Pop & Rock News

With their second album Pre Strike Sweep, GØGGS add a new level of primordial anxiety to their already catastrophic symphony. Recorded and mixed in 2017 by GØGGS guitarist and co-founder Ty Segall, the album explores the damaging affects of modern life before blowing them up one by one. Singer Chris Shaw uses terms like 'space rinse' and 'roadside surgery' to inform the listener that this is a strange and different trip, far and away from the 'Glendale Junkyard' he romanticized in 2016 on their self-titled album. In fact, all expectations brought on by that acclaimed debut are crushed into dust, revealing a new standard by which the GØGGS march thumps.

'The Lamb was written during a time of intense paranoia after a home invasion, deaths of loved ones and general violence around me and my friends,' says Lillie West, the Chicago-based songwriter behind Lala Lala. 'I began to frequently and vividly imagine the end of the world, eventually becoming too frightened to leave my house. This led me to spend a lot of time examining my relationships and
the choices I'd made, often wondering if they were correct and/or kind.'

West initially started Lala Lala as a way to communicate things that she felt she could never say out loud. But on The Lamb, her sophomore LP and debut for Hardly Art, she has found strength in vulnerability. Through bracing hooks and sharp lyrics, the 24-year-old songwriter and guitarist illustrates a nuanced look on her own adulthood -- her fraught insecurity, struggles with addiction, and the loss of several people close to her.

Across the album's 12 tracks, West carefully examines the skeletons in her closet for the first time, hoping to capture honest snapshots of her past selves. Many of the songs show West asking herself agonizing questions about her life with a clever and hopeful curiosity. On the album's first single and opening track, 'Destroyer,' she reflects on feeling self-destructive and the delayed realization something in the past has irrevocably hurt you. In 'Water Over Sex,' West laments her old precarious lifestyle, while trying to readjust to her newfound sobriety, and 'Copycat' confronts her feelings of alienation and boredom. 'Some of this album is about being frustrated that everything is always repeating itself and being bored with your own feelings,'she explains. ''Copycat' in particular is about how everyone talks exactly the same on the Internet and how it sometimes feels futile to try and be yourself.'

'the Lamb Was Written During A Time Of Intense Paranoia After A Home Invasion, Deaths Of Loved Ones And General Violence Around Me And My Friends,' Says Lillie West, The Chicago-based Songwriter Behind Lala Lala. 'i Began To Frequently And Vividly Imagine The End Of The World, Eventually Becoming Too Frightened To Leave My House. This Led Me To Spend A Lot Of Time Examining My Relationships And
The Choices I'd Made, Often Wondering If They Were Correct And/or Kind.'

West Initially Started Lala Lala As A Way To Communicate Things That She Felt She Could Never Say Out Loud. But On The Lamb, Her Sophomore Lp And Debut For Hardly Art, She Has Found Strength In Vulnerability. Through Bracing Hooks And Sharp Lyrics, The 24-year-old Songwriter And Guitarist Illustrates A Nuanced Look On Her Own Adulthood -- Her Fraught Insecurity, Struggles With Addiction, And The Loss Of Several People Close To Her.

Across The Album's 12 Tracks, West Carefully Examines The Skeletons In Her Closet For The First Time, Hoping To Capture Honest Snapshots Of Her Past Selves. Many Of The Songs Show West Asking Herself Agonizing Questions About Her Life With A Clever And Hopeful Curiosity. On The Album's First Single And Opening Track, 'destroyer,' She Reflects On Feeling Self-destructive And The Delayed Realization Something In The Past Has Irrevocably Hurt You. In 'water Over Sex,' West Laments Her Old Precarious Lifestyle, While Trying To Readjust To Her Newfound Sobriety, And 'copycat' Confronts Her Feelings Of Alienation And Boredom. 'some Of This Album Is About Being Frustrated That Everything Is Always Repeating Itself And Being Bored With Your Own Feelings,'she Explains. ''copycat' In Particular Is About How Everyone Talks Exactly The Same On The Internet And How It Sometimes Feels Futile To Try And Be Yourself.'

PNKSLM Recordings are beyond excited to announce the second full length from Stockholm's Les Big Byrd. Consisting of Jocke Åhlund, Nino Keller, Frans Johansson & Martin "Konie" Ehrencrona, Les Big Byrd have been consistently one of the most exciting bands at the forefront of the Swedish music scene. Following on from 2014's "The Worshipped Cats" LP (A Recordings).

Long awaited second album from this stargazing psychedelic pop collective, with a slick production that ensures the trip is an aural joy.

Fans of Follakzoid / Hookworms will find much to lose themselves in on this album!!

PNKSLM Recordings are beyond excited to announce the second full length from Stockholm's Les Big Byrd. Consisting of Jocke Åhlund, Nino Keller, Frans Johansson & Martin "Konie" Ehrencrona, Les Big Byrd have been consistently one of the most exciting bands at the forefront of the Swedish music scene. Following on from 2014's "The Worshipped Cats" LP (A Recordings).

Long awaited second album from this stargazing psychedelic pop collective, with a slick production that ensures the trip is an aural joy.

Fans of Follakzoid / Hookworms will find much to lose themselves in on this album!!

