Pop & Rock News

Following 2 critically acclaimed digital-only EP's, Sløtface return with their debut album 'Try Not To Freak Out' recorded with producer Dan Austin (Pixies, Doves, Queens Of The Stone Age). The album follows tours with The Cribs and Los Campisinos!, as well as performances at many of the world's top festivals, including Reading & Leeds, Haldern Pop, Best Kept Secret and SXSW. 'Try Not To Freak Out' is nothing short of a massive rock record - one that weds the pop nous of Robyn and Blondie to the exuberant, freewheeling attack of bands like Joyce Manor and Little Big League.

The album follows two acclaimed EP's, which have picked up support from most major media outlets, including BBC Radio 1, KCRW, KEXP, Triple J, NME, The Guardian, Huffington Post, CNN, Nylon, Interview Mag, DIY Magazine, Noisey, Kerrang!, Rocksound and many, many more..The band were in the top 10 most highly recommended bands by international media at this year's Eurosonic and were similarly hyped at SXSW in March.

Following 2 critically acclaimed digital-only EP's, Sløtface return with their debut album 'Try Not To Freak Out' recorded with producer Dan Austin (Pixies, Doves, Queens Of The Stone Age). The album follows tours with The Cribs and Los Campisinos!, as well as performances at many of the world's top festivals, including Reading & Leeds, Haldern Pop, Best Kept Secret and SXSW. 'Try Not To Freak Out' is nothing short of a massive rock record - one that weds the pop nous of Robyn and Blondie to the exuberant, freewheeling attack of bands like Joyce Manor and Little Big League.

The album follows two acclaimed EP's, which have picked up support from most major media outlets, including BBC Radio 1, KCRW, KEXP, Triple J, NME, The Guardian, Huffington Post, CNN, Nylon, Interview Mag, DIY Magazine, Noisey, Kerrang!, Rocksound and many, many more..The band were in the top 10 most highly recommended bands by international media at this year's Eurosonic and were similarly hyped at SXSW in March.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- INCLUDING THE SINGLE DIANA'
- FIRST PRESSING OF 750 NUMBERED
COPIES ON SILVER COLORED VINYL

First Utterance is the debut album of the progressive folk band Comus. It was released in 1971, with the opening song Diana' being released as a single.

The album was notable for its unique blend of progressive rock, folk, psychedelia, and elements of paganism and the macabre. The overall thematic tone of the album is of vulnerable innocence facing abusive power, the songs dealing with violence ( Drip Drip'), rape ( Diana', Song to Comus'), and insulin shock therapy ( The Prisoner'). These themes contrast starkly with the acoustic sound of the record, featuring acoustic guitar, violin, flute, and
lyrical, almost Arcadian, female harmonies.

References to Comus by other bands and artists include Opeth, citing its lyrics in album and song titles and tattoos. Experimental outfit Current 93 also covered Diana' as the opening song on their 1997 LP Horsey.

The cover artwork was drawn in ball point pen by Roger Wootton, lead singer and songwriter of the band. The centrefold artwork was painted by guitarist Glenn Goring.

Reviews were favourable, such as the NME praised the album's highly unusual but fascinating sound' and Time Out said the overall effect is unique'.

The Boston-based PVRIS (vocalist Lynn Gunn, guitarist Alex Babinski and bassist Brian MacDonald) just tore through SXSW, performing at the MTV Woodies and the TUMBLR Planned Parenthood event, which USA Today called the hottest ticket at SXSW.

With All We Know Of Heaven, All We Need Of Hell, PVRIS will look to build upon the success of White Noise and a collection of songs that've amassed over 113 million Spotify streams and close to 32 million YouTube views to date (including 17 million Spotify streams and 3.8 million YouTube views for their You And I single). In support of White Noise, the band performed on Jimmy Kimmel Live!, were spotlighted on Last Call with Carson Daly, toured arenas with Fall Out Boy, hit No. 1 on Billboard's Emerging Artists and Trending 140 charts and launched a headline tour that saw them play to packed-house crowds around the world. NME called them a rock sensation, Spin dubbed them a breakout band, MTV described them as the best thing since sliced bread and the Huffington Post called Gunn a force that cannot be denied.

