Pop & Rock Novedades

At first, it's difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio's music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn't jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with 'Stranger Today', a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.

Since forming in Nathan and Tyler's Brighton home four years ago - Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and 'Stranger Today''s opener - Our Girl's members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself ('He did stuff neither me or Soph had ever seen anyone do before,' Tyler remarks), and he became an unofficial fourth member of the group.

'Stranger Today' is a special debut for several reasons: First, because it's the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio's hunger to finally get in the same room and put to tape years' worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. 'What band isn't itching to make their debut But it's quite frightening, knowing you're about to do it,' Wilson remembers.

The real clincher, however, is Our Girl's dynamic, and how it plays out across 'Stranger Today'. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan's visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson's rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love ('I Really Like It'), she's backed by a major-key afterglow. When the subject turns on its head ('Josephine'), out steps a wall of taut, earth-shaking noise. They each 'serve the song,' in Wilson's words, moving in sync but with their own personal slant. Not least on the closer 'Boring', where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.

Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, 'I was finally in the band I wanted to be in.' Almost half a decade later, and this eureka moment is sewn up on 'Stranger Today'. It's the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it's like to be young, invigorated and amongst people who feel the same.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

Traps Ps Are A Band That Breaks less Is More- All The Way Down To less Is Everything.- You
Get It: Like The Minutemen, The Songs Are Short Because They Don't Need To Be Long. And Like
The Minutemen, Sixty Seconds Of Traps Ps Hits Harder And Resonates Longer Than Five-tentwenty
Sloppy Minutes From Somebody Else. Or Like Gang Of Four, Who Got It From James
Brown, Who Is A Fundamental Traps Ps Inspiration-traps Ps Cares About Discipline, Rhythm
And Clarity. Says Drummer Miles Wintner: we Don't Waste Time.

Think Wire's Precision Minimalism, Antidote To The Over-the-top Spectacle Of Punk And
Pop Both. You'll Hear It In seven Voices Or The Album's Title Track. Think Public Image And
That Caustic, Corrosive and Purer For It dissonance. You'll Hear It In two Truths, With Its
Ragged Semi-chorus Of emmmmmmbrace Think The Contortions, Who Tore Out Everything
In Their Songs Except The Rhythm And Discovered There Wasn't Much Else They'd Needed
Anyway, Except For Some Saxophone Used More As Flamethrower Than Musical Instrument.
You'll Hear That As fourth Walls Falls In On Itself. And Then Think About Traps Ps, Who
Thought About What They Didn't Need And Then Threw It Out, And Who Made An Album Only Out Of What They Felt Mattered Most: let It Be What It Is, Says Jeffords. New Chants Is Barely
Twenty Minutes Long but It's Got Everything.

Early chronicles have long enveloped mulberry trees in legend. Some say they're the link between heaven and earth. Others say the red berries are stained from the blood of star-crossed lovers. For over 5,000 years, medicine has been made from their leaves, with some cultures claiming them to be a miracle remedy or even the key to eternal life. Although many stories and attributes surround the mulberry tree, they are known most for one reigning characteristic ::: wisdom. Mulberries wait until the danger of frost is completely gone before they begin to bud, at which point the budding occurs overnight. They are patient. They are restrained. They are calculated. They are everything we're not.

We are tornadoes, sweeping the fields - mutable and unsettled. Storms of impulse; units of destruction. Often our instincts are misguided / lashing out rather than soaking in silence, tuning in to the whispers. Violence is king, and we are its servants ::: eager to please, trained in frenzy, and knowing little else. Since infancy, we've grown used to hearing words far opposite the examples we've been shown. We've been told to douse fires, but we've been handed a torch. Should it be a surprise that the world is burning

Mulberry Violence is the intersection of these two dimensions. It is where stillness meets pandemonium. Dead air meets babel. Harmony meets war. Sisters from the same womb, separated at birth. It serves as a personal document of the everlasting battle inside of us. No one has it figured out; least of all me.

Omori crafted 'The Diet' as a series of what can loosely be defined as love songs that metaphorically channel the frustrations and ruptures of his turbulent 2016-2017 into unforgettable compositions with abstract yet sharply rendered lyrics. Omori's version of the love song medium goes far beyond the la-la-love-you template: 'Only a few deal with loving or falling out of love with an actual, physical person,' says Omori.
'Then there are, like, love songs to my antidepressants or whatever I thought my life would be like at 27. After relocating from Chicago to Los Angeles in 2016, Omori re-examined his whole artistic process. 'Whereas on 'New Misery' I was locked in a room with a producer for a month tinkering away, this time around I wanted the sessions to be a revolving
door of musicians: different people, different aesthetics. I pushed against my inner nature by actively pursuing collaborators.'
'The Diet' was recorded at Velveteen Laboratory with Taylor Locke, whose talents wound up being well-suited to the intricacies of the songs that would become 'The
Diet'. 'He can sing, he is a multi-instrumentalist. On top of that, he is also a producer. Working with him really lent itself to my process of songwriting,' says Omori. 'The Diet' represents a new chapter for the former Smith Westerns member, one in
which he stretches out his songwriting chops and uses his life experience to craft loose-limbed, hook-filled songs that combine pop appeal with finely sutured lyrics. spent my early 20's saddled with the ill-conceived, romantic notion that the best songs are written through suffering. The process of trying out a completely different persona and approach in 'New Misery', and then facing my negative experiences and the shortcomings of that persona, clarified where I wanted my music to go. While
making 'The Diet', my songs were constantly presenting themselves to me, and when I got a chance to listen back and read my song journals I saw what a truly beneficial and cathartic event had taken place.' 'The Diet's collection of 12 songs has
Omori well on his way. LP in gatefold jacket with digital download code.

