Pop & Rock News

The Crispies sind Tino Romana (Gesang), Rob Wolfe (Gitarre), Parsa Sarraf (Bass) und Peter Ferdinand (Schlagzeug). Die Band wurde nach Schulabschluss 2014 in Wolfes Keller gegründet, teils aus Perspektivlosigkeit, teils aus Spaß. So speist sich auch ihr Selbstverständnis aus der Spannung zwischen Langeweile und Exzess, zwischen Selbstironie und der Ernsthaftigkeit von Rock 'n' Roll Klischees in Lederjacken und zerrissenen Jeans. Fragt man die Band selbst, so vergleichen sie ihre Musik gerne mit analoger Fotografie: spontane Momentaufnahmen, manchmal schön, manchmal etwas kaputt. Ihr Debütalbum "Death Row Kids" erschien im Oktober 2016 auf Seayou Records. Ihr zweites Album "Fake Leather" erscheint im März 2018, ebenfalls auf Seayou Records.

What are Dog Chocolate bothering us with now What is it They have a new album called 'Moody Balloon Baby'. Musically it's as frantic and frayed as we've come to expect, loose and whittled to a sharp point, but the knots are visible. Following the album Snack Fans (2016) and Or, a spilt with Ravioli me Away (2014), this time it's all faster and there are more textures.
Textures that come to mind:
*A plastic broom that has been used to sweep up glowing embers and the bristles have melted . *A pink chalk that got stepped on . *A green beam from a laser-pen scuttling around on a pebbledash facade . A biro shoved through a custard doughnut.
 
The band are four people:
*Jonathan hits 2 drums and a cymbal with force and conviction . *Matthew plays his guitar through an array of confounding soundhouses . *Robert has no soundhouses but his guitar fingers are deft . *Andrew tends to a pocket menagerie of homemade percussion, keyboard and harmonica 

Some of the subjects addressed include:
*Subconscious inspiration . *English nationalism . *The post-colonial discomfort surrounding museum displays . *The enigma of rocks . *Wanting to be tiny and free of responsibilities in the face of the massive world . *Environmental concern/internet guilt
*Cosmic aligned co-incidences and why to trust them
 
A recurring theme on the album is an investigation of the creative act itself. What does it mean to make things Does it matter if those things are ignored or forgotten Why be in a band at all What are the problems with the Genius narrative Is it ever OK to use animals in your art In the face of a weird world getting ever weirder what role does art play, if any at all
The Jury is out on whether Dog Chocolate is a self-help band or an ideologically foggy protest band, but in just under 25 minutes the band manage to cram in bucket-loads of ideas, mess, confusion and fun.  Now all that is left to be done is to round off this press release with a perfectly pithy finishing line.  

In the sunken lands of Arkansas along I-55, there's a road sign that directs you to a pair of tiny, hardscrabble towns in the Delta. It reads: Marie/Lepanto. Situated roughly between Southeast Missouri and Western Arkansas — the two points where singer-songwriters Will Johnson and Justin Peter Kinkel-Schuster grew up — that dual appellation seemed a perfect handle for their new collaboration. It's especially fitting as their debut, Tenkiller, is an album permeated by a sense of place. For Johnson, the veteran singer-songwriter and longtime leader of Centro-matic, his union with Kinkel-Schuster, of Water Liars and Theodore, fits a pattern. In his work with South San Gabriel, Monsters of Folk, and Overseas, collaboration has long been the cornerstone of his creativity. Like his other endeavors, Marie/Lepanto was born out of a musical kinship and personal respect. The Austin-based Johnson and the Arkansas-based Kinkel-Schuster travelled to the Bluff City to record with Powell, resulting in the 10-track Tenkiller. The intimate sessions found Johnson and Kinkel-Schuster sharing writing, playing and vocal duties, yielding an album that falls in the great tradition of indie rock team ups - from Nikki Sudden and Dave Kusworth to Vic Chesnutt and Lambchop, Peter Buck and Kevn Kinney to Kim Gordon and Lydia Lunch.
The debut album from Marie/Lepanto featuring Will Johnson (Centro-Matic, Monsters of Folk, South San Gabriel, Overseas) and Justin Peter Kinkel-Schuster (Water Liars, Theodore)

