Pop & Rock Novedades

Violet coloured double vinyl reissue.

Second National Anthem single from emerging four piece. Follow up to 'Dreaming' which caught the attention of a host of BBC Radio 1 DJs including Dan P Carter, Clara Amfo, Huw Stephens, Phil Taggart and Annie Mac - who made the band one of her "New Names'. "The utterly furious 'Radio Punk' feels like their true arrival. Judging by this outing, it looks like Bad Nerves' flame will burn brightly for a long time to come" - NME

Special album celebrating Cristina Donà's 20-year career The songs of the 1997 debut album "Tregua", completely redesigned and revised together with new generation artists. During the long journey made by Cristina in these 20 years, artists who met, appreciated and found in their first commercial disc, Tregua (and in its later works) a landmark for developing their own artistic identity. With some of them Cristina put her hands on her original songs to give them a new breath and a different light with interesting arrangements and voice contributions. The result is this special album as a celebration of its 20 years. An instructive and rejuvenating experience: for Donà who confronts you with new horizons, for the artists with whom you shared this project that you have been trained with and for those who will listen to the new versions of a record that has been considered at times as one of the best albums in circulation and awarded as Best Debut Album.

Visions Of A Life is the follow up to Wolf Alice's 2015 Gold-selling debut album My Love Is Cool. It is fundamentally a personal album, and one of great growth for Wolf Alice. The album is incredibly broad in range, refusing to be defined by one idea. From the uncompromising 'Yuk Foo' to the infectious 'Beautifully Unconventional' and 'Don't Delete The Kisses', a dizzyingly romantic track which shows their progression and maturity as songwriters. Visions Of A Life is not an album of cliches. It is packed with surprises for those who think they know Wolf Alice. A darker, bolder, more diverse release from the biggest breakthrough independent band of recent years

4 track E.P 12" from London Collective. From the label that brought you Superorganism, Babeheaven and Jerkcurb. "dark pop and ambient dance fit for the morning after ... Portishead as imagined by Clams Casino' Loud And Quiet "the music they make is magical" Noisey

Detroit's Bonny Doon recline deep in the kind of alternative folk music that gives off its own warmth, wise enough to sit back with some guitars and watch the world crumble.' - Pitchfork
Bonny Doon's mastery of restraint and melodically vulnerable songwriting comes into its own on their self-titled debut full length. Previous homespun EP releases introduced a band residing in an unusual territory between songcraft and atmosphere. This record ventures further down that path, but comes together with a disarming timelessness, making even the stranger moments feel familiar. Its essence is floating, folk-ish rock that summons the tossed-off grandeur of early Smog or the Silver Jews boombox tapes, and the dead-eyed poignancy of Neil Young's gloriously unhinged Ditch Trilogy. In Detroit, they have become a beloved experience, with three years of live sets that teeter between a gentle intimacy and almost transcendent looseness. And though it took three years, the band has finally succeeded in capturing the complete spirit of Bonny Doon, creating a breathing web of sound that feels equally sublime and accidental.

Songwriters Bill Lennox and Bobby Colombo had been collaborating together low-key for a year and a half when they invited drummer Jake Kmiecik and bassist Joshua Brooks, both just 20 at the time, over to their studio space to flesh out some songs in early 2014. All four were active in Detroit's fertile punk scene, playing at the time in Tyvek, Growwing Pains, and PRC. The familiar approaches of punk did not feel right however, and the songs initially felt stiff and lifeless. It wasn't until the four tried to play as quietly as possible, with songs shambling along like a car with wobbly wheels, that the band was born. Deconstructing their sound allowed the music to unravel into something open-ended and beautiful, making space for Lennox's effortless and subtly smart lyricism. Natural progressions were embraced and Bonny Doon began playing shows around Detroit in the same loose and flowing manner as their sound was evolving.