The breakout success of 2016's 'Puberty 2' saw Mitski
hailed as the new vanguard of indie rock, the one to
save the genre from the white dudes who've
historically dominated it. However, the often
overlooked aspect of being a rising star is the sheer
amount of work that goes into it. 'I had been on the
road for a long time, which is so isolating, and had to
run my own business at the same time,' Mitski
explains, 'a lot of this record was me not having any
feelings, being completely spent, but then trying to
rally myself and wake up and get back to Mitski. I was
feeling really nihilistic and trying to make pop songs.'
Secretly Canadian want their artists to be strong but
they also expect them to be vulnerable. Rather than
avoiding this dilemma, she addresses directly the
power that comes from appearing impenetrable and
loneliness that follows. 'With a lot of the romantic
infatuations I've had,' she says, 'when I look back, I
wonder, 'Did I want them or did I want to be them
Did I love them or did I want to absorb whatever
power they had' I decided I could just be my own
cowboy figure that I so desire.' In 'Be The Cowboy',
Mitski delves into the loneliness of being a symbol and
the loneliness of being someone and how it can feel
so much like being no one.
Fresh off tours with Lorde and Pixies.
Previous album 'Puberty 2' was named One Of The
Best Albums Of 2016 by Rolling Stone, TIME,
Pitchfork, The Guardian, Entertainment Weekly, New
York Times, NPR and SPIN.

After his early material revealed an ambitious new sound borne on the forward-thinking experimentalism of influences like Nick Drake, David Byrne and Arthur Russell, Westerman's single 'Confirmation' - available here on 7' - brought his music to new legions of fans, with Pitchfork profiling him in their Rising and Best New Music columns, saying it 'captures a promising
writer who's learned how to take good ideas and warp them into stranger, more sublime shapes.' Gorilla Vs Bear placed it at Number 10 in their recent Best Tracks Of The Year (So Far) feature. For Westerman, second 7' single 'Edison' is an incisive trip into the inner frailties of a narcissist and the consensus is unanimous: his slick leftfield pop leanings and psychological songwriting have made him one of the most
hotly tipped artists this year. New song 'Easy Money', the flip side to 'Edison', sees Westerman confronting some of his own fixations. He says: 'I started out writing a love song, then it sort of morphed into more of a conversation. It's a conversation I had many times over with someone I care about a lot. The
subject matter is something I was thinking about too often. I wanted to retain a sense of romance in the music as counterpoint to where lyrics ended up, and I tried to make it so the voice seems float within the music. The characters existing in a state of transience.'

After his early material revealed an ambitious new sound borne on the forward-thinking experimentalism of influences like Nick Drake, David Byrne and Arthur Russell, Westerman's single 'Confirmation' - available here on 7' - brought his music to new legions of fans, with Pitchfork profiling him in
their Rising and Best New Music columns, saying it 'captures a promising writer who's learned how to take good ideas and warp them into stranger, more sublime shapes.' Gorilla Vs Bear placed it at Number 10 in their recent Best Tracks Of The Year (So Far) feature. For Westerman, second 7' single 'Edison' is an incisive trip into the inner frailties of a narcissist and the consensus is unanimous: his slick leftfield pop leanings and psychological songwriting have made him one of the most hotly tipped artists this year. New song 'Easy Money', the flip side to 'Edison', sees Westerman confronting some of his own fixations. He says: 'I started out writing a love song, then it sort of morphed into more of a conversation. It's a conversation I had many times over with someone I care about a lot. The subject matter is something I was thinking about too often. I wanted to retain a sense of romance in the music as counterpoint to where lyrics ended up, and I tried to make it so the voice seems float within the music. The characters existing in a state of transience.

The Unrelenting Age Of Anxiety That Surrounds Us All On Both A Personal And Political Level Influenced The Newest Nots 7 anxious Trend / In Glass. It's A Rhythmic Mess Punctuated By Lyrics Dealing With Turmoil And Shock As The New Normal. Both Songs Were Recorded With Andrew Mccalla Straight To Tape In A Top Secret Memphis Haunt Late July 2017.

To Mark The Announcement, Watson Is Streaming 'abandoned Buick', The Second Track To Be Taken From The Album Following The Release Of The Bbc 6 Music Playlisted 'no Fanfare'. 'abandoned Buick' Came About Through A Chance Introduction To A Yamaha Yc30. 'the Band Mates Of State Left A Yamaha Yc30 At The Moshi Moshi Records Hq A Few Years Ago And Somehow I've Ended Up Babysitting The Thing,' Explains Watson On The Making Of The Track. 'i Love This Thing So Much. The Fuzz Setting Through A Fender Amp Is Basically The Most Pleasing Sounding Thing I've Ever Heard. That's What Does The Riff On 'abandoned Buick'. Thanks Mates Of State, Please Don't Come Back For It.'

Blending wiry, dark post-punk with unpredictable art-rock, Drahla have established themselves as a formidable and distinctive band across their two sold out 7' singles and the 2017 Third Article EP. Formed in late 2015, Drahla quickly found their identity in Yorkshire's fertile music scene with their minimal yet robust bass-heavy sound.