Punk Slime Recordings is proud to present the debut album from Miss World, aka Natalie Chahal of Shit Girlfriend. Keeping Up With Miss World is a raw, 13 track power-pop, garage-party movie scene that plays out like a thumb numbing Instagram scroll fest. A teen-dream magazine collage, a multi-colored sonic mood board featuring torn up images of Ariel Pink, Kim Gordon, Clueless OOTDs, Madonna and Kim Kar-dashian smeared with gluestick goo.

Paw was an American alternative rock band from the United States who released their debut studio album Dragline in 1993. While the album wasn't a commercial success it is widely considered among fans and critics as their best album. This is a traditional grunge album, recorded during the heydays of this music. Fantastic song structures with riff-based melodic choruses and deep lyrics showing their greatness. 'Jessie', the band's biggest single, is recognizable for its timeless chorus and pedal steel solo. Other great songs includes 'Sleeping Bag' and 'Couldn't Know'. It's a mighty beast from the beginning, with beautiful clean guitars, powerful riffs and howling vocal parts. It's Paw at their best.

Their second album, Skiff, is a new direction for The Skiffle Players. Now, they all sing and write. There is no leader.
Recorded at Infinitespin Recorders in Van Nuys CA, with engineer Matt 'Linny' Linesch, the album begins with a bold
opening; the Farmer Dave Scher-penned 'Cara,' heavy information for the soul. Then, into classic Cass McCombs
insanity on 'Local Boy,' a wild ride on the run from the cops. Third is a touching tribute to a bygone companion, 'Miss It
When It's Gone,' written and led by Neal Casal.The album's revolving perspective continues to bounce around, leaving no apparent land to stand upon. In that, it is
deeply subversive. For there is nothing to defend, but the ability o transform and imagine.The album continues to unfold back to McCombs with a satire
on justice, 'The Law Offices Of Dewey, Cheatum And Howe.' It goes from the saloon 'Long Horns, Long Necks, Long Legs,' to the rainforest 'Herbamera.' Casal blasts in again with the
sun-bleached rambler, 'Los Angeles Alleyway.' Scher's 'Skiffleman' sings a song for everyone. McCombs plays with memory in a song about coming of age in the Bay Area on
'Oakland Scottish Rite Temple Waltz.' Penultimately, 'Santa Fe' is an elliptical broadside about materialism and waste. The album concludes by pushing off again, out into the familiar
waters of a traditional skiffle number, 'Sweet Georgia Brown,' each member taking a perhaps all-too casual solo.This is acoustic dance music at its finest. It is also refreshingly
contradictory, irreverent and mystical, deeply personal and communal, and traditional and profane—the ever revolving and disintegrating ship known as Skiff













[M 13. Sweet Georgia Brown

Taking inspiration from the original concept behind the founding of Saddle Creek, as an attempt to highlight our home city through music and art, we began the Document Series in 2017. Each release featured in the Document Series is comprised of an exclusive record featuring unreleased music from artists outside of the label's roster, along with a specially curated zine created by the artist. The fifth installment in the series comes from Austin, Texas based Hovvdy.

Hovvdy (pronounced "howdy") is the writing and recording project of Charlie Martin and Will Taylor. The duo, both primarily drummers, first met in the fall of 2014 and quickly bonded over a love for quiet music. Within a few weeks, they had combined songs and began recording their first EP in bedrooms and family homes across Texas.

By 2016 the two had committed to each others growth in songwriting and recording, resulting in their debut album Taster , originally released on Sports Day Records and reissued in 2017 by Double Double Whammy. They followed this in 2018 with the release of Cranberry , which Pitchfork described as, "Foggy, warm, and wistful, it sounds like faded time." Hovvdy has found a unique identity in rhythmic, down-tempo pop songs that are hopeful, yet melancholy; relatable, yet distinguishable.

'In a dreamlike fictive and windswept Brittany, hippy pirates and wild women more or less inspired by Gérard de Nerval fight it out in a theatre, the magic of which brings to mind Cocteau, and where musical improvisation has an important role: this is Noroît, a cursed film which was never released in cinemas at the time (1976), directed by the great Jacques Rivette, where Jean-Cohen-Solal, his brother Robert and Daniel Ponsard can be seen and heard playing. The scene is every bit as inventive as that featuring the Art Ensemble Of Chicago in Les Stances à Sophie!

The same magic and invention can be found on this first album by Jean Cohen-Solal: Flûtes libres. A magic which can be keenly felt on "Quelqu'un", a long contemplative mantra which takes up the whole of the B side and which anticipates the future collaboration in the mysterious universe of Jacques Rivette.

Jean Cohen-Solal studied flute from all angles, and became one of the great French virtuosi, along with Michel Edelin who at the time was with Triode. This was a period (1972) when flutists were very popular with the public, most of whom had been influenced by Roland Kirk, including Ian Anderson in Jethro Tull. Jean Cohen-Solal tells a different story, richer and centred on the instrument itself, using the magic (yes, that again) of overdubs.

Perhaps Paul Horn rather than Roland Kirk could be an influence, but stripped of a classical background which was too audible and a tendency for easy listening. In fact, in terms of comparison, "open music" by Bob Downes would be the closest to the electroacoustic experiments of Jean Cohen-Solal, who, by the way, was also close to the GRM and Bernard Parmegiani for whom he occasionally provided sound sources.'