PVRIS have released Heaven, the stunning first single/video from their much anticipated album, All We Know Of Heaven, All We Need Of Hell, was directed by PVRIS vocalist Lynn Gunn and long-time video collaborator Raul Gonzo, the album was recorded with Blake Harnage (who produced PVRIS' 2014 debut, White Noise).

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- FIRST 1.000 NUMBERED COPIES ON
SILVER COLORED VINYL

The Wipers were a punk rock group formed in Portland,
Oregon in 1977 by guitarist/songwriter Greg Sage. The
group's tight song structure and use of heavy distortion
were hailed as very influential by many critics and musicians alike. The band is considered the first Pacific Northwest punk band. The Circle is their sixth studio album, originally released in 1988. It was released on Restless Records and has been out of press for years.

There are a lot of good tunes present on this album. True
Believer' has a great riff balanced on the tempo of the track, and Make Or Break' is lingering on the powerful guitar play by Sage, which can be identified between thousands. There's lots of other good tunes here as well, especially I Want a Way', Goodbye Again', and the title track. The Circle' might be slow enough to qualify as a ballad, but the track Be There' is the real tearjerker.

Kscope release classic psychedelic record from the early years of progressive stars Porcupine Tree on vinyl.

'Voyage 34', an instrumental composition from 1992/93, is a journey split into 4 phases that rocks for over an hour, this was P.T.'s entry into the ambient trance genre popularised by artists such as the Orb.

Combining trance rhythms alongside more typical Porcupine Tree textures and guitar solos, Voyage 34 was a big hit in the ambient/chill out club scene of the early 1990's (when it was originally issued as two 12 inch singles).

Following the now sold-out first box set of Porcupine Tree's 'Delerium Years', and the near sold-out second box set, Kscope are re-releasing the band's records from the era, including 'Voyage 34', as a series of LP's presented in gatefold packaging. This double LP version is pressed on to 180g heavyweight audiophile vinyl, and features the tracks remastered by Steven Wilson in 2016 with more naturalistic dynamics and EQ - remasters previously only available in The Delerium Years 1991 - 1993 box set.

The artwork was completely redesigned for the original re-release and contains new images from long-term collaborator of Porcupine Tree frontman and founding member Steven Wilson, Lasse Hoile.

Steven Wilson is currently enjoying global chart success with his fourth solo album 'Hand. Cannot. Erase.', is promoting his upcoming fifth solo album, and released the anticipated new album from Blackfield, his partnership with Israeli singer Aviv Geffen, in February 2017.

Live performance from american rock band Red Hot Chili Peppers, recorded in 1992. The concert features songs such as 'Give It Away', 'Under The Bridge' and 'Higher Ground'. Limited and coloured vinyl edition.

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

This strictly limited 45RPM single (250 copies, hand numbered) gives you a foretaste of the full length album which will be released on 20th october 2017.


Key-selling points:
- both sides previously unreleased
- press run: 250, all hand-numbered

Recorded in a single session at Berlin's Golden Retriever Studios on June 18, 2016, Nonland combines atmospheric, looping guitar with textural, polyrhythmic percussion. Having played together live only once previously, these sessions were entirely spontaneous and improvisational, intuitive and expressive...
Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects, like Nadja, B/B/S/, and Caudal, on such independent labels as Gizeh Records, Pleasence Records, Important Records, Alien8 Recordings, and his own imprint, Broken Spine Productions. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.
Karen Willems is a Belgium drummer who has performed with o.a , Zita Swoon Group, Jan Swerts, Novastar, Pascal Deweze. Currently, she is leader of the group Inwolves and regularly collaborates with Aidan Baker, Eric Thielemans, Dirk Serries, BARST, and Jean De Lacoste. Her mix of sounds, drums and percussion contains nectar for the soul and does not spin compromises between authenticity and cheap commercial considerations. Willems resides in Adegem, Belgium.