When the time came to work on a full length, the same ethos of fluidity was applied. The band began tracking on a reel-to-reel tape machine with longtime friend and collaborator Fred Thomas (Polyvinyl Records, Saturday Looks Good To Me) at his studio in Ann Arbor, then spent months meticulously stitching together a finished work at their practice space in Detroit's Russell Industrial Center and residences throughout the city. The end result is a glistening, sun-dazzled patchwork of deftly arranged pop melodicism, Echoplex-bathed country heartbreak, and fragments of wandering, blurry jams tying together the labored songs and less calculated strands. A drunk-dial melts into the existential glow of a neon sign on 'I See You' and the sun setting on expectations feels more like a coastline daydream woven through the flanged guitar leads of 'Relieved'. A sense of geographical longing shows up often, as with the long-distance melancholy of "What Time Is It In Portland", one of Colombo's two vocal contributions, and one of the best examples of Bonny Doon's ability to cloak crushingly sad sentiments with deceptively nonchalant hooks.

Though mostly lifelong Detroiters, Bonny Doon represent a nearly direct counterpoint to the common narratives of the city they're rooted in. Musically, they live completely outside of the accepted lineage of hard-knock punk or garage rock, and aesthetically, they reject the tired and often problematic imagery of post-industrial ruin, romanticized emptiness, and tragically shallow hope porn that gets used to sell the Detroit brand. Bonny Doon instead opts for defiantly chill ways of being; visual motifs celebrating beach life, ice cream and simplistic joys. The real irony comes in complex layers, however, as they hide their saddest sentiments under the most stoned, seemingly spontaneous jams. And while there is sometimes darkness under a hazy veneer, the album is guided by an overarching sense that feeling is winning out over logic and things are coming together imperfectly, partially, and exactly as they should.

Goner Records is proud to present the second album from Melbourne, Australia's EDDY CURRENT SUPPRESSION RING. Primary Colours was released to rave reviews and sold out shows Down Under, with the first week sales putting the record at number six on the Australian national charts. Guitarist Eddy Current says, 'musically, to me it sounds a bit more '82ish than the '76ish sound of our first LP, slightly less frantic and maybe a bit more palatable.'

Fantastic Australian garage-punk band continues its quick rise on this hastily made but powerfully packed new album.' - Pitchfork

When Eddy Current Suppression Ring formed in Melbourne, Australia, in 2003, bandmates Eddy Current, Rob Solid, Danny Current, and Brendan Suppression thought they would play a few shows and perhaps record a 7-inch or two. One of their first gigs, in fact, was an employee Christmas party at the record pressing plant where they worked.
Six years later, the band has racked up accolades from the likes of SPIN Magazine, London's Guardian newspaper, and the Australian Independent Record Labels Association. In March of 2009, they were awarded the $30,000 Australian Music Prize for their second album, Primary Colours.

Eddy Current's third full-length, Rush to Relax, is already one of the most anticipated releases of 2010. Cut last August in a six-hour session at Melbourne's Revolver Rehearsal Studios, the album combines stripped-down post-punk sensibilities with the sheer exhilaration of a four-man musical unit that has created its own language, and will never run out of new things to say.

While Primary Colours drew on what Guardian music critic Tom Hughes described as "fast 'n' fuzzy garage rock," Rush to Relax employs a pop ethos more common to the mid-'80s Dunedin Sound of New Zealand's Flying Nun label, with cascading guitar riffs and precise rhythms shadowing the introspective lyrics from black-gloved frontman Brendan Suppression. The geographical tug is most prevalent on "Anxiety," the new album's lead single, which is a guitar-driven homage to The Clean's whimsical, scene-launching debut "Tally-Ho," twisted via Eddy Current's inimitable style.

The frantic pace of "Anxiety" is somewhat of an anomaly for Rush to Relax, a shape-shifter of an album that has already garnered comparisons to Television's 1977 landmark debut Marquee Moon. Like that classic group, Eddy Current Suppression Ring harnesses tension and propulsion to blast past the barriers of everyday tedium.

"The Australian quartet works with the basics to produce a simple, hooky garage punk racket, yet delivers a surprisingly multi-layered mixture when everything is said and done." - Dusted

'A document of four dudes having a good time over the course of six years-- teases out the Australian punk-loving rock band's trajectory through B-sides and singles.' - Pitchfork
They've drawn comparisons to Wire, Can, The Fall, Fugazi and The Stooges. They have a singer who wears black gloves to overcome stage fright. They won the $30,000 Australian Music Prize for their 2008 album Primary Colours—then recorded the next one themselves in a few hours in their practice space and spent the dough on a photo shoot for the album cover. They do not care about you and your expectations. You could call them 'fiercely independent' but they don't seem fierce at all. Quietly, and definitely on their own terms, Eddy Current Suppression Ring has become a force in underground music.