Molly Burch burst onto the music scene in 2017 with her debut Please Be Mine- a ten-track ode to unrequited romance written after studying Jazz Vocal Performance in Asheville, NC - and earned immediate praise from critics for her smoky, effortless vocals and bleeding-heart lyrics. Following a year of touring all over North America, Europe and the UK alongside the likes of Ought, Alex Cameron, Grizzly Bear and Courtney Barnett amongst others, Burch then returned to Texas to decompress. Finding herself suddenly devoid of stimulation and with nothing but time on her hands, she began anew, bouncing ideas off her bandmate and boyfriend Dailey Toliver - who contributed guitar parts and orches-tration suggestions - and, slowly, an album took shape; soon after, First Flower became real.

A walk-through Burch's most intimate thoughts - broken friendships, sibling relationships and overwhelming anxiety - First Floweris a bright, beautiful album peppered with moments of triumph with Burch's voice as strong and dexterous as ever. Opening track 'Candy' is a swinging, playful hit, while 'Wild' deals with pushing away fear. Title track 'First Flower' is classic Burch, a simple love song that makes your skin raise with goosebumps when she breaks into the chorus. But the album's true stand-out is 'ToThe Boys', a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. 'I don't need to scream to get my point across/I don't need to yell to know that I'm the boss,' she coos over a sparse guitar riff. First Flower is a shapely sonic stage to let Burch shine on. The composition and production carefully constructed to compliment and not over power

Molly Burch burst onto the music scene in 2017 with her debut Please Be Mine- a ten-track ode to unrequited romance written after studying Jazz Vocal Performance in Asheville, NC - and earned immediate praise from critics for her smoky, effortless vocals and bleeding-heart lyrics. Following a year of touring all over North America, Europe and the UK alongside the likes of Ought, Alex Cameron, Grizzly Bear and Courtney Barnett amongst others, Burch then returned to Texas to decompress. Finding herself suddenly devoid of stimulation and with nothing but time on her hands, she began anew, bouncing ideas off her bandmate and boyfriend Dailey Toliver - who contributed guitar parts and orches-tration suggestions - and, slowly, an album took shape; soon after, First Flower became real.

A walk-through Burch's most intimate thoughts - broken friendships, sibling relationships and overwhelming anxiety - First Floweris a bright, beautiful album peppered with moments of triumph with Burch's voice as strong and dexterous as ever. Opening track 'Candy' is a swinging, playful hit, while 'Wild' deals with pushing away fear. Title track 'First Flower' is classic Burch, a simple love song that makes your skin raise with goosebumps when she breaks into the chorus. But the album's true stand-out is 'ToThe Boys', a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. 'I don't need to scream to get my point across/I don't need to yell to know that I'm the boss,' she coos over a sparse guitar riff. First Flower is a shapely sonic stage to let Burch shine on. The composition and production carefully constructed to compliment and not over power

After Their Successful Period In The Early Days Of The Grunge Mudhoney Spread Their Wings To The Blues And Garage Rock On Their Album Tomorrow Hit Today. Referring To The Song when Tomorrow Hits' Of Their Self-titled Debut Album. Frontman Mark Arm Still Sings Like He Is Back In Those Early Days And The Instrumental Parts Are Equal As Impressive. As One Of The Few Remaining Seattle Originals They're Hitting The Right Notes. Part Of This Can Be Accounted To The Studio Talents Of Legendary Memphis Producer Jim Dickinson.

The Alternative Rock Band Mudhoney Can Be Seen As One Of The Pioneers From The Grunge Music. They Inspired Countless Other Grunge And Rock Musicians And Will Always Be Linked To The Seattle Music Scene.

Brighton four-piece Wild Cat Strike unveil their upcoming debut album 'Rhubarb Nostalgia', following early support from the likes of BBC Radio 1 Rock Show, Dork Mag, Clash and more.

The album was introduced via the unshakably catchy, country-infused lead single 'I Feel Good', along with an attention-grabbing and raucous video. As their sound has developed over recent years, a new breed of Wild Cat Strike songs has emerged. While keeping elements of their intense, post-rock roots - with swells of distorted guitar, dynamic switches and raw and flowing melodies - they have homed in on an energetic and fresh songwriting style. The lyrics of frontman Danny Byrom bring candid ruminations on life, death and memory; his nuanced, charismatic vocal delivery, and guitar playing, are joined by the formidable combination of Max Boughen (guitar), Chris Whitehorn (bass) and Joe Caple (drums).

On several tracks, they also enlisted former band-member Guy Jones to lend his talents, improvising on slide guitar, honky-tonk piano and organ; while label-mate Natalie Evans adds sweet backing vocals on a couple of songs. To complete the sound, several fellow Brighton musicians (members of Delta Sleep, InTechnicolour and Tall Ships - collectively named by Byrom as the 'God Damn Gospel Choir') piled into the vocal booth to lay down some jovial and raucous gang vocals

Shortly after completing their critically acclaimed Top 20 album 'Marble Skies' last year, Django Django found themselves in the midst of an extended rush of inspiration. Before 'Marble Skies' had even been released, they returned to their HQ to record a selection of new material with drummer Dave Maclean on production duties.

The result is the all-new six-track EP 'Winter's Beach' which is set to be released on October 12th on Because Music.

