Pop & Rock News

Remastered, remixed version of the Vinyl Japan live album from the early '90s. Includes bonus tracks! The tale of the tape by Rocky Rhythm - The Revillos had lain dormant since 1985, but nine years on, we were asked to reform especially for a Japanese tour. Eugene and Fay handled the vocals, my dear friend Kid Krupa returned on guitar and of course I played the drums. Vince Santini was unavailable owing to acting commitments, so bassist Mekon was drafted in. Cherie Revette lived now in New York and all erstwhile Revettes were otherwise indisposed, so fresh Revettes Frankie and Polly joined our team. Finally coming out some two years later in 1996, the resultant album – on the Vinyl Japan label – missed off six songs. Most of the original, unreleased mixes became lost. And there the story would have ended, except...Krupa discovered the tapes of all our original mixes, which had been mislaid for 10 years. Each track was separate, the audio had ‘drop-outs’ and bits missing, and they needed assembling back into the correct set-list order. Krupa borrowed my archive of Japanese footage plus audience cassettes, out-takes, and assorted live monitor mixes. Using our rediscovered original mixes as the core, he planned to rebuild the Tokyo show – pulling the missing elements from these disparate video and audio sources – using digital technology that was simply not available to us back in 1994. I promised Krupa I’d oversee the release when he’d finished the audio. Sadly, Krupa passed away a few months later, early in 2005. Checking the work on his computer, I found no trace of the Japanese recordings on the hard disk, nor the original masters to which he had alluded.Years went by before I felt up to sifting through the many back-up CDs of Krupa’s production and recording output. Eventually I loaded some unmarked data onto the computer and there they were our original mixes transferred to digital! Krupa was keen to see this project through, but his work on compiling the material was still very much unfinished. It was rough, but all there: all the songs, all the original audience response, and even the inter-song banter – some of which Eugene and Fay had spoken in Japanese. But it had not been segued back into order. Much reconstruction work and EQ-ing was still needed.

Originally released in 1981, La folie is the 6th studio album by English new wave band the Stranglers. Available for National Album Day on 1LP translucent pink vinyl for a limited run.

When Paul Weller announced The Style Council’s arrival in March 1983, he’d come a very long way.

In fact, at the age of just 24, he was already a musical veteran with six albums and nine Top 10 singles under his belt with The Jam. As their leader he had become a deity-like figure and for his fans, The Jam’s split was unimaginable. But creatively restless and of inquisitive mind, Paul jettisoned them at their height to form a collective with an eventual core line-up of Paul with Mick Talbot, Dee C Lee and Steve White. In a quest for new sounds, the group travelled to realms previously unchartered for a pop group incorporating musical influences as wide ranging as Blue Note jazz and Chicago soul, Claude Debussy and Erik Satie, Chicago House and Jacques Brel.At the same time, as battle lines were drawn in a decade under Margaret Thatcher culminating in the miner’s strike of 1984-85, Paul’s lyrics spoke with the language of the activist and his state of the nation addresses were both fierce and eloquent. Over four albums and 17 singles, The Style Council made a stand and became the standard bearers of progressive soulful pop and social comment.

The Style Council was emblematic of its creator. Paul Weller, smart, fearless, audacious, with a social conscience and totally unafraid to push the possibilities of pop.

This is their story…

“We set out to have fun, document the times and at the same time we wanted to elevate pop to an art form – I think we did that.”


Double-gatefold wide-spine (2LPs in RH /1LP in LH)
•3 x colour-printed inner bags
•Remastered at Abbey Road
•Pressed on heavyweight vinyl
•Limited edition

The Vapors are an English new wave band who were initially active between 1978 and 1981. The
group were spotted by Bruce Foxton of the Jam who went on to manage them alongside John
Weller (father of Paul Weller). They rose to prominence with the release of their debut album
‘New Clear Days’ which features their best-known track and international hit single ‘Turning
Japanese’.
• The songs on the album focus on prominent societal issues from the time including nuclear
weapons, power stations and the generation gap.
• The album is now reissued on vinyl for the first time, pressed on 180g yellow and black split
colour vinyl.