Now, after three albums, it's time for a compilation of singles tracks, demos and other stuff they had lying round. Turns out there was lots to choose from—and even after trimming, they ended up with a double album. Goner Records is happy to provide So Many Things.

A split single featuring Washington, D.C.'s Escape-Ism and Light Beams. The digital
download in- cludes an extra track by each band.

Escape-ism is called "the found-sound-dream-drama," "the grieving widow of rock 'n' roll" , the "press play and run away group", the strrrripped down sound machine starring Ian Svenonius, star of Chain & the Gang, singer in The Make Up, author of 'Supernatural Strategies for Making a Rock 'n' Roll Group.' Its a single occupancy combo, a one banana bunch, the gestural rock 'n' roll provocation which combines cave person poetry with beats and melody translated incorrectly from hieroglyphs found in arch-pharaoh Cheops' triangle shaped record collection. Escape-ism is a bid at inciting long- ing for a past behind an IRON CURTAIN, and hope for a future in flames. Escape-ism -- hear it, fear it, cheer it.'

Light Beams began in 2015 when Justin Moyer (Puff Pieces) -- influenced by 80s-era freestyle music and Sheila E. -- started playing sampler and timbales with Sam Lavine, the longtime drummer of D.C. hip-hop mainstays the Cornel West Theory. With the addition of bassist Arthur Noll the result- ing polyrhythmic melange, sometimes called "zap-tone" or "block rock," reinvents late-20th century dance-pop using the tools of the 21st.

Debut album from Oakland, California's post punk band The World, double sax, bongos, guitars and drums.

The World are a five people from Oakland, California who write rambunctious dance music with a post punk tool kit and an insightful yet short attention span. Their songs typically clock in around two minutes long and are a wild head-rush of Amber Sermeno's funk-minded bass lines and shuddering dubbed-out guitar courtesy of Andy Jordan. Amber also sings alongside Elyse Schrock, who anchors their propulsive songs with some supremely robust drumming. The steady beat is bolstered further by Alexa Pantalone's expansive bongo rhythms and flurrying saxophone melodies. Stanley Martinez is the final member of the band, doubling the sax quota and contributing to the complex interplay of instruments that make The World's music so immediate, compelling and groove conscious.

The World sound like the future erupting out of all your favourite DIY punk 7's simultaneously. There's the infectious momentum of Essential Logic driving things ever forward, the arty minimalism of Lilliput underscoring the band's lyrical subject matter. Whilst the instinctual songwriting of Swell Maps pervades alongside the manic humour and inclusiveness of Splodge. The World use all these lightning rods as jumping on points to hurtle us all into a new dimension very much of their own making. This upsurge of energy and vision has now been skillfully captured on the band's debut LP 'First World Record, out this October 6th on Upset The Rhythm.

'First World Record' follows on from their well-received debut 7' EP 'Managerial Material' which was also recently released by Upset The Rhythm. 'First World Record' was recorded by Brett Eastman (a member of Andy Human And The Reptoids, along with Andy Jordan). Brett also helped mix the album with the band before being mastered by Mikey Young. 'Hot Shopper' is the exhilarating opener from the album. 'You've got the whole world in your hands, check those coupons!' urge the band amid the insistent pulse, whirl and bop of the band's inimitable sound. Sticking with matters of temperature, 'Some Like It Hot' follows with icy stammering guitar and a soaring spree of saxophone. 'Old hygge creatures in the ice age, iguanas in a cot, what else do you expect when you boil that pot' they question throughout this rock-solid dancefloor quake of a track.

Throughout their debut album The World never lose the thread of their argument, which mainly lines up the many unthinking elements of modern life in its cross hairs. 'Namaste' calls out the 'culture muck' of short-sighted faddish behavior, whilst others disappear 'never to return' on the 'La La Coach'. However, The World never become didactic, there's always a surreal dark sense of humour running through their songs, touching on the everyday absurdity of existing after meaning. This perhaps is best delivered up on the album's closing track and lament 'I Fell in Love with a Slumlord'. Drums tumble and jog along with the jubilant sax work whilst the band profess their secret love for the aforementioned property owner. 'He sneaks around in desert camos, what's he up to Nobody knows. But how I wish he'd go and spy on me!' they ruefully confess. In this current climate of cool-trading, cheese omelets and ghost town guilt we only have The World to rely on as our true guides to a better place, a better world. Now let's go there!