Full Time Hobby's first album announcement of 2018 comes in the shape of a compilation of Micah P. Hinson's performances at the BBC over the last 15 years. Re-mastered at Bent Leaf Studios in Texas, overseen by Micah himself at the end of last year, these 11 tracks were picked from a wealth of cuts from Micah's visits to Marc Riley over the course of nine albums. Micah offered some insight into the personal importance of these sessions: "I owe Sir Marc a deep gratitude that spans back years now. In this life, champions are needed- yet they are rare. As if I was deep in the amazon, I had found a flower not yet known to the world and people would congratulate me on what had found and what I had brought to the world- and Marc was the first one in line, hand outstretched, a grin on his face." Marc also spoke about his experience of having Micah in to play for him over the years: "I remember the first time Micah came in to do a session for us. 18th September 2004. It was at the time of his debut '...And The Gospel Of Progress' LP which I absolutely loved. He was backed by The Earlies (as he was on the record) and the session was mind-blowing. The songs were fantastic, Micah's voice made Johnny Cash sound like Aled Jones. He told tales of being thrown in jail.. of suffering great dramatic losses in his life. I remember asking him to clarify how old he was on air and he replied 23 Sir'.

Sorority Noise have just announced their new album YNAAYT, an acoustic reimagining of their 2017 critically acclaimed album You're Not As ____ As You Think. Featuring acoustic reworkings of many of the songs on the original record, as well as some new material including a Leonard Cohen cover, don't miss out on the chance to hear a different, more intimate side to Sorority Noise.
Follows on from 2017's 'You're Not As _____ As You Think', critically acclaimed by outlets such as Pitchfork, Consequence of Sound, The Fader, Spin, AV Club, Kerrang, Rock Sound, Upset and Stereogum. Band will be on the UK in April 2018 supporting The Wonder Years. Band have previously toured with the likes of Citizen, Turnover, The Menzingers and Modern Baseball.

What is Wuw', you ask WuW' is the sound wind makes when it blows on a hot night, it's a low-end murmur that grabs you by the guts, a blast of air rushing through the mountains and the oceans. French metal / post metal veterans, brothers Benjamin and Guillaume Colin new project drawing inspiration from doom/post-hardcore/sludge (Harvey Milk, Acid King, Neurosis), to 90's Black Metal (Mayhem, Burzum, Darkthrone, Emperor) to Prog/psychedelic/krautrock from the 70s (King Crimson, Magma, Can, Brian Eno) toExperimental electronic music (Autechre, Ben Frost, Boards Of Canada) and beyond
* Debut release for PROSTHETIC RECORDS * The most unique album you'll hear in 2018 from Prosthetic Records * Includes members of seminal French underground act ABRAHMA, Brothers, Benjamin and Guillaume, also produced and toured with BLAAK HEAT (Svart Records/Tee Pee Records) and SONNY SIMMONS & MOKSHA SAMNYASIN (Svart Records). Members are classically trained percussionists and have performed with and recorded a number of jazz outfits, pop bands, classical contemporary orchestras, world music ensembles as well as traditional Middle Eastern musicians. For fans of: Neurosis, Earth, Wolves In The Throne Room , Ennio Morricone, Godspeed You! Black Emperor.

Well, this is not the same DISCHARGE that we all know and love. Technically it's the same band, but it sounds completely different. As the title states, this LP is their early demo recordings from March - June, 1977. If you've never heard this, and someone played it at a party, you would never guess who it is. No, this is not the raging D-beat hardcore that we're all accustomed to. The punk on this record is so '77 that it's almost ridiculous, very much a product of its time. The music is extremely basic, very simple, very primitive, and completely callow. It doesn't have the political, anti-war out rage either, instead we have songs with titles like, 'I Don't Care', 'Acne', 'I love Dead Babies', and 'Sweet Suburban Dreams'. And if the lyrical content wasn't enough to convince you that this is actually a lost SEX PISTOLS demo, then the vocal style, which sounds strikingly similar to Johnny Rotten, will. There is no list of members who played on these demos, so I have no idea how many of the members went on to be in the later incarnations of DISCHARGE. The whole record screams of the early days of young, snotty, pissed off punks filled with teen angst. I guess if you're a huge DISCHARGE completist, you should pick this up, or if your really into the raw, primal '77 punk sound. Limited edition of 500 hand numbered copies.