Their reputation as a fervent live act is ever-growing, with the band being asked to share stages with the likes of Parquet Courts, METZ, Ought, Buzzcocks, Hookworms, The Cribs and more. Their Third Article EP, produced by Hookworms' MJ, was released at the end of 2017 on the band's own Blank Ad label followed by their first European tour supporting Metz. Third Article finds the band at their most captivating, with track 'Silk Spirit' exhibiting Luciel's mesmerizing spoken drawl, paired with the steady unrelenting wall of sound from Rob Riggs on bass, and Mike Ainsley on drums. After watching the band's self-made video for 'Silk Spirit', Mike Sniper, founder of Brooklyn independent label Captured Tracks, was immediately hooked. The band signed to Captured Tracks shortly after.

Now, having just completed a tour supporting Ought, the band are releasing their commanding new 7-inch single 'Twelve Divisions of the Day', featuring a B-side remix that strikes with as much fervor as the original but leaves a different bite mark. As they commence a slew of May and June shows, including an invitation to play Robert Smith's Meltdown Festival, the band are poised to take their mark as one of the most visceral and exciting new bands on the scene.

Bringing heart to post hardcore, UK-based band
Trash Boat have a lot to say.
Thriving on the success of 2016's 'Nothing I Write
You Can Change What You've Been Through'
(produced by The Wonder Years' Dan Campbell),
the five-piece are ready to explore new depths
with their upcoming album 'Crown Shyness'.
For fans of The Story So Far, Trophy Eyes, Knuckleo
Puck

Blending punk influence with mainstream rock, this
Australian quintet are ready for their big moment.
Trophy Eyes' 'The American Dream' offers a
commentary on the human condition while
providing the huge choruses fans have always
loved.
For fans of The Story So Far, Gang Of Youths.
US tour with Neck Deep

London-based Punk Band Sauna Youth Are Releasing Their Third Album This September Under The Thrilling And Fatal Moniker Deaths. The Album Will Once Again Be Released By Upset The Rhythm.

The Final Part In A Trilogy Of Lps That Started With Dreamlands In 2012 (wide-eyed, Naive Beginnings Introducing Listeners To The World The Records Inhabit), Followed By Distractions Three Years Ago (what Happens While You're Heading Towards A Destination, The Unknowns, The Unexpected Outcomes), The Songs That Comprise Deaths Are Collectively About The Act Of Finishing, An Ode To 'the Ending'.creating This Album Was A Working Research Project Embodying What Is Sometimes The Hardest Part Of Musical Endeavour: Completing A Record. Making A New Album Is Always Daunting, But When All Band Members Also Have Full-time Jobs And Other Commitments It Can Also Seem Logistically Impossible. Then There Is The Nagging, Unattainable Perfectionism That Can Draw Out A Record For Months Or Even Years - An Experience That Didn't Bear Repeating. When Is Something Finished Is Finishing Necessary To Move On The Album Was Created And Facilitated Through A Series Of Deadlines. The Recording Studio Was Booked Before Any Songs Had Been Written. Having A Deadline In Advance Allowed For Productive Freedom Through Limitation And Finite Time: Five Months To Write The Album, That Was It. This Meant Meeting Every Week To Write No Matter How Many Members Could Make It, Filling In On Each Other's Instruments (reminiscent Of How Side-project Monotony Came About: Writer's Block In A Sauna Youth Practice - Removing Yourself From Your Role In A Band Removes The Old Expectations) And Using Automatic Writing Processes. The Limited Time Didn't Allow For Much Reflection And Overworking. Placeholders Became Final Tracks Through Committing To Songs At Early Stages, Keeping Them Immediate. The Album Is Site And Time Specific - Those Months In An Archway In Peckham, Which Live On Through Samples Including Amp Interference From Trains Passing Overhead. It's Also Very Much Of This Specific Point In History, Influences, And Band Members' Lives. This Process Created A Tension Through Trusting Decisions And Not Questioning What Was Produced. The 12 Tracks Touch On Political Rhetoric, Artistic Legacy, Action And Passivity, Work And Leisure, And, Of Course, Distraction, Referencing Many Musical Genres In The Process While Never Leaving Punk's Orbit. Creative Living Becomes More Gruelling And Endless Than The 9 To 5 On 'leisure Time', How Freelance Living And Having Multiple Jobs Both Result In No Free Time. Being In A Band Is Leisure Time, But Can Be A Lot Of Work. Our Lives Should Afford Us With Time, But We Fill It With Activity.'no Personal Space' Looks At The Cyclical Nature Of Music, Referencing 'new Rose' - The First Single By A British Punk Band - Via A Drumbeat And Lyrics, Exploring The Enclosure Of The Genre; A Blown Out Recording Of Practising Constantly Interrupts The Band.'percentages' Was Written At A Point Of Political And Social Upheaval And Problematizes The Use Of Numbers As A Form Of Proof. Whole Groups Of People Have Been Reduced To Statistics For Political Reasons, And People Use And Manipulate Statistics To Prove Any Point They Want.

'in Flux' Is About Whatever Is Opposite To Creativity, What Kills It Dead, The Communication Of A Song Or A Piece Of Art Can Kill It, Even Trying To See An Idea Through To Its Conclusion Can Be What Kills It.the Pure Pop Number 'laura', According To Jonah Falco Who Mixed The Record,  Sounds Like 'the Desperate Bicycles Went To Graduate School In The Fields Of Salisbury While Being Yelled At By Two Sides Of Their Conscience, Oddly Enough, Telling Them The Exact Same Thing.'