'Trax Test' is the first ever survey of Italy's pioneering, visionary and influential label and mail art collective Trax, which ran from 1981 - 1987 as a network for the creation of collaborative projects. The collective included a pre-NWW Colin Potter and some of the earliest work from Masami Akita aka Merzbow, but also had deep connections with the art world; a few trax members went on to become famous designers and artists - Ettore Sottsass of hugely influential Memphis Group even guests on vocals on the last track of the compilation. The whole selection here is rare as heck and sorely in-demand by collectors, much of it now making its vinyl premiere some 30 odd years after the fact.
With credit due to compilers Vittore Baroni of Trax and Ecstatic's avowed wave fiend, Alessio Natalizia (Not Waving) - who was also behind the 'Mutazione (Italian Electronic & New Wave Underground 1980-1988)' compilation - 'Trax Test' is a portal to the international scene which laid the grassroots for a proliferation of electronic music over the proceeding decades - a pioneering part of the infrastructure for independent music distribution which could be said to pre-echo the myriad social networks and platforms which exist for sharing music today.
As Frans De Waard astutely points out in the 16-page booklet, there were no 'templates' for this thing back then - as opposed to the forms of Soundcloud, Spotify or YouTube nowadays - meaning artists did everything DIY: from cutting, pasting and xeroxing their artwork to xperimenting with recording techniques and disseminating their work; all resulting a wonderfully daring and freeform mosaic of ideas which valued the virtues of ostensibly 'unfinished' or open-ended work, when compared with more expensive, 'proper' studio output.
Traces of disco, cosmic krautrock, jazz, electro-pop and industrial noise are all tessellated across the compilation's 25 tracks, with a number of artists and the same equipment - cheap drum machines, synths, FX and tape - cropping up in various, mutant formations.
In terms of obscurity, quality and variation, this set is right up there with the best compilations from Vinyl-on-Demand (an early supporter of this project), Light Sounds Dark (although Ecstatic guys did it legit, lol), or Minimal Wave, and likewise probably saves you the few months wages it would take to track down all the originals. Fucking bravo, we say!









REDNIGHT (EXCERPT)

Melancholy and darkness, and dissonant, uncomfortable music, resonates with us, for whatever reason,' says singer and spokesman Craig Johnson. The new record is more melancholy than dissonant. I feel we're just opening up a bit more on this record.'

A sliver of strings, a squeal of feedback, pulsing drums, sheets of steely guitar and sonorous bass, and a rough, declamatory voice - from these primary components, Leeds quintet AUTOBAHN unfurl their second album, The Moral Crossing, which adds more finesse, dynamic and colour to the commitment and energy shown on their 2014 debut Dissemble - an album that Louder Than War described as, driving, powerful and passionate... tapping into addictive darkness of our past and reminding us that that we cannot escape its attractive desolation.'

While Dissemble was made by imagining what the late, great producer Martin Hannett would do, The Moral Crossing is the sound of what AUTOBAHN would do. To capture the new sonic details of the band, lead singer and principal songwriter Craig Johnson, guitarists Michael Pedel and Gavin Cobb, bassist Daniel Sleight and drummer Liam Hilton decided to give up their practice room that doubled as a hardcore/punk venue (which influenced their original sound, as did a love of The Birthday Party) and build their own studio space.

They found a former double-glazing firm, under a disused bridge, in Holbeck (Leeds' red light district), and despite having no experience of such a job, they undertook this feat. It took a year from ripping out the existing contents to finishing the album - which was then mixed in New York by Ben Greenberg, known for his work with the Sacred Bones label.

On top, Johnson taught himself how to make a record after the studio was built. I was down there nearly every night,' Johnson recalls. It was pretty horrible at times, but worth the pain to have control over everything. We've had the chance to create the sound we want, at times it's more melancholic, and romantic.'