Well, this is not the same DISCHARGE that we all know and love. Technically it's the same band, but it sounds completely different. As the title states, this LP is their early demo recordings from March - June, 1977. If you've never heard this, and someone played it at a party, you would never guess who it is. No, this is not the raging D-beat hardcore that we're all accustomed to. The punk on this record is so '77 that it's almost ridiculous, very much a product of its time. The music is extremely basic, very simple, very primitive, and completely callow. It doesn't have the political, anti-war out rage either, instead we have songs with titles like, 'I Don't Care', 'Acne', 'I love Dead Babies', and 'Sweet Suburban Dreams'. And if the lyrical content wasn't enough to convince you that this is actually a lost SEX PISTOLS demo, then the vocal style, which sounds strikingly similar to Johnny Rotten, will. There is no list of members who played on these demos, so I have no idea how many of the members went on to be in the later incarnations of DISCHARGE. The whole record screams of the early days of young, snotty, pissed off punks filled with teen angst. I guess if you're a huge DISCHARGE completist, you should pick this up, or if your really into the raw, primal '77 punk sound. Limited edition of 500 hand numbered copies.

"Necessary brattiness" is the motto for Speedy Ortiz's dauntless new collection of songs, Twerp Verse, out on April 27th via Carpark Records. The follow-up to 2015's acclaimed Foil Deer, the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they've endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being "outrageous and practical" in order to be heard at all. "You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world," says Dupuis. "I call it a 'twerp verse' when a musician guests on a track and says something totally outlandish - like a Lil Wayne verse - but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.Speedy Ortiz has established itself as one of this decade's most vibrant bands since their 2012 debut EP Sports. That EP introduced listeners to the band's constant study of contrasts, with Sadie Dupuis' gnarled riffs acting as both counterpoint to and bolsterer of her acerbic, conversational poetry. 2013's Major Arcana went further, the members' reflexive chemistry inspiring them to push the limits of their sound, while 2015's Foil Deer added headphone-ready detailing to the already clamorous mix. Their no-nonsense approach to progress, as evidenced by initiatives like their first of its kind in-concert "help hotline," and Dupuis' tackling of issues like bystander intervention and inclusivity in the music industry—in her lyrics, and as a frequent panelist and speaker—makes the band poised to surge into the future.

Twerp Verse, Speedy's third album and first with Philadelphian Andy Molholt (Laser Background) on second guitar, is urgent and taut, adding surprising textures like Linn drums and whirled guitar processing to their off-kilter hooks. Dupuis, whose electropop solo project Sad13 debuted in 2016 shortly after her own move to Philadelphia, has become more instinctive in her songwriting—her home-recorded demos mirror Twerp Verse's songs in a closer way than any other Speedy record—while her lyrics have become more pointedly witty. The band's camaraderie and crate-digging is evident, with diffuse reference points like Squeeze, Hop Along, Prince, Paramore, and Brenda Lee being sucked into the band's chaos. Even when Dupuis sings of alienation and political weariness, the pop maelstrom swirling around her provides a defiantly charged, mussed-but-hooky optimism.

Now as public pushback against the old guards reaches a fever pitch - in the White House, Hollywood and beyond - the band fires shots in disillusioned Gen Y theme "Lucky 88," and casts a side-eye towards suitors-turned-monsters in the cold-blooded single "Villain." Closing track "You Hate The Title" is a slinky traipse through the banality of this current moment in patriarchy - in which survivors are given the mic, but nitpicked over the timbre of their testimonies. "You hate the title, but you're digging the song," Dupuis sings wryly, "You like it in theory, but it's rubbing you wrong." Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck).

Deluxe LP is pink coloured vinyl with rainbow splatter in gatefold jacket. Includes Bonus

"Necessary brattiness" is the motto for Speedy Ortiz's dauntless new collection of songs, Twerp Verse, out on April 27th via Carpark Records. The follow-up to 2015's acclaimed Foil Deer, the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they've endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being "outrageous and practical" in order to be heard at all. "You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world," says Dupuis. "I call it a 'twerp verse' when a musician guests on a track and says something totally outlandish - like a Lil Wayne verse - but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.'