Closing a five-year gap since the 2012 release of their Wreck LP through Alternative Tentacles, UNSANE makes a vicious return with the pummeling Sterilize, a record that recalls the most defining elements of the band's seminal Scattered, Smothered, And Covered and Occupational Hazard albums, surging with the band's unrelenting singular sound created by guitarist/vocalist Chris Spencer, bassist/vocalist Dave Curran, and drummer Vinnie Signorelli.

The band's gnarled blend of punk, metal, noise, and hardcore helping to define the "AmRep sound" alongside other forerunners of the style, Today Is The Day, The Jesus Lizard, Helmet, Tad, Cows, Halo Of Flies, Melvins, and others.

Sterilize was produced by UNSANE, recorded by Dave Curran at Gatos Trail Studios in Yucca Valley, California, mixed by Andrew Schneider at Acre in New York City, and mastered by Carl Saff at Saff Mastering in Chicago.

Since 1988, UNSANE has pounded the planet with their caustic grooves and foundation-crumbling riffs, having released LPs through a wide range of labels including Matador/Atlantic, Amphetamine Reptile, Relapse, Ipecac, Alternative Tentacles, and others, not to mention a wide range of singles, splits, and live albums.

Sterilize showcases UNSANE sounding as dense and damaging as ever, and sees them remaining as necessary as ever, nearly three decades since they began.

The new Jerusalem-based label Raash Records opens its doors to spread the city's heavy mind-bending sound.

The label kicks off with a debut 7inch by producer/musician Ilia Gorovitz. It's an explosive mixture of raw drums, gut-shaking riffs and head-swirling synths, influenced by the 1970's horror film soundtracks and today's bass-heavy electronica - a combination that makes it appeal equally to psych and beat heads alike.

Side A's "Turmoil" is a dirty and aggressive mid-tempo slasher, backed with a krauty crawling horror downbeat of "Simmering with No End" on the flipside.

Recommended for fans of Mophono, The Gaslamp Killer, Drumetrics and Goblin.

Written and recorded in Glasgow, Pinact's approach to album 2 was noticeably different. We intentionally holed ourselves up in the Highlands to focus on bringing out the melodies, and I think that shows,' Gillies explains. The fruits of a frozen Northern labour are evident in anthemic efforts like 'Oh', an immediate sing-along, and 'Seams', which sees the singer take on challenging vocal parts with consummate ease.

In the early writing stages of the writing process the band went on a trip to Leeds to see The Cribs, the influence is notable, while fans of Dinosaur Jr., The Breeders and Weezer will find a lot to nod along to in The Part That No One Knows. However, Pinact's brand of pop- infused rock is an entity unto itself: I purposefully didn't listen to other music while writing and recording, I get lost in my own world', Gillies says, and the lyricism makes this very clear: 'Regrettable Thrill' for example lends more to a bleakly Scottish sense of humour and world-weariness that could only be Gillies, as opposed to American rock bands.

Limitierte 10" aus den Sessions zum letzten Soloalbum "Until The Hunter" der US-Singer/Songwriterin Hope Sandoval, Frontfrau von Mazzy Star, das sie zusammen mit Colm O'Coisog (My Bloody Valentine) aufnahm. Mit einer Acoustic Version des Albumfavoriten "Let Me Get There" feat. Kurt Vile, sowie den drei neuen Songs: "Sleep", "Son Of A Lady" sowie dem exklusiven "Antiquity".

A monster! A damned chimera, reconflecting man in pieces — audio-verite dance and blues, pop and rock varieties. Not created but lived, with parts of life on the run reused to facilitate other parts, not whole, but fully animate. Brutal and beautiful. Even if they didn't invent this wheel, they brought some bad-ass spinner rims to the table....