'problems' - A Former Monotony Song - Reduces The Punk Song To Its Essential Elements, Aiming To Sound Like Being Inside A Brake Factory And Repeating 'problems' Until It Has Rendered The Word Completely Meaningless.
The Album Ends With A Wild And Playful Rejection Of Patriarchy And A Frustration With Those Who Uphold It Either Willingly Or Through Inaction In The Form Of The Unhinged Theatre 83. It's Like English Music Hall Meets 'we're A Happy Family' By The Ramones.like The Previous Two Albums, Deaths Includes Writing Put To Music. 'swerve' And 'the Patio' Are Extracts From A Short Story Written By Band Member Ecke About The Murder Of An Artist Whose Estate Is Overseen By Her Ambitious Sister, And Is Read By Writer And Frontperson Of Marcel Wave, Maike Hale-jones.

Samples Are As Important As They Ever Were - This Time Including The Aforementioned Electrical Interference, Recordings Of Practice And Youtube Videos Of Lawnmowers And Cafe Noise That People (including Members Of The Band) Listen To While Working To Distract Their Mind In Order To Focus.an Album Once Finished Is Frozen In Time, Solid And No Longer Resistent Or Adaptive To Outside Forces. Does The Difficulty To Find An End Come From The Genre, From Punk's Revisionist Impulse, Redoing The Same Thing Over And Over Do We Avoid An Ending Because Playing In A Band Is A Distraction From Everyday Life

The Album Was Recorded By John Hannon Of No Recording Studios In June 2017 Over Three Days, Mixed By Jonah Falco And Mastered By Kris Lapke.

The Cover Was Shot In A Garden In Brixton By Owen Richards, Who Also Photographed The Covers For The Previous Albums. Additional Artwork Provided By R.m. Phoenix. The First 500 Copies Of The Lp Version Each Come With A Unique 3 Colour Screen-print Produced By Mince At The Positive Press.

Sauna Youth Is Boon, Mince, Ecke And Pines. They Played Together In The Band Monotony, And Between Them Have Played Or Do Play In Other Bands And Music Projects Including Primitive Parts, Feature, Child's Pose, Lilac, Cold Pumas, Oblate, Teufelskreis, Mind Jail, Gold Foil, Tense Men As Well As Being Involved With The Organisations Good Night Out, The Positive Press, Constant Flux & Heart N Soul.
More Previous Press:

The Quietus: A Total Thrill Ride. It's Infectious, A Record And A Band That Don't Shirk Away From Documenting The Toil, But Also Offer Some Fight..'

8/10 In Uncut: ''could Easily Be Passed Off As A Neglected Late 70's Post Punk Classic : A Riot Of Finger-bleeding Eight To The Bar Basslines, Clumpy Drums , Wire-like Guitar Angularity And Unexpectedly Odd Chord Shifts.'

8/10 In Nme: 'sounds Designed To Interrogate Ideas Of What Punk Should Or Could Mean. 'monotony' Is An Experiment In Repetition That Would Make Mark E Smith Envious..'

8/10 In Loud And Quiet: 'a Band Whose Identity Is Stronger Then Ever; A Smart Punk Outfit With Literary Proclivities Who Haven't Forgotten How To Have A Good Time.'

Bona Dish Were A Scratchy Pop Punk Group From Hertfordshire Villages, Brought Together By Their Love Of The Velvets, Supremes And Each Other. They Were Cool, Handsome And Gorgeous. The Songs Are Simple, But At The Same Time Complex. The Dichotomy Of A Two Female, Two Male Line-up Added A Tension That Was Both Sexual And Musically Fragile. You Feel It Might All Fall Apart Any Second, But It Rarely Does.

After Their 'cassette In A Tube' Ploy Worked For A John Peel Play, The Band Released A Cassette On In Phaze And Disbanded Not Long After. Here, Bona Dish Are A Rediscovered Gem With The Zaragoza Tapes, Showcasing The Zest And Spontaneity That Gripped The Uk Diy Scene Of The Time; Their Music Easily Stands The Test Of Time Against Contemporaries Like Television Personalities, The Homosexuals And Marine Girls. This Release Marks The First Vinyl And Cd Release For Bona
Dish, Their Complete Recorded Output Compiled And Remastered.
- Captured Tracks Tenth Anniversary Edition -
- Remastered Reissue Of This Celebrated Uk Diy Band's Entire Output -
- Pressed On Pink Vinyl -
- Limited To 500 Copies -