Speedy Ortiz has established itself as one of this decade's most vibrant bands since their 2012 debut EP Sports. That EP introduced listeners to the band's constant study of contrasts, with Sadie Dupuis' gnarled riffs acting as both counterpoint to and bolsterer of her acerbic, conversational poetry. 2013's Major Arcana went further, the members' reflexive chemistry inspiring them to push the limits of their sound, while 2015's Foil Deer added headphone-ready detailing to the already clamorous mix. Their no-nonsense approach to progress, as evidenced by initiatives like their first of its kind in-concert "help hotline," and Dupuis' tackling of issues like bystander intervention and inclusivity in the music industry—in her lyrics, and as a frequent panelist and speaker—makes the band poised to surge into the future.

Twerp Verse, Speedy's third album and first with Philadelphian Andy Molholt (Laser Background) on second guitar, is urgent and taut, adding surprising textures like Linn drums and whirled guitar processing to their off-kilter hooks. Dupuis, whose electropop solo project Sad13 debuted in 2016 shortly after her own move to Philadelphia, has become more instinctive in her songwriting—her home-recorded demos mirror Twerp Verse's songs in a closer way than any other Speedy record—while her lyrics have become more pointedly witty. The band's camaraderie and crate-digging is evident, with diffuse reference points like Squeeze, Hop Along, Prince, Paramore, and Brenda Lee being sucked into the band's chaos. Even when Dupuis sings of alienation and political weariness, the pop maelstrom swirling around her provides a defiantly charged, mussed-but-hooky optimism.

Now as public pushback against the old guards reaches a fever pitch - in the White House, Hollywood and beyond - the band fires shots in disillusioned Gen Y theme "Lucky 88," and casts a side-eye towards suitors-turned-monsters in the cold-blooded single "Villain." Closing track "You Hate The Title" is a slinky traipse through the banality of this current moment in patriarchy - in which survivors are given the mic, but nitpicked over the timbre of their testimonies. "You hate the title, but you're digging the song," Dupuis sings wryly, "You like it in theory, but it's rubbing you wrong." Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck).

Cassette - 4-panel j-card - artwork by sadie dupuis - purple cassette - includes digital download

"Necessary brattiness" is the motto for Speedy Ortiz's dauntless new collection of songs, Twerp Verse, out on April 27th via Carpark Records. The follow-up to 2015's acclaimed Foil Deer, the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they've endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being "outrageous and practical" in order to be heard at all. "You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world," says Dupuis. "I call it a 'twerp verse' when a musician guests on a track and says something totally outlandish - like a Lil Wayne verse - but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.'

Speedy Ortiz has established itself as one of this decade's most vibrant bands since their 2012 debut EP Sports. That EP introduced listeners to the band's constant study of contrasts, with Sadie Dupuis' gnarled riffs acting as both counterpoint to and bolsterer of her acerbic, conversational poetry. 2013's Major Arcana went further, the members' reflexive chemistry inspiring them to push the limits of their sound, while 2015's Foil Deer added headphone-ready detailing to the already clamorous mix. Their no-nonsense approach to progress, as evidenced by initiatives like their first of its kind in-concert "help hotline," and Dupuis' tackling of issues like bystander intervention and inclusivity in the music industry—in her lyrics, and as a frequent panelist and speaker—makes the band poised to surge into the future.

Twerp Verse, Speedy's third album and first with Philadelphian Andy Molholt (Laser Background) on second guitar, is urgent and taut, adding surprising textures like Linn drums and whirled guitar processing to their off-kilter hooks. Dupuis, whose electropop solo project Sad13 debuted in 2016 shortly after her own move to Philadelphia, has become more instinctive in her songwriting—her home-recorded demos mirror Twerp Verse's songs in a closer way than any other Speedy record—while her lyrics have become more pointedly witty. The band's camaraderie and crate-digging is evident, with diffuse reference points like Squeeze, Hop Along, Prince, Paramore, and Brenda Lee being sucked into the band's chaos. Even when Dupuis sings of alienation and political weariness, the pop maelstrom swirling around her provides a defiantly charged, mussed-but-hooky optimism.