The lead track 'Swimming At Night' - which was premiered by BBC 6Music's Lauren Laverne - is Django Django at their most gloriously unpredictable. Its deceptively linear beat soon progresses into something altogether more leftfield, with a coherent collision of vintage synths, vocoders, tight vocal harmonies and surrealist lyrics about 'living with life forms under the water.'

'Swimming At Night' is accompanied by a video which was directed and animated by Gemma Yin Taylor, whose previous credits include Sigrid and Alvvays.

'For Swimming at Night the guys wanted to create a highly visual piece of moving image exploring the vibrant inner worlds within our own heads. With a nod to some iconic graphic and video styles from the 70's and 80's, I used mixed media techniques and a low frame rate to achieve a distinctive tactile quality. Meandering through deconstructed figurative, scenic, and natural forms from the start of the video, sets the stage for introducing some trippier 'life forms underwater' when the track submerges us into the vibrant choruses. The imagery is familiar, but subverted, using non-linear animation techniques. I wanted the video to embody the off-beat eccentricities of the track, whilst still having a bold, bright pop sensibility', says Yin Taylor.

Maclean adds; 'the Swimming at Night chorus is about closing your eyes or being in the dark and swimming in your own world, your own thoughts. The idea for the video came when we were in Palm Springs. The light and the colours there were extraordinary and were the inspiration behind some of the imagery in the video. That, combined with an old drawing that Tommy found, of a colourful deep blue sea full of creatures. The video was animated by Gemma Yin Taylor who did an amazing job at bringing to life the visual I had in my head'.

Commencing with the mood-setting instrumental opening title track, the 'Winter's Beach' EP sparkles with the creative energy of a band who are fully embracing their artist freedom. It's followed by 'Sand Dunes', which reiterates the band's unique ability to set post-apocalyptic imagery and themes of rebirth to beautifully futuristic sounds.

Elsewhere, 'Flash Forward' pulsates with an ominous and rapid-fire dancefloor energy; 'Ghost Rider' takes flight with some otherworldly psychedelic grooves; and 'Blue Hazy Highs' sounds like today's Django Django time-travelling back to the Summer of Love.

SRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn (vocalist/keyboardist of Them Are Us Too). Creative voids aren't filled, but rather holes left that push the edges of the present into new realms of consciousness.

Ambient synthesizers that approach harshness, relentless arpeggiations act together with Kennedy's vocals as a lush weapon, weaving cloudlike fables over orchestration that's familiar and foreign. Trance-like at times, yet always rooted in cadence and structure, the synesthesia of sound and feeling takes cues from the delicate miasma of Cocteau Twins, My Bloody Valentine, or Dead Can Dance, using their example as the ground floor for building a new temple of frequency.

SRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn (vocalist/keyboardist of Them Are Us Too). Creative voids aren't filled, but rather holes left that push the edges of the present into new realms of consciousness.

Ambient synthesizers that approach harshness, relentless arpeggiations act together with Kennedy's vocals as a lush weapon, weaving cloudlike fables over orchestration that's familiar and foreign. Trance-like at times, yet always rooted in cadence and structure, the synesthesia of sound and feeling takes cues from the delicate miasma of Cocteau Twins, My Bloody Valentine, or Dead Can Dance, using their example as the ground floor for building a new temple of frequency.



SRSQ's pulse began after the death of Kennedy's closest friend and TAUT collaborator Cash Askew, a casualty in the sudden and tragic Oakland Ghost Ship Fire of 2016. Driven by loss, SRSQ became the vehicle for Kennedy's transformative process, exploring nuance, nostalgia, reflection, and reconciliation, manifesting in the aural landscape of Unreality.

As a debut, Unreality is entrance into a new form of storytelling, traversing the present while pulling from a deep swath of experience, immersion, and sound. Like the impulse it pulls from, each song evokes the complex duality of meditation—where simple intersects with infinite. Kennedy proves an adept architect of rhythm, using sequenced electronics as a deep backbeat that allows the harrowing beauty of her vocals to lead the journey.



Produced by Matia Simovich of Inhalt, Unreality is simultaneously crisp and full, each tone and note occupying its own unique sonic world - grief butted against power, tracked to a heavy heartbeat.

Spiral Joy Band spun from the orbit of drone-improv pioneers Pelt in 2004 - initially as an incubator for that group's burgeoning acoustic experiments, but eventually drifting into a thrum all their own. Their variable lineup is based around Mikel Dimmick, Patrick Best, and Troy Schafer, and their rough-hewn drones utilize a staggering variety of exotic gongs and instruments, both electric and acoustic. On Summoning, Spiral Joy Band enlists vocalist Dani Schafer.

From the very first track 'Lateral Waters, Languid Domes,' Summoning leaps away from the contemplative, avant-hillbilly ripples of SJB's previous releases, and plunges directly into deep interstellar currents, tillered by an electric guitar that one could (almost) describe as 'Heldon-like.' With the exception of the chaotic interlude of 'Starlings in Deerwood' (which recalls the most explosive moments of electric-era Pelt), Summoning is built upon Dimmick's monolithic harmonium and Dani Schafer's full-throated vocals, which envelope and tie off the acid embroidery of Troy and Pat's guitar, violin, and electronics.

With Pelt seemingly unplugging their power strips for good, the wild electric howl and kosmische ragas of Summoning exuberantly herald humanity's inevitable plunge into the heart of the sun.