The Vapors are an English new wave band who were initially active between 1978 and 1981. The
group were spotted by Bruce Foxton of the Jam who went on to manage them alongside John
Weller (father of Paul Weller). They rose to prominence with the release of their debut album
‘New Clear Days’ and international hit single ‘Turning Japanese’.
• Their second album ‘Magnets’ was released in 1981 and features more power-pop songs
exploring themes of politics and societal issues. Highlights include the singles ‘Jimmie Jones’ and
‘Spiders’. The album cover was designed by Martin Handford who would later find fame for his
‘Where’s Wally?’ books.
• The album is now reissued on vinyl for the first time, pressed on 180g clear vinyl.

"With all songs written by the band over the past year or so, the album was recorded and produced by Michael Giblin (The Split Squad) at Mechanicsburg, Pennsylvania in Sep 24 and mastered at Rare Form Mastering by Greg Reierson, Like all three previous Vapors releases, this album conveys an individual feeling of it's own, both lyrically and musically. The title derives from a line in the song ""Forever & Ever"" but it also describes perfectly the high velocity, guitar and bass, heavy punked up tempo that runs through a number of the songs, whilst conjuing up an image of bottled-up anger that runs through a number of the album's lyrics.
Best known for their major worldwide 1980 hit ""Turning Japanese"", The Vapors originally split in 1981 after two short years producing six singles, two albums, three major US tours and an Australian tour, and countless shows in the UK. After a 35-year hiatus, the band reformed for a series of four shows in Ireland and England in 2016 which were so well recieved that they continue to tour extensively, with over 160 gigs played since, with a comeback album ""Together"", in 2020 and several singles released along the way."

The Flat Earth is the second studio album by English new wave and synth-pop musician Thomas Dolby, it was released on 10 February 1984 and peaked at No. 14 on the UK Albums Chart. The first single from the album was “Hyperactive!”, which peaked at No. 17 in the UK Singles Chart. The album charted at No. 35 on the US Billboard Hot 100.
The album has held up very well 40 years after its release; a crisp production, brilliant songwriting by Thomas Dolby and a fantastic ensemble of supporting players makes this record a classic in its own kind.
The Flat Earth is available as a limited edition of 750 individually numbered copies on translucent blue coloured vinyl and contains an insert.

The Flat Earth is the second studio album by English new wave and synth-pop musician Thomas Dolby, it was released on 10 February 1984 and peaked at No. 14 on the UK Albums Chart. The first single from the album was "Hyperactive!", which peaked at No. 17 in the UK Singles Chart. The album charted at No. 35 on the US Billboard Hot 100. The album has held up very well 40 years after its release; a crisp production, brilliant songwriting by Thomas Dolby and a fantastic ensemble of supporting players makes this record a classic in its own kind. The Flat Earth is available on black vinyl and contains an insert.

The Flat Earth is the second studio album by English new wave and synth-pop musician Thomas Dolby, it was released on 10 February 1984 and peaked at No. 14 on the UK Albums Chart. The first single from the album was "Hyperactive!", which peaked at No. 17 in the UK Singles Chart, and was a minor hit in the Netherlands too.

The album has held up very well 40 years after its release; a crisp production, brilliant songwriting by Thomas Dolby and a fantastic ensemble of supporting players makes this record a classic in its own kind.

The Flat Earth is available as a limited edition of 750 individually numbered copies on silver vinyl, and contains an insert.

Cherry Red Records is delighted to announce the longawaited remastered release of Toyah’s debut album “SheepFarming In Barnet” which kickstarts a reissue programme ofToyah’s entire Safari Records catalogue.

Produced by Steve James and Keith Hale, the album reached number 1 on the UK Independent Albums Chart in February 1980 and celebrates its fortieth anniversary in 2020.

The 7” single Victims Of The Riddle (1979) was Toyah’s very first release and is included here. This was followed up by 6-track mini-album “Sheep Farming In Barnet” that contained three tracks per-side on a 33 1/3 playing 7” vinyl. This mini-album was then expanded to a full length 11-track album (originally for the German market) in early 1980 by adding the ‘Victims’ 7” A-Side/B-Sides and some further
tracks also recorded at Chappell Studios, London.

This album contains the fan favourites ‘Race Through Space’, ‘Neon Womb’ and ‘Danced’, all of which went on to become signature songs for the band.

This punk/new wave classic album is being re-issued in two formats and this vinyl LP features:

STRICTLY LIMITED EDITION WHITE COLOURED VINYL ECHOING THE ‘WHITE GOLFBALLS’ (GEODESIC DOMES) OF RAF FYLINGDALES BALLISTIC MISSILE EARLY WARNING SITE, YORKSHIRE THAT APPEAR BEHIND TOYAH ON THE FRONT COVER PHOTOS.