Now as public pushback against the old guards reaches a fever pitch - in the White House, Hollywood and beyond - the band fires shots in disillusioned Gen Y theme "Lucky 88," and casts a side-eye towards suitors-turned-monsters in the cold-blooded single "Villain." Closing track "You Hate The Title" is a slinky traipse through the banality of this current moment in patriarchy - in which survivors are given the mic, but nitpicked over the timbre of their testimonies. "You hate the title, but you're digging the song," Dupuis sings wryly, "You like it in theory, but it's rubbing you wrong." Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck).

King Gizzard & The Lizard nähern sich mit diesem Werk der Zielgeraden ihres 5-Alben-in-einem-Jahr-Marathons. "Polygondwanaland" heißt Album Nummer vier und erscheint in 2018 nun erstmals offiziell als CD und LP.

Doppelalbum mit sämtlichen Albumtracks, Singles samt B-Seiten plus weiteren Raritäten des Debütalbums "Declaration" (1984) der legendären, britischen Alternative-Rock-Band The Alarm. Remastered von den Original Tapes unter Aufsicht des Sängers Mike Peters. Ausführliche Sleevenotes mit Beiträgen sämtlicher Bandmitglieder, Original-Artwork und bislang unveröffentlichtem Fotomaterial. Beide Formate wurden jeweils mit unterschiedlichen, exklusiven Bonustracks sowie Long-, Acoustic- und US-Radio-Versions ihrer Klassiker erweitert.

Wer sind eigentlich diese vier jungen Männer, die vor acht Jahren wie eine Erleuchtung aus der schönsten
oberbayerischen Landschaft erschienen Aus Oberammergau kommend, brachten sie ihre Musik, die
irgendwo zwischen Alpenlandschaften und kritisch-weltläufiger Querköpfigkeit pendelt, in die Städte. So hatte
man das noch nicht gehört - mit dem Instrumentarium einer halben Blaskapelle, ergänzt durch Orgel, Zither,
Schlagzeug und einen Sprachsog aus Dialekt und Hochdeutsch. Mit unverstellten Blicken in die
ungesehensten Alltagswinkel haben sie es geschafft, ihren ganz eigenen Kosmos in die Welt hinauszutragen.
Nun haben Kofelgschroa mit "Baaz" eine neue Umlaufbahn erreicht. "Baaz", das titelgebende Herzstück der
neuen Platte, entführt mit psychedelisch angehauchten Elektrosounds in einen längst vergessen geglaubten
Krautrocksommer - fast neun Minuten pulsiert, treibt, wabert und flirrt es. Dann "Pauline" - ein instrumentaler
Bilderbogen, zu dem sich im Kopf eine seltsame, fast schwerelose Weite einstellt, sehnsuchtsvoll und auch
wehmütig. In "Ballon" steigen wir mit Kofelgschroa hoch in den Himmel und schauen mit ihnen auf all das
Kleine und scheinbar Banale: "Jeden Tag wird's Abend und bis jetzt ist es immer wieder Morgen geworden.
Die Jahre gehen in Schleife, bin i hinten fertig, fang i an von vorn, ohne Ende ohne Anfang, konstant schnell
oder langsam." Auch wenn wir uns mit Kofelgschroa immer mal wieder umschauen, das Klanguniversum der
Vier bleibt doch im Jetzt und macht den Blick weit für das, was grade im Moment durch die Welt tobt. Auch,
aber eben nicht längst nur in Oberammergau

Sorry are a new London band centred around Asha Lorenz and
Louis O'Bryen, two 19-year-old childhood best friends, who
along with Lincoln Barrett (drums) and Campbell Baum (bass)
have been playing on London's underground circuit since 2015.

This 7' is their second official release for Domino Records,
featuring Asha and Louis' twisted twin vocals punctuating a
typically catchy chorus laden with grungy guitars and surging
beats on lead single '2 Down 2 Dance'.

Both tracks are produced by Ollie Barton-Wood (Alaskalaska,
HMLTD). This spring they will support Sunflower Bean on their
UK tour.