Since first emerging in 2013 with her critically acclaimed 'All We Can' EP, Yumi And The Weather have spent the past few years perfecting their unique blend of electrifying technicolour psych-pop, finally emerging with

their long-awaited full length offering (released via their own MIOHMI RECORDS imprint). Armed with this new arsenal of unrelentingly catchy and stirring pieces of music, Yumi are ready to continue their path of destruction (which has included

a stint supporting British Sea Power, a slot at Secret Garden Party, Bad Pond

RIYL HIDDEN CAMERAS/ARTHUR RUSSELL

Since his recording debut as Choir Boy in 2016, Adam Klopp mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti.

The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.

Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Now available for the first time in wide release, Passive With Desire is a proper introduction to Klopp's unique storytelling, orated by his full, rangeful vocals. The expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette. The repackaged LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. The first pressing comes in limited editions of 100 on Clear/Black/Red Splatter, 400 on Metallic Red, and standard black vinyl.

Key Selling Points:
- Expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette.- LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. - LP comes with download- Reissue of debut album

RIYL HIDDEN CAMERAS/ARTHUR RUSSELL

Since his recording debut as Choir Boy in 2016, Adam Klopp mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti.

The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.

Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Now available for the first time in wide release, Passive With Desire is a proper introduction to Klopp's unique storytelling, orated by his full, rangeful vocals. The expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette. The repackaged LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. The first pressing comes in limited editions of 100 on Clear/Black/Red Splatter, 400 on Metallic Red, and standard black vinyl.

Key Selling Points:
- Expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette.- LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. - LP comes with download- Reissue of debut album

Mit der um sieben Bonusstücke ergänzten Neuauflage von "Passive With Desire" (2016) kommen zu den neun Originaltiteln des Albums die beiden Songs der Single "Sunday Light" (2017) sowie die fünf Aufnahmen der limitierten Kassette "Part Time Punks Sessions" (2018) hinzu. Letztere erschienen ebenfalls bei Dais, das Debüt kam via Team Love Records in die Läden. Hinter Choir Boy verbirgt sich ein synthielastiges und 80er-dominiertes Dream-Pop-Projekt von Adam Klopp (Gesang, Synthesizer, Piano, Gitarre, Perkussion, Elektronik). Der verbrachte zwar seine Kindheit und Jugend in der Glaubensgemeinschaft der Mormonen in Salt Lake City, aber mit zunehmendem Alter auch immer mehr Zeit in der DIY-Punk-Szene. Schließlich gelang es Klopp, die Sekte zu verlassen. Die Stücke für sein Debüt skizzierte er als Single-Demo-Tracks, doch die finalen Aufnahmen fanden im Studio mit Begleitung - Katrina Marie Rick Peterson (Gesang), Bret Meisenbach (Gitarre), Jacob Hall (Drums), Kyle Hooper (Keys), Chaz Costello (Bass), Alyssa Pyper (Violine) - statt. Flankiert wird die CD durch ein informatives 12-seitiges Booklet.

Heather Leigh: pedal steel guitar, vocals, synthesizer, drum machine

music composed & performed by Heather Leigh

additional instrumentation by John Hannon: violin, synthesizer & David Keenan: electric bass

recorded & engineered by John Hannon, Rayleigh, Essex March 2018

vinyl mastered & cut by Rashad Becker at Dubplates & Mastering, Berlin June 2018

photographs & design: Heather Leigh


Heather Leigh takes her Throne as queen of pedal steel with a suite of heartbleed ballads cauterised with burning riffs. After the rawness of its precursor I Abused Animal, Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multitracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann.

Prelude To Goddess sashays in wearing leopard print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by Lena - arguably Leigh's Jolene - a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. Soft Seasons is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody.

Gold Teeth, the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching the breeze again.

Days Without You and Scorpio & Androzani are shorter, intimate songs, in the latter the synths seethe and the steel bows and bends as Leigh's voice falters above a Greek chorus of shadows and reflections. But this isn't autobiography, and Throne departs on Days Without You, a confrontationally unfinished romantic song, anxious with half-thoughts and missed connections. It glides into the night on stilettos leaving unanswered questions, in a fug of psychic disturbance and lovesick sensuality.

Leigh's artwork (which she photographed and designed) is a visual mirror of the songs on Throne. It is an album of cosmic echoes, abstractions and introspection, of characters and stories that make up Leigh's first best pop record, its melodies and hooks set alight with the fiery core of her unique and distinctive pedal steel.

Guildford-based singer songwriter Annabel Allum continues her reinvention as one of the most vital, snarling and sarcastic voices in the indie scene. Funded by the PRS Flash Fund For Vinyl 2018, this vinyl release is a combination of Annabel's two EP's to date: All That For What and Sorry I'm Not Perceptible. Supported by The Fader, DIY, Earmilk, Wonderland, The Line of Best Fit and MORE! + Radio plays on BBC R1, BBC6 Music, Radio X & Amazing Radio

«VOL 1- ARP» is the first in a series of live performances from Pekula Records. This recording was especially written for the 15th anniversary of the live venue Parkteatret in Oslo, Norway. The music was written and curated by Erlend Mokkelbost (Jr. Ewing, Montée ++) Simen Følstad Nilsen (Aiming For Enrike, Honningbarna) and Axel Skaalstad. This is a unique concert/musical composition that will never be performed again. But luckily everything was recorded, and is now being released on Pekula Records.