BRAND NEW INNER BAG FEATURES RARE AND UNSEEN IMAGERY OF TOYAH AND THE BAND FROM THE PERIOD.
OFFICIAL LYRICS FOR THE ALBUM NEVER PREVIOUSLY INCLUDED WITH PREVIOUS ALBUM RELEASES.

Remastered and expanded release of Toyah’s 1982 Top 20 album. Originally released as a live double album in October 1982, ‘Warrior Rock’ was recorded at Hammersmith Odeon, London across the final two nights of the tour.

The album presents 15 songs centred around material from the band’s Top Ten albums ‘Anthem’ and ‘The Changeling’. The album is named after ‘Warrior Rock’, the B-Side of Toyah’s 1982 single ‘Brave New World’. The band’s hit singles ‘It’s A Mystery’, ‘I Want To Be Free’ and ‘Thunder In The Mountains’ all feature on the album alongside fan
favourites ‘Ieya’, ‘Danced’ and ‘War Boys’. This expanded re-issue now documents ‘The Changeling Tour’, Toyah’s highly successful run of 25 UK concert dates in June/July 1982 in a more comprehensive fashion.

The 3CD set was compiled by Craig Astley and Joel Bogen and presents 41 remastered tracks from master tapes/archive sources
featuring 26 previously unreleased bonus tracks. A total of 19 different songs feature from 11 different gigs, recorded at nine different locations. For the first time ever, the “four sides” of the original live double album are included on CD - unabridged and uncut. Nick Watson/Fluid Mastering has remastered the package from the original master tapes and archive sources, overseen by Joel Bogen. A wealth of bonus tracks have been unearthed from the archives to provide both a glimpse backstage at concert preparations, and act as a definitive souvenir of the tour’s journey across the UK

Venturing into “a limbo world between medieval tropes and modern-day decay”, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric.

The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project’s identity, an attempt to collapse history into a single, uneasy present.

Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices’ Bee Thousand looms large as an influence, particularly its ability to build an entire world through unpolished, first-take recordings. Robert Pollard’s idea of the “four P’s” (psych, punk, prog, and pop) serves as a neat summary of the artist’s musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk’s so-called “Calgary Sound,” a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos.

The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a dream only half-remembered.

The work, inspired by NASA’s ground-breaking mission by the Juno space probe and its ongoing exploration of Jupiter, is a multi-dimensional musical journey featuring the voice of opera superstar Angela Gheorghiu. The album includes sounds from the Juno launch event on earth, from the probe and its surroundings and Juno’s subsequent journey that have been sent back to earth from the probe, which continues to study Jupiter and its moons: 365 million miles away.

First chapter on Onderstroom digging into the history of Dutch minimal synth & wave. Comes in a gatefold sleeve with metallic finishing and pressed on 180gr. vinyl. Who needs a big, expensive recording studio with all those fancy high-tech machines that only make your weary head spin when you can do it all by yourself at home in your (teenage) bedroom Way back in the early eighties all you really needed was an idea, quite a bit of guts and some rudimentary equipment. You could basically do whatever you wanted. The means were limited, yet the sky was unbounded. It was the time of the cold war nuclear threat, social unrest and mass unemployment but at the same time it was an era of infinite possibilities. The future was just around the corner. A lot of music that was being produced sounded just like that: a brave new world of sound and rhythm. Music was simply put on cheap cassettes, easily duplicated and swiftly distributed in limited quantities into the big world outside.

Life behind the Berlin Wall, before the fall. Once there was DDR (Deutsche Demokratische Republik), otherwise known as East Germany. Verging on the ruins of the 2nd world war, in the fog of the socialist utopia, there was a widespread scene fighting against corporations and restrictions. Die neuen Bands, that was the manifesto, a number of small alternative bands facing the efforts of the post-punk (and even post-industrial) revolution. This was happening right after the English new wave or the Neue Deutsche Welle (the western counterpart). A musical resistance, a counterculture, spreading all over the country the clandestine way. An enduring dangerous strategy that brought to life many artistic figures, way ahead of their time. Such is the case of Frank Bretschneider (Stein im Brett, Kriminelle Tanzkapelle) still one of the most prolific glitch producers (founder of the influential imprint Rastermusic), Ornament & Verbrechen the east-Berlin combo run by brothers Ronald e Robert Lippok (To Rococo Rot) and Reinhard Lakomy a true innovator in the vein of Klaus Schulze. The ghost of an era, a social turmoil that eventually had an impact on our daily routine.