Hotly tipped by the likes of NME, DIY, Dazed, Dork, Loud &
Quiet, Noisey and championed by Radio 1 Huw Stephens, the
band are moving from strength to strength, due to appear on
the cover of So Young magazine in the March issue.
I'm really excited about this band... I think that's brilliant.
Definitely a band to look out for in the future, I like that a lot' -
Huw Stephens, Radio 1

I'm into this lot, they're just the right side of misery' - Tom
Ravenscroft, 6Music

There's just a different vibe to this band than a lot of other
acts in the UK at the moment. They remind me a bit of Nirvana
in a way, in the weirdness and the leftfield-ness of it... I think
their strongest point is the weird Avant-garde-ness of it.' - Matt
Wilkinson, Beats 1

Black 7' vinyl in spineless jacket and paper inners. Includes
digital download code.

Debut album from all female quartet, Marine.

Marine make music that bridges the gaps between spectral pop, dreamy grunge and ambient folk, whilst lyrically exploring ancient tales of mythology and the underworld.

Since forming in 2014, the band - made up of Cara Sebastian (lead vocals, guitar and 'Fable Electric' artwork), Ruby Jack (lead vocals and guitar), Beth Dariti (bass) and Kaja Magsam (drums) - have been running their own show in their own way, touring across Europe and the UK and quickly building a cult following in both Berlin and London, whilst racking up support from tastemakers at 6Music and across the blogosphere.

Produced by Rob Ellis Ellis (Anna Calvi, PJ Harvey, Cold Specks)

The Shadows is the new album from Leeds-based six-piece Tomorrow We Sail. Building on their debut release For Those Who Caught the Sun in Flight (Gizeh, 2014) over the course of three years, this new work combines perfectly the soaring atmospherics, gorgeously intertwined vocal harmonies and dramatic shifts in tone and dynamics that have come to characterise Tomorrow We Sail's sound. Yet, there is a new sense of urgency here. Very much an album of its time, The Shadows draws upon the same sense of connection to both past and present that defined its precursor but features storytelling that's even more defiant and deeply personal.
Like its predecessor, the record features seven songs but from the chiming guitars of opening track Side By Side it is clear that the stately pace of For Those Who Caught the Sun in Flight has made way for a far more dynamic and driving energy; perhaps best captured in the righteous anger of The Ghost of John Maynard Keynes. Tomorrow We Sail still invoke a keen sense of measured grace in their songwriting - from the sweeping, elegiac title track, through to the sparse, restrained, yet haunting beauty of Winifred and To Sleep. Urgent, yet assured, The Shadows demands your attention.

Limited to 250 numbered transparent red 180g vinyl in beautiful high gloss sleeve

Includes unlimited streaming of Nil By Mouth: The Singles via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

DELUXE VINYL EDITION!!!
By the time of their performance at the Bizarre Festival on 17th August 1996, Nick Cave and The Bad Seeds were enjoying their most successful era to date. Their latest album Murder Ballads, released in February that year, was their best-selling record yet, having topped the charts in three countries and reached the Top 10 in a further five. This was aided in no small part by Nick Cave's duet with Kylie Minogue on 'Where the Wild Roses Grow', which was a worldwide hit and earned the band two ARIA awards. The video received repeated airplay on MTV, who would later nominate Nick Cave for Best Male Artist at the MTV Awards. Nick and the Seeds toured Europe, Asia and South America in support of the album, and it is their entire performance at the Bizarre Festival that is included here. Recorded and broadcast on FM radio throughout the United States, who had curiously been left off the tour's itinerary, the group captured the dark, brooding nature of Murder Ballads perfectly in their set, which included too classics from their back catalogue such as 'The Weeping Song' and 'The Mercy Seat'. As a grand finale, the band were joined by PJ Harvey - with whom Cave was romantically linked at the time - for a rendition of 'Henry Lee'.