Sophomore album from the Australian singer-songwriter Peter Bibby. Grand Champion, full of true-blue charm and storytelling, follows his 2014 full length debut Butcher/Hairstylist/Beautician which earned praise from Pilerats ["one of those Australiana artists who is so bloody fair dinkum you have to pause for a moment even if you're from here"], The West Australian ["a great Australian lyricist to rival the likes of Nick Cave and Paul Kelly"], Music Feeds, and lead to performances at SXSW and Laneway Festival. PR: Grandstand (US), Inside Out (UK), Positive Feedback (AU) || Radio: Terror Bird (US)

'AAARTH' marks a transformative, near-psychedelic rebirth that channels long-held anger, soundtracking a chaotic global period of injustice and division, setting it against a deeply poignant backdrop of personal experiences and healing. Although the album came into being as the band travelled the globe and recorded in their mobile recording studio, the music intertwines the whispering hills of Wales with the otherworldly rainbow canyons of the Utah / Arizona border. 'AAARTH' unites the personal with the mythical and symbolic, as Bryan continues; 'We've definitely made a colourful, mystical collage with this record, partly because of our surroundings. Those multi-coloured sunsets & the primeval elements of nature in the Southwest - it's emboldened our imaginations in the songwriting and the production. I love stories and seeing symbolism and meaning change with different cultures and interpretations. I see it in my lyrics, a lot of the imagery plays on being ambivalent because I'm often expressing a lot of things at once. That's true of the title; it falls somewhere between a scream, an exaltation, a play on words, and then this motif of the bear ('arth' in Welsh) that spiritually represents strength, wisdom & healing.'
The Joy Formidable bring their unique, evolving and progressive live show to an already- sold-out show at The Lexington in London, followed by main stage appearances at Reading & Leeds Festivals, before they depart for the US and Canada - by personal invitation from Dave Grohl - as support to Foo Fighters

ÄTNA are singer and multi instumentalist Inéz and drummer Demian and if you listen to their
music it's hard to believe that this mighty sound was crafted by only two musicians. But the most
jaw-dropping aspect remains the distinctive music itself. ÄTNA unfold an energetic , highly
percussive , dark and twisted version of pop that isn't afraid to take risks. Their music is an
adventure, to say the least, riding between powerful extremes whether sensual tenderness or raw
furiosity. From dream state to outburst - the abstract beats, playful piano and determined vocal
work of Inéz make switching between multiple moods sound effortless. Somewhere between
James Blake, Fever Ray and White Stripes the two artists have created their own microcosm.
Inéz and Demian's decision to create a four-piece video suite has led them to some interesting
and intense sonic and visual experiences. The challenge of playing all of the pieces in the suite
live whilst being filmed in one take creates a unique tension between the artist and the medium.
Each unique setting alludes to artistic movements, design icons as well as unique areas one
would not expect in today's Germany.
The music on this EP is the recorded result of these live music video takes.
ÄTNA create an artistic stream of ideas, and welcome you to get carried away by it.

Exploded View, the international music project of Annika Henderson, Hugo Quezada, and Martin Thulin has returned and taken flight with their second full-length, Obey. The album was recorded at Hugo's and Martin's studios in Mexico City with Annika visiting from Berlin. Leaving behind their raw, live recording process, and embracing overdubs and multi-instrumentalism, the band has crafted their most ambitious work to date. The four-piece that recorded the band's self-titled debut album and Summer Came Early EP became three to create a more concise collection of songs. Their motivation for creating together remains purely passionate and the improvisational spark the band is known for has morphed into the emotional flames of being close friends with a deep desire to make music with each other.

When asked about the title of the record, singer Annika said 'this is in reference to so many things. We live in a society where we must obey or risk punishment. This can be social punishment, legal punishment, emotional punishment - if you dare to step outside, you will reap the reward. We live in a time when we are selfcertifying a lot. Whether it's how we present ourselves on social media or our diet or our job - we obey the social norms. Our fears are used against us by advertisers. Our fears of growing old or being excluded - we must conform or pay the high price - buy this and you will be accepted. We must obey.' She adds musingly at the end, 'It's also funny because in the band we often feel like we are all compromising, so we must all obey each other's wishes to some extent too.'

Striking the balance between precise and wild, between unshackled and grounded, grooving and unhinged, has always been Exploded View's specialty. They have a special knack for making the esoteric feel accessible and crafting pop music out of seemingly raw consciousness. This unique ability to make beautiful music that feels written beyond the veil is at the heart of what makes the band so captivating and powerful, and it's on full display all over Obey.

Exploded View, the international music project of Annika Henderson, Hugo Quezada, and Martin Thulin has returned and taken flight with their second full-length, Obey. The album was recorded at Hugo's and Martin's studios in Mexico City with Annika visiting from Berlin. Leaving behind their raw, live recording process, and embracing overdubs and multi-instrumentalism, the band has crafted their most ambitious work to date. The four-piece that recorded the band's self-titled debut album and Summer Came Early EP became three to create a more concise collection of songs. Their motivation for creating together remains purely passionate and the improvisational spark the band is known for has morphed into the emotional flames of being close friends with a deep desire to make music with each other.