On her fifth full-length album, How A Fantasy Will Kill Us All, songwriter Corrina Repp charts a path through the unknown. Fueled by a desire to start over and make a clean break with Portland, where she'd lived for 21 years, and where she released a string of albums on HUSH and Mark Kozelek's Caldo Verde label, played with her band Tu Fawning, and appeared semi-regularly on the parody comedy series Portlandia, Repp headed across the country. The promise of a new relationship was waiting for her, but it wasn't to be. Turning away from the failed relationship after three weeks, Repp made survival a full-time occupation. Stowing her possessions in a storage unit in Woodland Hills, California, and leaving with no real plan, Repp embarked on a nomadic journey that would shade her music for years to come. The songs on the new record came together over two fitful, unrooted years that found her working at the Sou'Wester motor lodge on the coast of Washington, staying at the Saint-Erme-Outreet-Ramecourt convent in Northern France where she dedicated herself to playing music, writing songs in a sublet in Los Angeles, and finally, in Louisville, Kentucky, where she holed up with Danny Seim of Menomena to record this album. Recording during the day and retiring to a small, cold room each night with Phil, a stray cat and bad TV box sets to keep her company, Repp found herself drawn to freedom in ways she'd never experienced it. She made friends with Richard Sullivan, an ex-ball player turned painter. She went to parties and art galleries. She spent large swaths of time by herself. These experiences blurred into her art. Built on foundational loops and drones, Repp's songs mingle solid, folk-tinged melodies with distortion, kaleidoscopic pop, and disjointed, cobbled together beats. She buries her resonant anthems under hiss ('Nothing Is On,' 'Look For Paradise'), navigates uncertainty with eerie confidence ('Need You / Don't Need You,' 'Lightest Light') and makes her proclamations of independence sound like faithful hymns ('I'll Take The Storm'). Sometimes she sounds like a gospel singer, sometimes she sounds like a slightly malfunctioning tape deck, but always, she sounds free.

The Earth Girl Helen Brown Center For Planetary Intelligence Band (E.G.H.B.C.F.P.I.B.) is pleased to join forces with In the Red Records and Empty Cellar Records, presenting the first vinyl release of their protolanetary series Four Satelittes Vol. 1. Double gate-folded LP (three sides + etching), the release is a collection of songs and information from the band's 2017 consumer recycled cassette series: Spring: Mercury: Fire, Summer: Mars: War, Fall: Saturn: Communication, and Winter: Venus: Love. The band, related media artists and technicians includes: Heidi Alexander, Jamie Barron, Jamin Barton, Eric Bauer, Aylin Beyce, Emilee Booher, Ryan Browne, Tim Cohen, Grace Cooper, Dave Cousin, Brad Caulkins, Mikal Cronin, Bart Davenport, Brigid Dawson, John Dwyer, Chris Fallon, Lars Finberg, James Finch Jr., Davin Givhan, Dylan Hadley, Dustin Hamman, Kiran Harlow, Wilder Harlow, Graeme Gibson, Tahlia Harbour, Anna Hillburg, Douglas Hilsinger, Warren Huegel, Emmett Kelly, Nora Keys, Shannon Lay, Raven Mahon, Rusty Miller, Charlie Moonheart, Jack Name, Ethan Novikoff, Tim Presley, Ty Segall, Dave Sitek, Sean Smith, Sonny Smith, Kelley Stoltz, Enrique Tena, Alica Vanden Heuvel, Lida Vanden Heuvel and Mikey Young.

London-based punk band Sauna Youth are releasing their third album this September under the thrilling and fatal moniker Deaths. The album will once again be released by Upset the Rhythm.

The final part in a trilogy of LPs that started with Dreamlands in 2012 (wide-eyed, naive beginnings introducing listeners to the world the records inhabit), followed by Distractions three years ago (what happens while you're heading towards a destination, the unknowns, the unexpected outcomes), the songs that comprise Deaths are collectively about the act of finishing, an ode to 'the ending'.Creating this album was a working research project embodying what is sometimes the hardest part of musical endeavour: completing a record. Making a new album is always daunting, but when all band members also have full-time jobs and other commitments it can also seem logistically impossible. Then there is the nagging, unattainable perfectionism that can draw out a record for months or even years - an experience that didn't bear repeating. When is something finished Is finishing necessary to move on The album was created and facilitated through a series of deadlines. The recording studio was booked before any songs had been written. Having a deadline in advance allowed for productive freedom through limitation and finite time: five months to write the album, that was it. This meant meeting every week to write no matter how many members could make it, filling in on each other's instruments (reminiscent of how side-project Monotony came about: writer's block in a Sauna Youth practice - removing yourself from your role in a band removes the old expectations) and using automatic writing processes. The limited time didn't allow for much reflection and overworking. Placeholders became final tracks through committing to songs at early stages, keeping them immediate. The album is site and time specific - those months in an archway in Peckham, which live on through samples including amp interference from trains passing overhead. It's also very much of this specific point in history, influences, and band members' lives. This process created a tension through trusting decisions and not questioning what was produced. The 12 tracks touch on political rhetoric, artistic legacy, action and passivity, work and leisure, and, of course, distraction, referencing many musical genres in the process while never leaving punk's orbit. Creative living becomes more gruelling and endless than the 9 to 5 on 'Leisure Time', how freelance living and having multiple jobs both result in no free time. Being in a band is leisure time, but can be a lot of work. Our lives should afford us with time, but we fill it with activity.'No Personal Space' looks at the cyclical nature of music, referencing 'New Rose' - the first single by a British punk band - via a drumbeat and lyrics, exploring the enclosure of the genre; a blown out recording of practising constantly interrupts the band.'Percentages' was written at a point of political and social upheaval and problematizes the use of numbers as a form of proof. Whole groups of people have been reduced to statistics for political reasons, and people use and manipulate statistics to prove any point they want.

'In Flux' is about whatever is opposite to creativity, what kills it dead, the communication of a song or a piece of art can kill it, even trying to see an idea through to its conclusion can be what kills it.The pure pop number 'Laura', according to Jonah Falco who mixed the record,  sounds like 'The Desperate Bicycles went to graduate school in the fields of Salisbury while being yelled at by two sides of their conscience, oddly enough, telling them the exact same thing.'