The Band Of Endless Noise has been active since 2000. The self-titled album which is now being reissued on a beautiful yellow vinyl LP as a Gusstaff Records/Endless Band Records collaboration was originally released as a CD/MC in 2001. It was released in Poland by the legendary post-punk label Antena Krzyku. It featured Anna Nacher and Marek Styczynski of The Magic Carpathians, previously members of the avant-folk innovators Atman. The album was distributed in the USA by Revolver and in Europe by Konkurrent. In 2001 a song off the debut album, "We, Wearing The Sunglasses", was included on Cutting Edge Music From Eastern Europe compilation released by Tamizdat (USA), along with such great artists as Iva Bittova, Vera Bila and Robotobibok. The song was also aired by John Peel on his BBC Radio One show. The album got positive reviews all over the world.

In 2005 Post_Post/Rockers Publishing released the second full-length by The Band Of Endless Noise, Riders On The Bikes (produced by Mapa's Marcin Dymiter). In the years 2009-2010 Andrzej Widota cooperated with The Magic Carpathians sharing the stage with, among others, Charalambides and Primordial Undermind and becoming part of Damo Suzuki's Network (along with Skalpel's Igor Pudlo and members of Job Karma). This collaboration also resulted in two releases by The Magic Carpathians Project: Gharana on the British imprint Reverb Worship and Acusmatic Psychogeography on World Flag, both of them featuring Eric Arn of Primordial Undermind.

In 2012 the band's more pop-oriented effort The Blue Nun was released by Falami Records (PL). In 2014 Adam Sanocki co-founded So Slow, a noise-rock band whose first two records Dharavi and Nomads were published by Instant Classic and featured Lukasz Jedrzejczak of Alameda 5 and T'ien Lai.

"Excellent new Polish project based around various instrumental loops employing most every instrument available in Eastern Europe. Features Anna Nacher & Marek Styczynski of Magic Carpathians/Atman fame".
Revolver/Midheaven Mailorder, USA, 2001

After the success of their critically acclaimed top 20 album 'Eyes Wide, Tongue Tied', Scottish indie rock legends The Fratellis return with their charming, playful and energetic new album 'In Your Own Sweet Time'
The March 16th release of In Your Own Sweet Time will be followed by a staggering 28 date tour across the UK (Mar) and US (Apr/May). "A platoon of turbo-charged, melody-drenched tunes" - Q. Knockabout, helter-skelter, rough-throated alt.pop' - Metro They haven't lost their knack for super-catchy melodies" - The Guardian Deceptively skilful rock 'n' roll' - Mail On Sunday A frothing pint of chiming guitar pop with a piano chaser' - The Times Catchy, country-pop charm' - The Independent "A monster mash-up of 70s Top Of The Pops choruses with a glam-boogie groove" - Classic Rock One to get you moving...boasting more of a vibrant big-band sound' - Shortlist
Featuring the fantastic single Starcrossed Losers, a raucous Romeo & Juliet riff that perfectly encapsulates the madcap absurdist abandon of the Brit Award winning Glaswegian trio's forthcoming LP. The track focuses on a low-rent Romeo & Juliet, transposed from fair Verona to a Scottish backyard': teenage romance that has gone bad'

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- FEATURING THE SINGLES WE ARE', EVERYTHING YOU WANT', YOU'RE A GOD' & BEST I EVER HAD'
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Vertical Horizon is an American alternative rock band formed at Georgetown University in Washington, D.C. in 1991. Everything You Want is the third studio album by Vertical Horizon and was originally released in 1999. Everything You Want served as the debut of bassist Sean Hurley in the band and proved to be their most successful effort.

The first four tracks of the album were all released as singles. Everything You Want' became one of the most radio played singles of 2000, reaching #1 on the Billboard Hot 100. The video for You're a God' featured actress Tiffani-Amber Thiessen. The song is featured in the 2003 film Bruce Almighty. Finding Me' was featured on the fifth Season opener of Buffy the Vampire Slayer.

The album is now finally available on vinyl in Europe for the first time. A limited run of 750 copies will be available on transparent vinyl. The package also contains a lyric sheet.

Formerly the solo project of Iceage frontman Elias Bender Rønnenfelt, Marching Church has since blossomed into a full band, found a home on Brooklyn's Sacred Bones record label, and cultivated a following all its own.

