glasser takes aim at ‘Do They Owe Us A Living?’ and takes the original songs simple, direct messaging into entirely different realms of rhythm and distortion.

“Crass is a great example of futuristic art and lifestyle; anchored in communal ethics and collective spirit, moving beyond mere defiance of authority and into radical ideas of love and creativity,” explains Glasser. “I’m so glad I had the chance to play around with their recordings. It’s basically the best gift a fan could get from the artists they admire. “

e 5. Relay Explicit

"Don't Touch My Sister" is Romain Azzaro's Rouge Mécanique début Album. Cinematic hazy instrumentals and a heady mix of post-punk, Italo disco, ambient and noise shine through Azzaro's dedication to his signature Telecaster slide-guitar, bringing acoustic life to electronica. Citing the visual realm as a strong influence on his music, Rouge Mécanique's releases are often accompanied by short films and hand picked design. The 'Prelude' video for 'Don't Touch My Sister' was born of a collaboration between Romain Azzaro and the film maker Louis Vignat, as inspired by the cover artwork of Les Beaux Arts de Paris artist Jeanne Briand.

The Blinders have announced their new album, Fantasies Of A Stay At Home Psychopath, out on May 8th via Modern Sky UK.

A dark blues-waltz underpinned by propulsive bass and evocatively prosaic lyricism, the track straddles the lines between ode and lament while addressing life’s confusing crossroads. The track is accompanied by an arresting video, which cuts between the band performing and wandering the atmospherically bleak landscape of the Peak District.

The track is the first to be taken from their upcoming album, Fantasies Of A Stay At Home Psychopath, which was recorded at Manchester’s Eve Studios alongside producer Rob Ellis (PJ Harvey, Anna Calvi), and mixed by Adrian Bushby (Foo Fighters, Muse).

Indistinct Conversations is the new album from Land of Talk - the Montreal-based band led by Elizabeth Powell. The album’s first single “Weight of That Weekend,” finds Powell delivering a soulful, impassioned plea over an expansive musical terrain. “‘Weight of That Weekend’ is a recognition of having been on the receiving end of a lifetime of sexual coercion, assault, boundary violations, and subsequent gaslighting. It all just came to light after an especially heavy weekend a few summers back,” explains Powell. “I was so sick of carrying all this weight that wasn't mine to bear. So sick of being owned by all of this. Imposed on me mostly by men. I grew so sick of suffering and being slowed-down by this weight. The song is a prayer for a lightness of being. A prayer for capital ‘L’ Love.”

All 11 songs on Indistinct Conversations were written by Powell (vocals/guitar/keys), and share the hallmarks of the Land of Talk sound: her silvery vocals; masterful, at times cacophonous guitar playing; and a stream-of-conscious lyricism—here perhaps at her most emotionally vulnerable and honest. Powell produced and arranged the tracks together with her bandmates Mark “Bucky” Wheaton (drums/keys) and Christopher McCarron (bass), and the trio recorded the album in a studio built by McCarron in Wheaton’s apartment basement.

Indistinct Conversations follows 2017’s acclaimed Life After Youth—at the time Land of Talk’s first album in seven years. The release saw praise from Pitchfork, Paste, The AV Club, and NPR Music, among others, with its singles earning additional highlights from The FADER, NPR Music's All Songs Considered, New York Magazine’s Vulture, Stereogum, Brooklyn Vegan, Bandcamp, WXPN, and more.

Dreamin' Wild's second album Heaven in Thirty Eleven owes a lot to Footscray. The inner-western suburb of Melbourne features not only in the album title (its postcode is 3011) but goes deeper to form a central part of the record's narrative and reflection.

For all six members - Chris Jennings (Swazi Gold, Sagamore, Sledgehammer), Sam Cooper (Crepes, Swazi Gold, Sagamore, Sledgehammer), Tim Karmouche (Crepes, Swazi Gold, The Murlocs), Sarah Quirk, Monty Hartnett (Sleep Decade, Miris, Sagamore) and James Guida (Laguna, Environments) - Footscray buoyed periods of music exploration and discovery. After more than six year of writing, rehearsing and recording in the suburb, there's no doubt that Footscray is home for the band.

Jennings adds that the album is, "a bit of a recap of the last three years for Dreamin' Wild," drawing attention to the change and growth many of the eight songs have undergone since creation.