Through the 24 pieces, rare and unpublished, carefully selected for this double LP, BEATITUDE agnès b. MUSIQUE and Kwaidan Records offer a retro-futuristic sound journey through this musical period so rich, so diverse and so innovative. And, in order to properly celebrate the launch of this long-awaited volume 3, the 1st DES YOUNG GENS MÖDERNES festival will be organized in November 2020 at La Station - Gare des mines, with an intergenerational line up highlighting the musical lineage and the influence that this cold wave scene continues to exert on many emerging artists.

Repress !

The "Produkt" compilation takes us back to the time between 1979 and 1984, when post-punk was the main expression of the underground movement. Bands in the wake of PIL and Joy Division came out like mushrooms after the punk crush. In this compilation you will find mostly unknown yet interesting productions. This is a 10 track album, all originally released on 7" from all over the world: from Poland to Sweden, from Yugoslavia to Denmark. A perfect item for both enthusiasts and completists but also for those curious, passionate of those extraordinary years and lovers of a genre that still continues to evolve and that indeed continues to storm clubs around the world

Most musical genres arise as counter-reaction to a previous musical genre. This is also the case of New Wave which can be described as the follow-up to the punk and post-punk sound at the end of the 70s. At the beginning of the 80s, British bands changed their sound and influential figures such as entrepreneur Malcolm McLaren, fashion designer Vivienne Westwood stamped their mark on the New Wave scene.

The double album New Wave Of The 80's Collected features artists that defined the sound of a decade, including U2, XTC, Propaganda, Tears For Fears, China Crisis, The Cure, Talk Talk, ABC, Echo & The Bunnymen, The Human League, Duran Duran, Thompson Twins, Simple Minds, Marillion and many more.

The 2LP New Wave Of The 80's Collected is available as a limited edition on moss green (LP1) and turquoise (LP2) coloured vinyl and includes an insert.

40 years after its original release, a new and expanded version of ‘Goot From The Boot’ is here to stay! It was 1984 and the newborn Florentine label Spittle Records launched his manifesto, with a killer selection of Italian underground bands verging on the Hardcore/Punk firmament and the New Wave ‘end of the spectrum’. This new version contains three bonus tracks, including “V’Oi!” by Skulls, which could not be included in the first pressing due to a postal delay. Finally we put things in the right place. An essential piece of Italian Hardcore and New Wave history.

Lots of crazy 80s UK stuff on here.

An album of early 1980s Post-Punk era musical bedroom & small studio innovations & DIY Inspirations - Featuring rarely / never heard cuts from that period. Including tracks sampled by DJ Shadow & a singular Post-Punk era back-handed tribute JCC track :-) From Coventry's 2-Tone associated Skeet to Surface Mutants Cabaret Voltaire facilitated Dub & the out-there pastoral Post-Punk spaciness of The Dealers ..A rich vein .

"This is a snapshot of a fertile time in UK music, a time of independent artists, studios, labels & distributors collaborating to do it themselves, sidestepping the majors to take their shot at the big time. It didn't always work out but they made a record and that's what counts. It is a collection of the lost and overlooked - not intended to be a definitive guide to the period but an opportunity to shine a light on the creative output of these artists and share them once again so they can get the recognition they deserve."

(Jason Boardman May 2024 - Jason Boardman ( Before I Die Records) Celebrated Manchester club-night curator & record Label Owner , DJ & digger - supreme.

Schmitz is a cool guy. He dreams of meeting the ruler of the universe. One day, his dream comes true: he meets the electro goddess Irma. The compilation is a kind of audiobook in 13 acts, danceable and cool, fast and loud, an homage to all space cats. The LP comes with a booklet introducing the bands and telling the story.

Straight from an alternative dancefloor, a recollection of stone cold classics from huge & influential post-punk pioneers. They called it white funk once, but here you can even catch echoes of latin, dub and club influences, a mutant disco manifesto from a series of British champions such as Normil Hawaiians, Glaxo Babies, Playgroup, C Cat Trance, Suns of Arqa & Prince Far I and many more.