'Problems' - a former Monotony song - reduces the punk song to its essential elements, aiming to sound like being inside a brake factory and repeating 'Problems' until it has rendered the word completely meaningless.
The album ends with a wild and playful rejection of patriarchy and a frustration with those who uphold it either willingly or through inaction in the form of the unhinged Theatre 83. It's like English music hall meets 'We're A Happy Family' by The Ramones.Like the previous two albums, Deaths includes writing put to music. 'Swerve' and 'The Patio' are extracts from a short story written by band member Ecke about the murder of an artist whose estate is overseen by her ambitious sister, and is read by writer and frontperson of Marcel Wave, Maike Hale-Jones.

Samples are as important as they ever were - this time including the aforementioned electrical interference, recordings of practice and YouTube videos of lawnmowers and cafe noise that people (including members of the band) listen to while working to distract their mind in order to focus.An album once finished is frozen in time, solid and no longer resistent or adaptive to outside forces. Does the difficulty to find an end come from the genre, from punk's revisionist impulse, redoing the same thing over and over Do we avoid an ending because playing in a band is a distraction from everyday life

The album was recorded by John Hannon of No Recording Studios in June 2017 over three days, mixed by Jonah Falco and mastered by Kris Lapke.

The cover was shot in a garden in Brixton by Owen Richards, who also photographed the covers for the previous albums. Additional artwork provided by R.M. Phoenix. The first 500 copies of the LP version each come with a unique 3 colour screen-print produced by Mince at The Positive Press.

Sauna Youth is Boon, Mince, Ecke and Pines. They played together in the band Monotony, and between them have played or do play in other bands and music projects including Primitive Parts, Feature, Child's Pose, Lilac, Cold Pumas, Oblate, Teufelskreis, Mind Jail, Gold Foil, Tense Men as well as being involved with the organisations Good Night Out, The Positive Press, Constant Flux & Heart n Soul.

Unhinged Aussie grunge captured just as the Scientists were imploding/attempting to explode. Recorded over three days in February 1986, Weird Love is the band''s last ditch effort to bring their bad vibes to bedrooms the world over, a colossal failure and brilliant mistake that sounds best when blasting out of 1982 Corolla's blown Alpine tweeters.

Unhinged Aussie grunge captured just as the Scientists were imploding/attempting to explode. Recorded over three days in February 1986, Weird Love is the band''s last ditch effort to bring their bad vibes to bedrooms the world over, a colossal failure and brilliant mistake that sounds best when blasting out of 1982 Corolla's blown Alpine tweeters.

Die Ep die Tür Ist Zu' Wurde Als Begleitwerk Für Das Album soundtracks Of The Blind Nur In Deutschland Veröffentlicht. Es Enthält Zwei Deutschsprachige Version Der Albumtracks, Ein Stück Was Ursprünglich Für Deren Album - white Light From The Mouth Of Infinity Aufgenommen Wurde, Als Auch 3-live-stücke Die 1995 Eingespielt Sind. Lange Schon Eine Rarität, Dürfte Diese Neuauflage Viele Fans Erfreuen. Die Swans Sind Inzwischen Geschiche, Michael Gira Bereitet Gerade Eine Solo-tournee Vor. Ende Juni Erscheint Die Biographie Von Nick Soulsby - swans: Sacrifice And Transcendence, An Oral History Welche Die Ausgewöhnliche Historie Dieser Band Beleuchtet.

Tindersticks are an English alternative rock band led by the singer Stuart A. Staples. They recorded several albums which became popular years after their release. One of them is the slightly bright but still dark coloured Curtains. The songs on the album develops themselves into intimidate and destructive pearls. Stuart and Co created some melancholic melodies questioning on privacy issues and the feelings of lost. The warmer tones can be found in the vocal parts and putting away some of the depressive moods from their first albums.

Tindersticks recorded eleven albums to date and recorded songs for which Stuart A. Staples wrote lyrics based on his own life and that of people surrounding him.

This expanded edition contains the 15 original album songs plus 9 bonus tracks with, among others, 'Paco's Theme', 'A Marriage Made In Heaven' (duet with Isabella Rossellini) and 'Rented Rooms'.

1LP (+poster + download card)

Limited Edition Pink Colored Vinyl Lp.
One Of The First Grunge Records Ever Released. Sourced From The Original 1985 Master Tapes. Includes Unreleased Bonus Track. Features Mark Arm & Steve Turner Of Mudhoney, Jeff Ament & Stone Gossard Of Pearl Jam. Features Studio Master Tape Box Image W/ Lyrics. Released In 1985, Green River come On Down" Was A Record Existing In Its Sonic Universe--out Of Step With Its Own Time. Was It Glam Was It Punk Was It Metal Was It Cool We Now Know It Was One Of The Building Blocks Of What Mark Arm Would Coin As "grunge" But In 1985 This Record Was A Silent Groundbreaker. It Was Not Only The Raw, Sludgy, Slower Guitar Sound That Makes This Band Important In Its Place In Rock History, But The Members Of Green River Would Go On To Lead Some Of The Biggest Names In The Genre: Mudhoney And Mother Love Bone, The Latter Of Which Also Contained The Roots Of Pearl Jam. The Record Includes The Iconic Original Cover Artwork, Is Pressed On Colored Vinyl, Has A Printed Inner Sleeve With Lyrics And Photo Of The Original Master Tape Box, Plus An Unreleased Rare Bonus Track!