"I Don't Disagree" is an album highlight; an almost seven-minute track that struts along calmly, taking life as it is. Quirk's soulful refrain soars atop Jennings' laconic vocals, carrying the song to its end. "Dynon Life" is another album gem, reminiscent of summer in the city, and happy seeking excess.

Heaven in Thirty Eleven is an ode to a Melbourne suburb brimming with culture and stories, made by artists who are proud to call it home.

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant burst of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style. They immediately took their place on the rosters of influential labels like Y and 99 with iconic debut single Stretch, as the band had clearly captured something special.

Entering 1982, Kevin Evans had replaced Catsis as Maximum Joy set out to make what would be their only full length LP. Recording at Berry Street and The Lodge with producers Adrian Sherwood (On-U-Sound legend), Dave Hunt (Flying Lizards, Pigbag, This Heat) and Pete Wooliscroft (Kate Bush, Talk Talk, Peter Gabriel, OMD, This Heat) the band would mix practiced grooves with imaginative improvisation. The results were absolutely jaw-dropping.

Station M.X.J.Y. kicks things off with Dancing On My Boomerangand promptly sets forth the blueprint for bands like !!! and The Rapture to capitalize on nearly twenty years later. In fact, those bands can only dream of the mix of driving percussion and spectral shards of guitar that Maximum Joy has clearly already mastered. Do It Todayannounces itself immediately with Rainforth delivering a looping and infectious vocal melody that the others dance around playfully, as handclaps keep the stomping groove intact, leaving a dancehall hit for outer space circling your turntable.

If you ever wondered what it would sound like if ESG and The Slits combined forces, Let It Take You There has the answer for you. Llewellin periodically delivers a cascade of marching band percussion while Waddington’s classic R&B riffs are transformed into a slithering snake trying to keep pace with Evans locked in groove as Rainforth’s singsong vocals are reduced to whispered echoes. They close out side one with the delicious slab of pop that is Searching For A Feeling. Clearly pronouncing the band’s intention to find the positives in a dire time for England, they look to rally those around them to focus on making real change in the face of opposing voices via one of Rainforth’s most delightful deliveries.

Side two sees Wrafter stretching out on Where’s Deke?, showcasing what had already been obvious, as he is the band’s secret weapon, often coloring each tune with his horns, sometimes in several styles just seconds apart. He underlines that feeling with the raucous and bouncy Temple Bomb Twist, before they hit a straight groove in Mouse An’ Me, like a dub infected Train In Vain. Well, if The Clash had ever allowed themselves to properly lose their minds on the dancefloor.

A funky afrobeat flute and guitar battle breaks out (way cooler than it sounds) before Rainforth rallies the troops to not only fill up the disco, but also the surrounding streets in political resistance to Thatcherism via All Wrapped Up. It is entirely genuine and their activism has none of the menace of the others in their scene, but rather a feeling of sharp optimism amongst this danceable masterpiece. It is that optimism that always set Maximum Joy apart, and makes their grooves all the more irresistible today.

Sadly, the upward trajectory of the band was cut short as Rainforth left the group, and soon afterwards seemed to stop making music altogether. The reasoning seemed destined to remain a mystery, until earlier this year when she gave a brave interview to The Guardian where she revealed that an assault by someone in the industry caused her to retreat entirely from music for nearly three decades. Luckily, Janine has embraced music once again, and she refuses to let the magic that was Station M.X.J.Y. be lost as well.

A moment comes when you stop dreaming, start living and discover your destiny.

Based on author James Thurber's fantastical 1939 short story of the same name, the 2013 big screen rendering of The Secret Life of Walter Mitty features Ben Stiller directing and starring in the role of a day-dreamer who escapes his anonymous life by disappearing into a world of fantasies filled with heroism, romance and action. When his job along with that of his co-worker (Kristen Wiig) are threatened, Walter takes action in the real world embarking on a global journey that turns into an adventure more extraordinary than anything he could have ever imagined.

The music that accompanies those reveries reflects the actor's innate quirkiness. Film score composer Theodore Shapiro has been the go-to guy for movie comedies starring the major comic actors of the early 21st century, including Ben Stiller, Will Farrell, and Owen Wilson. Shapiro has scored numerous films, including Old School, Starsky & Hutch; The Devil Wears Prada and Blades Of Glory.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE / INSERT
- PVC PROTECTIVE SLEEVE
- FEATURING JOSÉ GONZÁLEZ
- FIRST PRESSING OF 750 NUMBERED COPIES ON
WHITE & BLUE MIXED VINYL