Part of the shift comes from Johnson's newly honed melodies such as 'Vessel' and 'Torment', part from a greater use of electronics, such as the synthesiser underpinning a haunting 'Future', evoking neon-lit rainy-nocturnal rides through a cityscape, likewise the album's title track, which is one song to benefit from the judicious addition of violin and cello. !'d been listening to classical music, and I'd seen the Warsaw Philharmonic Orchestra doing Beethoven's Ninth, which was mint, but I felt out of place, that people were looking down at me,' Johnson recalls. So, it's good to bring some of that to the record. A couple of tracks, 'Torment' was one, we ended up replacing the guitars with strings - whatever was best for the song. Like the French female voice in 'Torment' too, it just felt right.'


This time around, AUTOBAHN decided to create their fearsome depth charges by building the tracks as they went along rather than working on completed songs. As a name, AUTOBAHN has been a bit misleading, as they sound quintessentially Leeds, not Munich or Dusseldorf, but Johnson chose the name because he loved the repetition of rhythm. With Hilton - surely one of the best young drummers alive - driving, Johnson requested they all, imagine they were all different part of a machine: a steam engine, say. Again, it just felt right. And then we put it all together. The lyrics came right at the end.'

Johnson's lyrics on The Moral Crossing combine to form a whole: the theme of a birth, but that person had no choice in the decision. And then it's about the different outcomes that could happen. Which could be glorious or torturous.'

The words and songtitles suggest more torture than glory - for example, A selfless crucifixion / You've nailed in the hard sell' in the manic 'Obituary': Pain out of control' in 'Torment': With your withered hand / Drag me deeper into the fallen ground' in the escalating drama of 'Fallen' - a word, alongside fall', that crops up in several songs. Though Johnson points out that another line from Fallen', Give a break to that child in the noose' is an example of AUTOBAHN's, dark northern humour' (another example was the billboard ad for Dissemble: a hearse, parked outside a funeral parlour, with the band's name in flowers, next to a group of kids holding balloons...)

And though Johnson admits to sudden negative episodes (documented by 'Low/High', another slowburner that eventually bursts into flames), they don't last long. Actually, as a band, we're more optimists. I don't find talking about this stuff as 'dark', but it's stuff people don't usually want to talk about - execution, rising from the dead, depression, feeling utterly lost and unsure where to go. To understand the moral crossing, to go one way or the other, and how it can change your life. For me, saying this stuff out loud give the feeling that there's a future.'

On 'Low/High', Johnson sings, You're floating higher now / No more discontent' and in the part-spoken word litany that is 'Creation', I want to be there for you / I want to rise on through.' To reinforce the optimistic feeling, gospel singers from the local church sing on both tracks. I wouldn't call it 'holy' but some of the lyrics they were singing were about going to a higher place, even if the whole lyric might contradict that,' says Johnson.

AUTOBAHN have checked their own moral compass, and chosen the hard way - not just building their own studio, but to keep confronting the dark stuff. But their music is infused with the joy of exorcising the darkness: to be there, and rise on through. There is a future, and AUTOBAHN and The Moral Crossing are very much part of it.

Martin Aston, August 2017

- 180 GRAMS AUDIOPHILE VINYL
- INCLUDES INSERT
- 50TH ANNIVERSARY EDITION OF THE LEGENDARY DEBUT ALBUM
- INCLUDING 7 BONUS TRACKS
- FEATURING RY COODER AND TAJ MAHAL
- LIMITED EDITION OF 1.500 COPIES ON MILKY WHITE VINYL

Captain Beefheart's debut album, originally released in 1967, is the most accessible and pop-inflected from his entire catalogue. Still, Safe As Milk is a very strong and heavily blues-influenced work but it also hints on many of the features that would later become the trademarks of Captain Beefheart.

A nice fact is that not only did a 20-year old Ry Cooder play bass & guitar on Abba Zaba' and Grown So Ugly', he also arranged the latter as well as Sure 'Nuff 'N Yes I Do'. Also, Cooder's role in the recording process was 'to translate the Captain's wilder notions to the rest of the band and generally acts as musical director'. With him as a supervisor, the sessions proceeded more or less smoothly and Safe As Milk was recorded within a month.