The shamanistic sleaze psychallucisergic rock of The Diaphanoids. They got re-toxed again, and "Blessed poisons" is their answer to the cleansed and disinfected psychedelic scene around now, a punkier, snarlier take on the childish and harmless new cosmic sound. The third part of a trilogy regarding space travelers, inner and outer trips, this time seems that the strangest and more distant world is the daily reality, and the only way to escape ordinary madness and next-door resident aliens is staying disconnected and in an altered state. A bit of what you fancy... well, then some more more more! It's the sound of Visions, of scarves drenched in oils and blood and brutal Sunday mornings in the drunk tank. "Blessed Poisons" with its fractured rhythm, x-ray guitars, stoned vocals and pills salade. "My Friends Can Fly", the psychocandy pop hit BBC would never play. "Too Many Stars And Not Enough Night" : ecstatic floating guitars and crystal keyboards to shine infinitely. "Retoxed And Somehow Heavily Szymckzhycked": if the body is a temple let's wreck it with acidic grooves, switchblade guitars and toxic drones. "F(uck)Y(our)W(orld)" : mantra-like vocals for a velvety sweet hymn to modern spleen. "Iconize Yourself" : smacked-down drums and hashed-up guitar solos for the end of the world. "I Appeared To The Holy Virgin" : mystic and illuminated, some of the harmony left in the dark side of the spoon. "Jesus' Son", the last rebel waving his freak-unique flag high, a false prophet blazing like a crazy diamond, screeching guitars like holy worms, drums in a trance, freaky electronics. While they had roots in the nu-disco and electronic wars, they are miles above that crass commercial fracas, and really, below it as well. "Blessed Poisons" is a true howl from the gutter, a full-throated warcry from underground, slithery, dive-bar hallucinated sleaze-kings, altered stated junkies' royalty flailing wildly in a dead, empty reality. Candies from strangers... mmmhhhhh, want some

Limited "Pink Robots" and "Solid Cream" coloured vinyl repress with download code

Limited half and half "Cream" and "Orange Plus" with Pink splatter coloured vinyl repress with download code

Limited "Cream" with "Solid Orange" splatter coloured vinyl repress with download code

"I hit a wall," says Will Hoge. "I was doing the best touring of my career and I had a great, steady gig writing songs, but I was falling out of love with being in a band. I had to figure out what was next." For Hoge, what came next was a quest to reclaim the joy and the magic that had drawn him to music in the first place. He let his band go and hit the road for roughly a year of solo shows, crisscrossing the country by himself with just a guitar and a keyboard. He felt rejuvenated by the freedom and began writing material that reenergized him, that made him feel like a kid falling in love with rock and roll all over again. Those songs ignited a dormant flame somewhere deep within his soul, and now they form the bulk of Anchors, his strongest and most nuanced album to date. Recorded with an all-star band comprised of drummer Jerry Roe (Emmylou Harris & Rodney Crowell, Darius Rucker), bassist Dominic Davis (Jack White, Wanda Jackson), and guitarists Brad Rice (Son Volt, Ryan Adams) and Thom Donovan (Lapush, Ruby Amanfu), the album is a prime showcase for Hoge's soaring, gritty vocals, as well as his remarkable gift for crafting complex characters with real emotional depth and plainspoken profundity.

Features Sheryl Crow on track 3 'Little Bit of Rust'. Rolling Stone compared him to Bob Seger and John Mellencamp. Nominated for a Best Country Song Grammy award.