Tracklist Side A:
Normil Hawaiians - Obedience
Vee VV - Keep Beat
Spit Like A Paint - For The Life Of Me
Group Therapy - Arty-Fact
C Cat Trance - Hypnotised

Tracklist Side B:
The Chicken Granny - Quit The Body
Machine Gunn Hogg And Co - Bed Bound Saga
Playgroup - Hoggs Might Fly
Glaxo Babies - Shake (The Foundations)
Suns of Arqa feat. Prince Far I - G.D. Magik

RIYL: Depeche Mode, New Order, Naked Eyes, Lust for Youth, Black Marble. 2020 has been one rough ride for everyone, forcing us all to review what we thought was normal and maybe, one would argue, even our priorities. Two years have passed since their previous Inflict LP and we don't really know how what recently happened impacted on the band's mastermind Michael but what's sure is that Veil Of Light are now a fully grown-up band. Landslide is their fifth full-length (and their third on Avant!) and it's definitely their most elaborated album. Ten new songs, rather than the usual eight, with a perfect balance of Coldwave-inspired intimate atmosphere and synthpop catchy melodies. Musically speaking it's still clear where the Swiss duo draws their influences from, right in between New Order's moodiness and The Klinik trying one softer, less brutal approach to their Electro. But a new sense of privacy is reflected all through these new tracks, enhanced by lyrics now more personal than ever. The Prayer Wheel is a page torn out of a private diary, Love And Money is a mechanical mantra for a no-way-out situation; Suburban War is a confession of defeat whispered at night, No Return is the last dance before reaching the point of. This is the kind of record that takes its time, and takes its toll, we just need to sit down and listen because there's much to discover.

Following the departure of Wire's drummer Robert Grey in 1990 WIR had risen phoenix like from the ashes of the acclaimed UK post-punk band after and were created to fulfil the final phase of Wire's Mute Records contract. With a more sequence based sound, WIR saw the band breaking all their own rules by creating a new sparse electronic music with Graham Lewis singing most of the vocals and even cannibalising their own catalogue by sometimes sampling their own older material. WIR was, however, not a long-term project and besides completing their only album, The First Letter, their only other activities were a very small number of gigs and two multi-artist "conceptual happenings" under the name I Saw You. One of these was in Clapham in April 1992 on election night and the other in Vienna in Feb 1993. On that Vienna trip, in addition to playing the gig, the band recorded a radio session for the Austrian national broadcaster ORF which was organised by Peter Rehberg - later the person behind MEGO & sadly no longer with us. This was released in 1996 by Touch on CD and consisted of two long tracks with a running time of almost 25 minutes. Once the short run of CDs had sold out, the rights technically fell to the band, and pinkflag released it - digital only - in 2007 and now released on vinyl for the first time. The remastered 2025 vinyl / CD / digital edition adds a newly recorded, Taylor Swift style re-recording of what is undoubtedly WIR's most pop moment, the dark brooding shadows of So and Slow. The version released here is based on how the band played it live, so, inspite of being instantly recognisable, it does not follow the arrangement of any previously released version.

The original Not About To Die was an illegal bootleg, released at some point in the early 80s, by the dubiously named Amnesia Records. The album was made up of selections from demos recorded by the group for their second and third albums: Chairs Missing and 154. These demos had been recorded for EMI, with cassette copies circulated amongst record company employees. However, they were never intended for release. A typically shoddy cash-in, the songs on Not About To Die were taken from a second or possibly third generation cassette, with the album housed in a grainy green and red photo-copied sleeve. Compared with the high standards of production and design Wire have always been known for, it was something of an insult to band and fans alike. Now, in a classic act of Wire perversity, the group have decided to redress the balance and reclaim one of the shadier moments of its history, by giving Not About To Die its first official release on the bands own pinkflag imprint.. All the tracks have been properly remastered, with the relevant recording details in place. As for the sleeve artwork, whilst it strongly references the original, it is decidedly more artful in its execution. Not About To Die emerges as a fascinating snapshot of Wire in transition with embryonic versions of classic songs such as ‘French Film (Blurred)’, ‘Used To’ and ‘Being Sucked In Again’, that the group would develop considerably for their epochal 1978 album Chairs Missing. Later demos such as ‘Once Is Enough’, ‘On Returning’ and ‘Two People In A Room’ would surface in radically altered form on 1979’s 154. Some songs, such as ‘The Other Window’, are virtually unrecognisable from their later iterations but the biggest prizes here may well be the tracks that were omitted from Wire's later studio albums... Highlights include ‘Motive’, which has an undeniable power. Robert Grey’s drumming is crisp and minimal, and Graham Lewis’s bass runs are particularly ear-catching. Despite its distinctly un-Wire title, ‘Love Ain't Polite’ is also something of a gem. Meanwhile, the track which gives the album its title Not About To Die (officially known as ‘Stepping Off Too Quick’) possesses what Colin Newman half jokingly calls “The best intro to any song ever”. The intro is so good in fact, that it takes up a third of the song’s entire time frame. These properly mastered tracks have never been available on vinyl before, and they provide an opportunity to hear Wire at a point in their development when they were bursting with fresh ideas and a will to communicate them. This is post-punk at its very finest.