Fun fact, the album appears in the 2000 film High Fidelity as an album that the character Barry, played by Jack Black, continually refuses to sell to a customer, whom he deems unsuitable to own it.

The 7 bonus tracks are taken from the sessions for the unreleased 'Brown Wrapper' follow-up album. These tracks had been recorded around November 1967, two months after the release of Safe as Milk's and were from the same sessions that yielded the songs on Mirror Man Sessions (MOVLP260). The 50th Anniversary edition of Safe As Milk is pressed on Milky White vinyl. Only 1.500 individually numbered copies are available.

Damo Suzuki has been on a 'Never Ending Tour' connecting and collaborating with a network of musicians worldwide since 1997. Suzuki is best known for his years as vocalist in the influential German Krautrock band, CAN.

In 2004 Damo travelled Australia for the first time performing with various artists, including Australian multi-instrumentalist Oren Ambarchi and Omar Rodriguez-Lopez of The Mars Volta. This would be his first of many visits down under.

This 50-minute recording of Damo and his Network of "sound carriers" is what Damo calls "an instant composition", a spontaneous exchange of energy! The result is a transcendental trip with psychedelic sounds.

Cut live to acetate at Melbourne's Corduroy Records in 2004, re-mastered by Mikey Young and pressed to vinyl in 2017.

Featuring Oren Ambarchi - guitar, Emil Sarlija - guitar, Davey Williams - drums and Edmondo Ammendola - bass.

The Invaders (also known as Intruders) was a 3 piece band from Houston (TX) that lasted a single year. Regardless of their short lived period, they managed to record what we thought needed to be heard and shared under Fortune Teller Records.

Once again, it was thanks to C L Milburn, that in 1966 that these songs were recorded but yet again, never got pressed.

Houston was a host to many early teenage garage groups, however they would have a better chance on the scene with original songs rather than covers, hence coming to CL for material.

Rehearsals after school and ready to go, eventually the would get gigs in adult clubs during he week, teen clubs, holiday inns as well as various other venues but never making it to the rankings on the radio nor television. That was reserved to other bands, but that's not the well-known story that we would like to capture.

Fortune Teller Records exclusive release of 333 copies

'Petit Fantôme' (Small Ghost) is the evasive and mysterious pseudonym of Pierre Loustaunau, an adventurous multi-instrumentist with quite the collective experience (Frànçois & The Atlas Mountains, Crane Angels, Le Pingouin, Iceberg). He started his solo adventure in 2006 and after a few moving years, he settled in southern France city Bayonne to write the maxi Yallah (2011) and the mixtape Stave (2013), two highly praised records. Three years after Torse Bombé (2014), a 'melodic-grindcore-punk-rock-pop' project broadcast as a free download on his birthday, Petit Fantôme is back with Un Mouvement Pour Le Vent (A Movement For Wind), natural title for this ingrained skateboarder and casual hiker. Pierre himself willingly sees it as his first album. The perpetually dissatisfied but prolific composer delivers 11 smart, inspired and emancipated tracks. Right from the start, there's a clear taste for the 90s with 'Quelque Chose a eu Lieu". With this way, always so peculiar and moving, to crack the armor: voluntarily short texts, like 'haïkus that can mean a lot' according to Pierre. The immediate hit 'Easy Come Easy Go' with a chorus inspired by Don't Talk (Put Your Head On My Shoulder) by The Beach Boys and the immediate charisma of 'Libérations Terribles' will undoubtedly rhythm the start of the school year. Produced by Edge Of Town and licenced to Because Music, Un Mouvement Pour Le Vent weaves between romantic and cloudy noisy pop music, going from one to the other with a disconcerting agility.

Satyn's Children was born out of four teenagers (around 14-15 years old) from Houston (TX) that met whilst studying at their local catholic school.
In order to get one of their first gigs in school they had to rename their band from Satan's Children to Satyn's Children.

It was 1966 when C L Milburn, a 23 year old music enthusiastic working as a songwriter, producer and booking agent for local groups, recorded these songs with no more than a simple 2 track Sony recorder down in their parents garage, where they used to practice.
Unreleased material until now, Fortune Teller Records brings these recordings back to light from a dusty reel in 7" vinyl format.