The much anticipated fourth dragSTER album will finally be released on Digipack CD and as a limited edition Red vinyl LP (with DL code) via John Robb's Louder Than War Records label on Friday 17th August 2018.
The Coventry (UK) based five piece have gained a worldwide unique cult-like following thanks to their enigmatic B-Movie inspired style of song-writing and adrenaline fuelled live performances led by the mesmerizing antics of their lead singer, Fi.

Well known for lacing their lyrics with political potency dragSTER have announced details of their fourth studio album which looks set to follow a similar tone to their previous releases ('Step Into The Death-Ray' 2006 Noisemaker Records; now deleted; 'Here Come The Meat Robots' 2010 STP Records, 'Dead Punk' 2014 STP Records);
The music is typically uncompromising, a full throttle assault on the senses that draws on both the bands punk roots and dirty born bad rock 'n' roll coupled with ominous predictions and opinions surrounding democracy, biased media, freedoms and the societal grip held by the shadowy elite powers that be. dragSTER, founder and guitarist, Diesel, said about the new record and it's direction; 'Anti-Everything came about from a real feeling of being manipulated by those with power who seem to see individual thought, art, and free speech as a threat''Anti-Everything' is the bands incendiary reaction; it's the band essentially lashing out, almost screaming, at the sheer apathy of the mainstream. It's their take on mass control, the use of the media as misinformation - fake news. War as creation, not a necessity, the drabness of working class life, technology as control, not freedom. The street littered with millions of surveillance cameras - not for the claimed safety, but for compliance.
The distinct cover art (a collaboration of both dragSTER and designer Marie Sindell at Scarletism Design) perfectly reflects this - it is deliberately Orwellian because that how is life today. Diesel added 'Musically we tried to capture the raw energy of our live shows, we've got something to say and we do it through born-bad spit rock n roll."
Ahead of the album, dragSTER have also released a new music video for 'Damned' the first track taken from the upcoming record; check it out below;

Initial run will all be pink vinyl. Once sold out, we will revert to standard black vinyl.

Unlike boxing, rock and roll is not renowned for great comebacks. A few missteps and then it's usually farewell, have a good life, who are you again Occasionally, though, a true heavy musical champ loses a bout only to re-emerge even stronger later. David Bowie, for example, went through a long fallow period before his renaissance. Paul Weller had a rocky few years before finding his feet as a solo artist. Now we can add a third era-defining voice to that list of champions who returned to reclaim their belt: Liam Gallagher.

After Beady Eye officially split in 2014, Liam found himself out of the bubble' of being in an organised rock group with all the appropriate management apparatus for the first time in twenty years. He fell hard. Suddenly just a regular geezer ( just a regular absolute legend' he clarifies), he had to consider what he was going to do. For a while, he toyed with the idea of moving to Majorca and living Sexy Beast-style' around the pool in the sun. He had a few holidays. He went for lots of jogs. He had a few pints. And he got divorced. And when all that was done he took a long look at himself in the mirror and remembered who he is and what he does. He's Liam Gallagher, son of Peggy Gallagher, of Burnage, Manchester, the best singer and frontman of his generation. So he decided to start singing some songs again. Majorca could wait.

Playing around in his own idiosyncratic style on a guitar at home in London, he surprised himself by writing a song. I am definitely not a professional at it,' he says, modestly. It's proper Frankenstein tackle. But I suppose everyone has their ways. Even Paul McCartney didn't just sit down and write Hey Jude straight away.'

The song that he wrote was a heavy dollop of soul-rock called Bold and strong enough to get him signed to Warner Bros. There was something there alright. Eventually, he had a whole batch of songs written which he demoed with a multi-instrumentalist called Dan McDougall in London before he started to meet producers and co-writers. Warner Bros said to me, 'Are you up for a bit of co-writing I was, like, 'never done that before. Why not'' He flew out to LA, met a few, but really hit it off with Greg Kurstin. Greg Kurstin played me a few ideas, we had a chat, swapped some ideas, sorted it out and before you know we had some more songs. I'm as surprised as anyone that it worked, but the songs we did are top.'

These songs include Liam's incredible first single as a solo artist, Wall Of Glass. If you had to make an equation of all the elements that made the early Oasis singles so apocalyptically good - i.e, huge waves of guitar hooks + melody you can't shake for...ever + thunderous rhythm + LIAM GALLAGHER'S VOICE delivering an unbelievably catchy chorus - then Wall Of Glass fits in the lineage perfectly. It's hard to recall a time he's sung better - it's like hearing him for the first time again, the same yearning menace that claimed a million hearts by the end of Supersonic's first chorus. His voice is definitely on point.

Yeah, well,' he almost agrees. I'm a good singer, man! Nine out of ten times I nail it. In a studio, without a doubt. Never done a shit vocal there.'