Debut album from bluesy indie-Americana three piece, William The Conqueror. Recorded in sessions that took the band from Cornwall right up to the Isle of Lewis and back again, the album features the multi-instrumental talents of Harry Harding, Naomi Holmes and Ruarri Joseph - a name many folk fans may remember from his acclaimed solo output.
William the Conqueror the alter ego of Ruarri Joseph who in a trio setting played stomping country rock at the end veering into stoner grunge reminiscent of Built to Spill.' - The Guardian (AmericanaFest 2016, Nashville TN) - added to the bill at Cambridge Folk Festival 2017 - UK tour in September opening for Danny & The Champions Of The World - "Tend To The Thorns" nominated for Song Of The Year at the UK Americana Awards 2017

Four voices tousle loudly as they leave the soft realm of the body, venturing out into the world. Reproduction and traditional instruments (guitars, drums, samplers, digital, voices) allow the human generation to play right now. Playing is intersubjective, we appeal to consciousness. Here in the human era we dialog, reference, and reproduce with traditional reference and frustration. Kissing lightly decided harmonies, Gen Pop plays in the human generation and is from the human era. Playing used in its most remedial sense, an occasion to slap together a narrative and generate trust between each other. Gen Pop produced a small run of tapes featuring 3 tracks from their debut 7' on Upset the Rhythm earlier this year.  This 7' brings to totality the sinews and olfactory system of the Gen Pop promo tape. The essence of what they are doing and not the end of it. The first track 'On Screen' whinges lackaday about screen oriented living. 'I'll be chained and beaten, in a motel room its our first time meeting' shoots the moon for the loneliness of access and an end to curiosity (good riddance). Honestly though, a screen can and will be held by all.
The product of exposure can be found in 'Easy', the ballad of confused ability. The lacing of MaryJane Dunphe's noise guitar, brought back to life from her days in Polly Darton, meld with David Strother and Theo Maughan's air tight rhythm section. Ian Corrigan, playing 2nd guitar, and Dunphe vocalise together in frustration, this all should be quicker, easier. Corrigan and Dunphe played together previously in Olympia, WA's maelstrom of punk and passion known as Vexx (also released through Upset The Rhythm).

'Teach Me How To' peaks in winding energy, standing tall as a pinnacle of frustration and excess. 'The poor need lessons, they're far too crude, but what about your life Have you known rot tooth' Dunphe cries in resistance to plutocracy and vapid hegemony. Access will be had by all, but not until the human era is over and the internet is a human right. In 'Dear Jackie' simple harmonies on the guitar lap lightly at the toes of a bulky thick rhythm section that is strolling late night on the beach. Each note that Dunphe and Corrigan hit are planned to harmonise, intention over expression. Strother's voice digs deep into choosing, choosing an ending, his pummelling drums and margin walking sense of genre helps the band approach a more lighter sound.
Finally, closer 'The Wall' can speak for itself. 'I know, we're guilty, these eyes so milky,' the powerless individual's eyes cataract while watching an indigenous land be divided by a white contingency. And if its called white supremacy they might as well ' take my head and turn it clockwise'. Needling guitar parts crescendo into a furious finale, reminding all that Gen Pop as one of the last human bands are trying twice as hard to keep ahead of the future.

Joyce Manor come correct. Two records deep into their career and it's clear that they're torchbearers of a style one could trace back to The Ergs or Jawbreaker, depending on what coast you favor. Theirs is a blend of poppy punk blast and highvoltage heartsore immediacy that always lands a hit. The songs are short, sweet and say their piece in step with lyrics that read like a tour diary exorcism hangover - no joke. It makes good sense that they would tackle Cody, their 2016 full-length, with producer Rob Schanpf at the helm. His work with Guided by Voices, Saves the Day and Elliott Smith is an ideal resume given the raw materials at hand. Their recording from the Blue Room, their rst of cial live release, features a sold-out crowd and full-bodied, frenetic live versions of Constant Nothing,' from their 2011 self-titled LP as well as Christmas Card' from their Pitchfork-approved 2014 LP Never Hungover Again. Simply put, one of the best crowds we've ever hosted at TMR.
About 30 seconds into Christmas Card,' there's a really special moment where vocalist Barry Johnson steps back from the mic and the hollering crowd jumps up to ll in the gaps and turn the chorus inside out. This moment is what live shows are all about and speaks to the greatest skill of the Torrence, CA, four-piece - connecting with their fans on a level other newcomers can only dream about.