When asked about the title of the record, singer Annika said 'this is in reference to so many things. We live in a society where we must obey or risk punishment. This can be social punishment, legal punishment, emotional punishment - if you dare to step outside, you will reap the reward. We live in a time when we are selfcertifying a lot. Whether it's how we present ourselves on social media or our diet or our job - we obey the social norms. Our fears are used against us by advertisers. Our fears of growing old or being excluded - we must conform or pay the high price - buy this and you will be accepted. We must obey.' She adds musingly at the end, 'It's also funny because in the band we often feel like we are all compromising, so we must all obey each other's wishes to some extent too.'

Striking the balance between precise and wild, between unshackled and grounded, grooving and unhinged, has always been Exploded View's specialty. They have a special knack for making the esoteric feel accessible and crafting pop music out of seemingly raw consciousness. This unique ability to make beautiful music that feels written beyond the veil is at the heart of what makes the band so captivating and powerful, and it's on full display all over Obey.

The track is lifted from Frøkedal's forthcoming sophomore album 'How We Made It' - released August 31 via Propeller Recordings.

Singles include 'David' - a moment of 'hopeful optimism', following Pitchfork-praised single 'I Don't Care': 'a cheeky, mid-tempo breakup song that shifts between the defiant detachment and hot-headed resentment.'


New music joins Frøkedal's solo debut of 2016 'Hold On Dreamer' - a Norwegian Grammy-nominated effort, reaching international acclaim across the US (The New Yorker, Indie Shuffle), UK (The Sunday Times, The Independent, Q Magazine, Uncut), Germany (i-D, Nothing But Hope and Passion), France (Efflorescence Culturelle, A Nous Paris) and Australia (Vulture Magazine, Double J).

International airplay includes continued support from respected industry tastemakers Lauren Laverne, Marc Riley and Cerys Matthews, BBC Radio 6 Music. European radio support has also been strong on Frøkedal's most recent singles with continued airplay from 26 different stations across 11 European countries.

Over a decade into their musical life as Rue Royale, Brookln and Ruth Dekker are back with In Parallel, an album of bold, rhythmic and sometimes haunting songs born from a time of beauty and tumult. The album was done with the help from Sean Carey (Bon Iver, S. Carey), whos and rhythmic inventiveness adds a new texture to Rue Royale's music.

The Nottingham-based Anglo-American duo have paid their dues with 1,000+ shows in 16 countries. In 2014, the pair took an enforced period of time off the road. After 7 years of virtually non-stop life on-the-road, they needed a breather. Instead, they had a baby. Being joined in life by a daughter, the oft-clichéd pleasure and pain of child rearing became real at home whilst paying the bills and facing up to political upheavals in their dual home countries with Trump and Brexit.

"We're conscious that things have maybe taken a bit longer to kick into gear again than we, and those who follow us, anticipated," says Ruth. "We're now embracing our differing perceptions and balancing imbalances. We're moving forward with a confidence and a sort of wide-angle view comprised of our parallel-realities, exploring these themes and feelings in 'In Parallel'."

Watford based 4-piece The Spitfires consist of songwriter Billy Sullivan on lead vocals and guitar, Sam Long on Bass/backing vocals, Matt Johnson on drums and George Moorhouse on keyboards. Taking in a wide range of influences from reggae and ska through to punk and soul, this melting-pot of musical genres has helped infuse and consolidate the band's own highlyauthentic sound and style into a progressive take for a new generation of fans.

The band have now announced their new single 'Something Worth Fighting For' (taken from the new album Year Zero) will be released 28th September on limited 7' vinyl and digital download through Hatch Records.

'Something Worth Fighting For' is an inspired lyrical and musical foray into tough times with a rhythm to match. Sullivan's take on trying to escape boring suburban life in times of disarray and uncertainty is set to a pulsating mix of dub and reggae influenced horns, guitars and percussion.

Year Zero is the band's best received album to date and reached number 6 in the UK Independent Chart as well as reaching 8 in the UK Vinyl Chart.

The Black Parade, My Chemical Romance's follow-up to its 2004 platinum major-label debut Three
Cheers For Sweet Revenge, "is way more dramatic, way more theatrical, completely over the top, borderline
psychotic," says Gerard Way. "It's the most pure, intense thing we've ever been involved in." Producer by Rob Cavallo (Green Day), the album is a celebration of love and death and darkness. Join The Black Parade.

The Black Parade, My Chemical Romance's follow-up to its 2004 platinum major-label debut Three
Cheers For Sweet Revenge, "is way more dramatic, way more theatrical, completely over the top, borderline
psychotic," says Gerard Way. "It's the most pure, intense thing we've ever been involved in." Producer by Rob Cavallo (Green Day), the album is a celebration of love and death and darkness. Join The Black Parade.