Regis' Downwards label presents an album of heavy hearted industrial songs from Ora Iso, making a kind of windswept, slowed-down and gothic pop variant that's essential listening if yr into HTRK, Tropic of Cancer or Clay Rendering. Ora Iso are an NYC-hailing band revolving around Indonesian-Australian, Kathleen Malay and New Yorker, Jason Kudo. Building on the rubbly ground of their Bathcat debut for Ba Da Bing!, the duo's mutual sense of entropy and ennui results in a classically scorched sound in Image Certifies, one laced with scornful sarcasm and a general dissatisfaction with the world, and yet somehow bolstered by the slightest promise of hope. Weighing in their heavy, bleeding hearts on 10 brittle dirges described by the band as 'A love letter to a society dying of its own self-induced cancers', Ora Iso play to Downwards' most maudlin aspects with a sound that clearly resonates with their previous releases by Eyeless In Gaza or Tropic Of Cancer, but here blessed with a strung-out, unyielding and lugubrious quality they can surely call their own. As will become patently obvious, Image Certifies is not a record that takes itself lightly, and when the mood is right, the blend of Kathleen Malay's stark, cracked, gothic vocals with Jason's Kudo's cranky as hell Vainio-esque instrumental backdrops is a perfect accompaniment to moments of introspection and misanthropy. From almost BM-styled beginnings on No Fish, their agenda becomes apparent as it grows into a slow rolling fog of distant, evocative vocals wailing worn-out nothings about 'the future' and 'the children' in an effortlessly sensuous and blank-eyed style that worms thru the record, peaking in highlights such as the jagged Dead Riot, and the folksier trudge of Pour It On Me, whilst the bollocked drums of From The Hallway To The Door and the exquisitely succinct Have I Gone Too Far packs a more gothic electronic crunch recalling NIN or Clay Rendering.

* 180 gram audiophile vinyl
* Available on vinyl for the first time
* Debut album by Arid feat. Jasper Steverlinck
* Includes the singles "Life", "Believer" & "Too Late Tonight" + bonus track "Soiree"
* First pressing of 500 individually numbered copies on transparent red vinyl

The Belgian Rock Band Arid Is Led By The Guitarist Jasper Steverlinck And Since Their Formation In 1995 They're Diving Into The Musical World Of Artists Like Jeff Buckley, Pearl Jam And Robert Plant. The Musical Diversity Took Them From The Heavy Metal Of Their First Year To A Rock-based Approach On Debut Album Little Things Of Venom. The Emotional Rock Is Dripped Into Roots Music On The Different Tracks From The Album. For Example, "me And My Melody" Fits Well With The Concept Of Progressive Rock With The Musical Changes. The Acoustic Start Of The Song "life" Means The Advance To The Changes Of Rhythms. While Listening To Their Music You'll Hear The Diversity And Intensity.

The Album Is Available On Vinyl For The First Time And Includes The Bonus Track "soiree". The First Pressing Of 500 Individually Numbered Copies Is Available On Transparent Red Vinyl.

The Lyon band's recent collaborations with Virginie Despentes and Béatrice Dalle put them in the spotlight they deserved but this is just the latest chapter of a story started when they were young more than 25 years ago by Eric Aldéa and the drummer Franck Laurino. In the Deity Guns (89-93) and Bästard (93-98) and in a handful of albums (including productions by Lee Ranaldo of Sonic Youth or Andy Briant de Tortoise*), they were simply the pioneers of post-rock in France. And yet the chapter that arrives today almost resembles the "debut album" of a young band shot through with a fiery and insatiable desire to take on the world. A complex, distressing and oppressive world which is nonetheless rich in its very confusion. "Isn't it all a bit of a mess" seems to be suggested by the title of this new album "Is not That Mayhem' and its striking post-apocalyptic graphic art. There are no limits and who cares what tools, sounds and instruments are used There is trombone on the insistent instrumental We Blew It and even a kind of liturgical organ at the end of Five vs Six. The whole album catches hold of you with its hypnotic layering (Deranged, Myself as a Fool), a chorus in unstable equilibrium (Fake From The Start), an unstoppable rhythm (Marathon Woman walking force), a singular tone of voice (the almost blues-like Alligator Wine borrowed from Screamin' Jay Hawkins), a guitar riff as simple as a tree that hides the forest of variations, advancing from behind to play with neurons and sensations (Recife, 1974 ) ... Just like the old











[L]D1/ Alligator Wine [Screamin' Jay Hawkins cover]

This very productive trumpeter and bandleader hails from El Paso, Texas. 'Mucha Salsa' from 1978 is essentially an obscure salsa set from Ray Camacho - an artist who always seems willing to mix up styles in his music. That's definitely the case here, as Ray mixes straighter Latin modes with a few border touches - creating a hybrid of New York and Mexican modes that's pretty unique - but which also has some occasional funk and soul currents that are probably the record's strongest suit. Ray plays trumpet off course and the rest of the group includes guitar, trombone, and plenty of percussion - plus sax and piano from Manuel Palafox, who also handles arrangements. Titles include a great cover of "Low Rider", dubbed "El Pachuco", the Latin funk number "Tomas Al Timbal" and a funky take on Brass Construction's "Movin On". Plus the o so sweet cover of Aaron Neville's classic ballad 'Tell It Like It Is' here named 'Dime La Verdad'. This carefully prepared record is the first proper reissue in 40 years of this amazingly diverse project. In all it's original glory! - Based on a review of the ever amazing

This is a very limited 7" picture disc of the brand new Clutch tracks "How To Shake Hands" (Blue Side) and "Gimme The Keys" (Green Side). It comes in a PVC sleeve with flap and has a product sticker on the front. The Pennsylvania Dutch hex motif of the two sides of this 7" goes with the general Americana feel of this overall release campaign. A Clutch collector's item if there ever was one.