Dirtnap hasn't released a 7-inch in a few years, but this one was worth breaking the dry streak! Patsy's Rats is Portland power (pop) couple Patsy Gelb and Christian Blunda (aka Billy Jeans from Mean Jeans). Rounding out the lineup is a revolving door of rhythm sections that compromises a who's-who of Portland bassplayers and drummers. (On these recordings it's Steve and Jon from Mope Grooves). Patsy's Rats have already accomplished a lot for a newish band that doesn't even have a full length out. They've toured Europe with Giant Sand (and another Euro tour planned for September 2017), had some songs on the Green Room soundtrack, and released four 7-inches (this is the fourth) on four different labels, with a fifth hot on this one's heels. These will be compiled on a singles-compilation on Burger, with an all-new record recorded and in the can. Two absolutely note-perfect guitar-pop rockers, with Gelb taking the vocal lead on side A, and a sweet duet on side B. Really, this epitomizes everything a 7-inch should stand for: two great songs that leave you wanting more. And there's more on the way...

Shit&ShineGODREC18Shit&ShineGODREC18Shit&Shine
is the polymorphous project lead by the Texan-born Craig Close.With more than a decade of activity between the USA and the UK, it has spawned one of the most fascinating and promiscuous saga of the latest years.Within its huge discography, definitely noteworthy is the 2014 "Powder Horn" released on Diagonal Records, which was considered by many to be one of the best electronic albums of that year.Lately Shit&Shine has released the great "Everybody's a Fucking Expert" LP on Editions Mego in 2015 and "Total Shit!", again on Powell's Diagonal on March 2017.
Shit&Shine and Gang of Ducks share an arguable good taste for naming and, most of all, a wide-range approach to the sonic palette, always exploring different sounds.Hamburger Ep brings the work Craig has developed so far to the next level, keeping his unique mix of sluggish EBM beat, drugged funk and futuristic proto-techno.RIYL G.O.D's previous releases like Traag, Sudden Infant, Datashock...
***300 copies, silk screen printed on special chrome bag***

"Silver Lake" erschien ursprünglich 2003 und ist das neunte Album von Vic Chesnut. Unter der Leitung von Mark Howard - der auch Künstler wie Marianne Faithfull, Emmylou Harris, U2, Peter Gabriel produziert - sind die Rock- und Soul-Arrangements großzügig angelegt. Diese 180g Vinyl-Wiederauflage enthält vier Bonustracks und verfügt über einen Bonus-Download-Code. Vic Chesnut ist 2009 im Alter von 45 Jahren gestorben. New West Records setzen mit diesen hochwertigen Vinyl-Re-Issues dem außergewöhnlichen Singer/Songwriter ein Denkmal und machen lange vergriffene LP-Versionen wieder erhältlich.

Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

For fuck's 1996 sophomore release, the band got sophomoric:
the playing got more playful, and the lyrics got more nonsensical. Yet, from late-night confessional Swinger' to the bare-boned sigh of Whimper and Cry,' the band still embraces languor and melancholia.
Unlike the band's even-handed debut album, Pretty...
Slow, this batch of songs careens multi-directionally— toy piano and baby grand! Rococo' pops, Tired' rocks, Loosened Mind' ups the weird, and Talent, OR' goes full CinemaScope. From realizing I am almost like a girl' to the hope that black and white will soon be brown and gold' on their ode to Neil Young ( Ballet High'), thefuture of identity politics is nailed in 2:27. Think Jonathan Richman's whimsical sincerity battling the obfuscation
of Erik Satie: Baby Loves A Funny Bunny imbues both yin and yang. Schizo Maybe. Let's call it delightfully unpredictable.