The sounds are darkly romantic and rife with an angst that can be traced back the post-punk caterwaul of Bauhaus and The Birthday Party. These songs, with heavy-breathed conflict and desperation fully intact, will be the first live document of Marching Church's full-audience command of attention

Ó (formerly Eskimeaux) is the recording project of songwriter and producer Gabrielle Smith. In it's earliest days, the project was markedly experimental, the work of an artist with a knack for ambience and a fascination with sound. The next wave of material, most of what landed on 2011's Two Mountains, didn't quite read as a solo project anymore and represented a shift toward traditional song structures, albeit still happily atmospheric, nature-centered musings on how to fi nd one's place in the world.
Their live 7' features two intimate yet momentous songs, Alone at the Party' and Broken Necks', both from 2015's O.K., the bedroom pop tour de force released on Double Double Whammy Records. Broken Necks' is notably arresting as the fi rst 40 seconds is a fi ger-picked invitation to the audience to join in singing the chorus, only to explode into full band ferocity with Smith's saccharine, solid vocals uniting naturally with her backing band, Oliver Kalb (synthesizer), Felix Walworth (drums), and Jack Greenleaf (bass).

Hot on the heels of a groovy and unglued no-wave full-length on well-lauded Mexican Summer, Pill rolled into the illustrious Blue Room in Nashville, TN to play a show and use a couple recorded tracks for a live 7". In fact, sax player Ben Jaffe was celebrating his birthday that night, and, fueled by Third Man hospitality and tequila, he played some of the most out there horn the band had seen in their time together. These recordings fully capture that energy.

The A-side Afraid of the Mirror" you've gotta hear to believe. While the eponymous mantra drills into your head, the equally churning upfront bass line is sewn into an expert-level percussive fracas. Not for beginners. T.V. Wedding' is an downhill, apocalyptic kraut jam driven forward by pulsating saxophone improvisation taking lead all over the track.

The Sunset Strip returns in 2018 to the psych instrumentals that dotted the band's earlier releases. Billed as "Soundtracks from unreleased films.' Take a pinch of moog-mellotron moodscape, a dash of Can-influenced Krautrock and a soupcon of Set The Controls freak out and you have the psychedelic gumbo that is The Endless Sea. Melbourne/Geelong elders the Sunet Strip soar out into the stratosphere with this album, blissful and as siked as you want.

Viva L'American Death Ray Music began in 1999 as American Death Ray, the brainchild of Memphis garage scene stalwart Nicholas Ray. Since then, the project has twisted, turned and head-tripped nominally, to its current moniker,and sonically, from Velvets-infl uenced jams into an amalgam of truly exploratory punk, no wave, electronic and psychedelic rock music.
This live 7' will be their fi rst music since their 2013 single, a 7' split released by Memphis big wigs Goner Records. The tracks featured are The Painter' and Falling', both previously unreleased! A highlight is during the A-side, whose repetitive mantra I am the painter, not the paint', channels a damaged, American Mark E. Smith, defi nitely for fans of his work. The B-sde showcases what could be an outtake from Alex Chilton's addled masterpiece Like Flies on Sherbet', a barroom song if there ever was one.

Waxahatchee is the solo project of Katie Crutchfield, an Alabama songwriter long steeped in the Rutgers/Philadelphia scenes with releases on Don Giovanni and Merge Records. Crutchfield has carved out a distinct name for herself as a devastating and whip-smart writer and performer.
The B-side is her original La Loose', showcasing her soaring crystal vocal chops a la Anne Briggs, and the A-side is a powerfully stark cover of Lucinda Williams' Greenville' that has been a staple of her live set for years

IRST TECHNO ALBUM ON 7" VINYL + 3,5" FLOPPY DISK! ---
Remute's new album is the definiton of limited techno. Put the needle on the record, slip the floppy into your disk drive and then get raw, get dirty and get rid of any unnecessary ballast! Get Limited.

'Weird Cool' is the new single of the London lo-fi dreamygrunge quartet Lazy Day. Biting, groovy and soaring, the new single is being pressed on 300 limited edition orange flexi discs. The single coincides with three release shows in Bournemouth, London and Bristol, as well as a UK support tour with Alex Lahey.

Lazy Day began in 2014 as the solo bedroom project of Tilly Scantlebury. Self-recording her tracks on Garageband and making them available online, she quickly gained attention. Since expanding to a live four-piece band, Lazy Day have steadily gone from strength to strength.