a A1 Oh No Not So [save The Bullet]



[e] A5 French Film [blurred]




[j] A10 Chairs Missing [used To]

[l] B2 Ignorance No Plea [i Should Have Known Better]


[o] B5 Stepping Off Too Quick [not About To Die]

For RSD 2025 the influential band will be releasing a new double LP edition of their Nine Sevens box set of 7" records first released in 2018. Combining the run of early singles with more obscure later period tracks underlines the strength in depth that Wire had. This is pop art as art/pop and an exploration of the blank canvas of pop culture and how far that canvas can be stretched going from three minute constructs to ambient washes. The 7" single was always the ultimate artefact and statement with the A side being the band momentarily paused in time and distilled and freeze-framed into the forever with less than three minutes of electric sound. These "sevens" released from 1977 to the end of that decade, signpost the band's remarkable development from their brilliantly monochromatic early phase to the textured complexity of the almost psychedelic unzipping of their sound and vision. In some ways the compilation of Nine Sevens onto a double album makes for quite a weird documentation of the band in this period. The first disc, to some extent, follows the script of a singles / greatest hits collection but the second one goes wildly off-piste and ends up somewhere quite far from where the collection started. A conventional Greatest Hits collection, besides being conceptually a bit naff would, if strictly based on charting singles, consist of only one song! A Best Of is subjective and somewhat pointless in the age of the Spotify playlist that anyone can make. The only thing really that these tracks have in common (besides being by Wire) is that they were released or destined to be released on 7" by Wire in the period 1977-1980. - Nine Sevens is both title & elevator pitch!' Wire always understood the language of pop and also the artfulness of playing with it, deconstructing it and reassembling it into new and thrilling shapes. Decades later, these adventures into sound are like slices of delicious, perfect pop/noise and hits from a parallel universe. Track list:Side A1 Mannequin 2 Feeling Called Love 3 12XU 4 I Am the Fly5 Ex-Lion Tamer 6 Dot Dash *7 Options R * Side B 8 Outdoor Miner (single version) * 9 Practice Makes Perfect 10 A Question Of Degree * 11 Former Airline *12 Map Ref. 41ºN 93ºW Side C 1 Go Ahead * 2 Our Swimmer * 3 Midnight Bahnhof Café * 4 Second Length (Our Swimmer) **5 Catapult 30 ** Side D (154 EP) 6 Song 1 * 7 Get Down 1 + 2 * 8 Let's Panic Later *9 Small Electric Piece * * previously unreleased on vinyl album ** recorded in 1980 but not released until 2014

Ein bandbetiteltes Album markiert fast immer einen
Wendepunkt in der eigenen Diskografie, und für „WISBORG
“ trifft das gleich in mehrfacher Hinsicht zu. So arbeitete die
Band erstmals mit Lord Of The Lost-Frontmann Chris Harms
als Produzenten zusammen, der auch als Feature-Gast auf der
Leadsingle „Im freien Fall“ in Erscheinung tritt (das
Musikvideo zum Song wurde auf der gemeinsamen Tour in
den Locations sowie im Nightliner gedreht).
Auch visuell geht die Band neue Wege: „WISBORG“ bricht mit
dem schwarz-rot-beigen Farbschema der bisherigen
Veröffentlichungen und präsentiert erstmals ein Foto der Band
als Albumcover! Für das Bild und die visuelle Ausgestaltung
zeichnet Stefan „Heilemania“ Heilemann verantwortlich
Darüber hinaus finden sich auf „WISBORG“ erstmals deutsche
Texte – und zwar ausschließlich!. „Auf Deutsch zu singen ist
ein zweischneidiges Schwert“, erklärt Frontmann Konstantin
Michaely. „Wenn dein Publikum auf Anhieb versteht, wovon
deine Stücke handeln, dann haben die Texte naturgemäß
mehr Gewicht. Dadurch macht man sich verletzlicher, aber