Members club, singles club, fan club...whatever you wanna call it, WONDERFULSOUND launches its new 45 series, dropping a short run 7" single every few weeks in store and online.Tracks will be taken from the best WONDERFULSOUND long players to date, plus forthcoming future gems on the label, with sevens lined up from Nev Cottee, Angelina, Dr Robert, Luca Nieri and new signings, Hi Fires.First up on the WONDERFULSOUND SEVENS series are two tracks taken from R.W. Hedges classic British pop LP released earlier in the year.Pieced together on a canal boat in London, and seemingly pulled from the golden days of easy listening, the new record finds Roy Hedges and songwriting partner, producer, and label-mate Luca Neiri in beautifully compelling form, the collaboration coming after a chance meeting in Hyde Park brought the childhood friends back together, having previously played in bands together during their youth.Guided by Luca Neiri's delicate production vision, Hedges' tracks are quietly dominated by their own restraint, his love for the easy listening era of the 1950s and 60s filtered through a keen ear for doo-wop and rhythm-and-blues, resulting in music that finds a place all of its own in the hustle and bustle of the city; existing as a tender escape from the busy London world that underpinned its creation, full of quaint retreats and charming idiosyncrasies.".. A Magical Collection" - SHINDIG *****

11 new reinterpretations of songs from the award winning 'RELAXER'
featuring Danny Brown, GoldLink, Little Simz, Pusha T, Twin Shadow,
Rejjie Snow and more.
'It's no secret that we love and are influenced by hip hop, and it's
always been a dream of ours to work with hip-hop artists in
reimagining our music. With 'REDUXER' that dream has come true.
We couldn't be happier with the results. This album is truly global,
featuring rappers and producers from all over the world. After a very
long time in the making, we are stoked to share it with you all.'
Putting their own indelible vocals on the songs are, amongst others,
Grammy-nominated US hip hop high flyer GoldLink, platinum-certified
Parisian rapper Lomepal, Berlin powerhouse Kontra K, Dublin-born
breakthrough rapper Rejjie Snow, Australian auteur Tuka, Puerto
Rican rapper PJ Sin Suela and London's acclaimed Little Simz.
The project was first hinted at last month when Virginia Beach hip
hop superstar PushaT and LA synth pop polymath Twin Shadow both
joined alt-J for a surprise performance of 'In Cold Blood' on The Late
Show With Stephen Colbert.
alt-J - one of the most successful British bands of the millennium -
are Joe Newman, Gus Unger-Hamilton and Thom Green. Released
last year, 'RELAXER' flew straight into the Top 10 of the UK Album
Chart ahead of a summer of major international shows, including a
headline show at London's O2 Arena; and headline performances at
numerous festivals. 'RELAXER' is the follow up to their Number One,
Grammy and Brit Award-nominated album 'This Is All Yours' and their
2012 Mercury Prize and Ivor Novello Award-winning debut 'An
Awesome Wave'. Between them, the records have sold in excess of
two million copies and their songs have been streamed more than
one billion times.


A 1. 3WW (feat. Little Simz) [OTG Version]
[B] 2. In Cold Blood (feat. Pusha T) [Twin Shadow Version]
[C] 3. House Of The Rising Sun (feat. Tuka) [Tuka Version]


[F] 6. Adeline (feat. Paigey Cakey and Hex) [ADP Version]
[G] 7. Last Year (feat. GoldLink) [Terrace Martin Version]
[H] 8. Pleader (feat. PJ Sin Suela) [Trooko Version]
[I] 9. 3WW (feat. Lomepal) [Lomepal Version]
[J] 10. In Cold Blood (feat. Kontra K) [Kontra K Version]
[K] 11. Hit Me Like That Snare (feat. Rejjie Snow) [Rejjie Snow Version]

'european Heartbreak' Was Recorded And Coproduced In La With Chris Cohen From Deerhoof
And In Richmond, Virginia With Trey Pollard (natalie
Prass, The Waterboys, Bedouine), Who Oversaw
Horn And String Overdubs From Spacebomb.
A Vast Step Forward From Amber Arcades' Critically
Acclaimed Debut Album 'fading Lines', This Selection
Of Songs Flit Around Europe, From Berlin To Spain To
The South Of France. It's European Not Just In
Lyrical Theme But Also In The Sly Sophistication Of Its
Music: Songs That Carry With Them The Air Of Opentopped Cars On Clifftop Roads, Of Cocktails On The
Terrace At Sunset. And Then The Lyrics Undercut That
Sunny Mood, Artfully And Skilfully.

Mit brachialen Tempowechseln und sägenden Gitarrenriffs sowie klebrig-süßen Arrangements und ungestümen Ausbrüchen zwischen Hardcore, Punk und Alternative stiegen die Pixies gegen Ende der Achtziger zu Independent-Superstars auf. 1987 nahmen Frank Black & Co. bei einer dreitägigen Session 17 Songs für das Demo "The Purple Tape" auf. Eines dieser lila Bänder fiel Ivo Watts-Russel in die Hände, der die Pixies schließlich bei 4AD unter Vertrag nahm. Acht der Demo-Stücke landeten auf der EP "Come On Pilgrim", der ersten Veröffentlichung der Band. Im Jahr 1988 entstand das Debütalbum der Pixies, "Surfer Rosa", produziert von Steve Albini. Wieder hielt sich das Quartett nicht lange im Studio auf, in vierzehn Tagen war alles im Kasten. "Surfer Rosa" enthält "Where Is My Mind?" und damit den sicherlich berühmtesten Song der Band. Das Debüt begeisterte die Kritiker, "Melody Maker" und "Sounds" zeichneten es als "Album des Jahres" aus. Auch rückblickend gilt die Platte als eines der wichtigsten Rockalben jener Zeit. Zum 30-jährigen Veröffentlichungsjubiläum bringt 4AD die beiden Meilensteine zusammen mit dem 1986 mitgeschnittenen Radiokonzert "Live From The Fallout Shelter" noch einmal als Triple-Album heraus.