Fortune Teller Records exclusive release of 333 copies

Bars and Melody, Leondre Devries (16) and Charlie Lenehan (18), are 2 musicians from the UK that infuse hip hop and pop. The band shot to fame in 2014 when they appeared on TV show 'Britains Got Talent' and Simon Cowell pressed his golden buzzer for them. That video on Youtube has now had over 180 Million views

Bars and Melody's first release was a track called 'Hopeful' which entered the Official UK charts at number 5. This video now has over 70 million views on Youtube. Since the release of Hopeful Charlie and Leondre haven't had time to stop for a moment. They have played numerous sold out gigs in the UK and mainland Europe, flown to America to appear on the 'Ellen show' and spent weeks in Japan and Australia . In August 2015 the band released their debut album '143' which went in at number 4 in the official UK chart and number 11 in the official Irish chart. It debuted at number 1 in the Official Japanese international album chart and has gone platinum in Poland too.

On September 1st 2017 Bars and Melody are set to release their highly awaited brand new album 'Generation Z'. The album shows the bands progression over the last 18 months and is set to cause another seismic shock in the music industry

Death From Above certainly kept moving on their third full-length album, Outrage! Is Now (Last Gang Records/Warner Bros. Records). While gleefully maintaining the car-wreck intensity of their punkified disco rock, the hooks got hookier, the weirdness got weirder, and the wildness got, well, wilder. The mustached merchants of death dance discord—Sebastien Grainger (vocals, drums) and Jesse F. Keeler (bass, keys, synths)—made a collective decision to embrace their own penchant for perpetual motion and cooked up the perfect soundtrack to Armageddon's dancefloor.

By your third album, I feel like you should be trying different things, whether subconsciously or consciously,' exclaims Jesse. You've got to stretch out the pizza dough of your idea and see how big you can make it creatively. After 17 years, things change. We both wanted to see how far we could take it as Death From Above. Once we started working on music, it seemed like this was going to be a record where the very idea of what our band is evolved.'
The myth of what we should be didn't exist anymore,' Sebastien agrees. We didn't say it out loud of course, but it was like, 'Let's flex our abilities as much as we can and make some weird shit.' There was never a moment where we took a conventional path—either writing or recording. There was always some strange spice thrown in. It's a grim record, but there's a bounciness to it. We captured an element of fun.'

Death From Above certainly kept moving on their third full-length album, Outrage! Is Now (Last Gang Records/Warner Bros. Records). While gleefully maintaining the car-wreck intensity of their punkified disco rock, the hooks got hookier, the weirdness got weirder, and the wildness got, well, wilder. The mustached merchants of death dance discord—Sebastien Grainger (vocals, drums) and Jesse F. Keeler (bass, keys, synths)—made a collective decision to embrace their own penchant for perpetual motion and cooked up the perfect soundtrack to Armageddon's dancefloor.

By your third album, I feel like you should be trying different things, whether subconsciously or consciously,' exclaims Jesse. You've got to stretch out the pizza dough of your idea and see how big you can make it creatively. After 17 years, things change. We both wanted to see how far we could take it as Death From Above. Once we started working on music, it seemed like this was going to be a record where the very idea of what our band is evolved.'
The myth of what we should be didn't exist anymore,' Sebastien agrees. We didn't say it out loud of course, but it was like, 'Let's flex our abilities as much as we can and make some weird shit.' There was never a moment where we took a conventional path—either writing or recording. There was always some strange spice thrown in. It's a grim record, but there's a bounciness to it. We captured an element of fun.'

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

Boxset includes: White vinyl double LP, 12" black vinyl (containing 6 tracks of album demos), CD, plus a set of Tarbox Road photographic prints - Includes download card redeemable from the label.

ONLY 100 UNITS


Van Wissem's work comes from a tradition of avant-garde minimalism & lends itself well to the director's stark cinematic works.

Jarmusch has played guitar in bands on & off since the late 70's. Van Wissem's compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. "The sound of the lute is as bright as the sun, a beautiful red colour & my stuff sounds sort of like the moon, more like blue, like mercury' says jarmusch. recorded in New York with help from hypnotic Tilda Swinton on guest vocals, this is a captivating record.