Indierock | Alternative CD 233 Items

Lives Outgrown is the debut album by Beth Gibbons featuring 10 beautiful new songs recorded over a period of 10 years, the album was produced by James Ford & Beth Gibbons with additional production by Lee Harris (Talk Talk).

Lives Outgrown is, by some measure, Beth’s most personal work to date, the result of a period of sustained reflection and change — “lots of goodbyes,” in Beth’s words. Farewells to family, to friends, even to her former self. These are songs from the mid-course of life, when looking ahead no longer yields what it used to, and looking back has a sudden, sharper focus.

Good & Evil finds Tally Hall entering a stripped-back, grittier sonic universe. Transcendental melodies guide them through a mind-bending journey of duality. Available for the first time since 2011, this cult classic is now on vinyl containing an all-new poster, CD & tape, along with a companion 7'' single.

Attn.: We did not receive this record in time for RSD, but we will get it this week.

•CD Box Set with 9 CDs •Artwork by Echo Barrett (Each disc will have unique art, not like the mockup) •Each show is 3 discs. •Each disc in sleeves, with all sleeves in a clamshell box •Mastered by Angel Marcloid at Angel Hair Audio

Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

Final Velvet Underground album featuring founding member and songwriter Lou Reed

Hybrid Stereo SACD

After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970.

Label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result. It was the group's swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. Still, AllMusic gives the album 5 Stars and Pitchfork calls it a "perfect rock 'n' roll record — 40 minutes long, five songs to a side, and not a single wasted note."

Loaded is the sort of proper album that feels like a greatest hits collection, with each track thoroughly inhabiting and mastering a dominant rock archetype. Although the songs "Sweet Jane" and "Rock & Roll" distinguished the band as a "seminal proto-punk" act, "The trifecta of 'Who Loves the Sun,' 'Sweet Jane' and 'Rock & Roll' is among the best three-song openings on any rock and roll record," wrote Paste contributor Jeff Gonick

We're so proud to announce the brand new Sampler of our label.

The CD Edition includes the remastered 13 tracks and reproduces the original Wax Trax! booklet utilizing new photographs of the Steven Stapleton painting.

The first album by Sault started a series of now four albums in two years that scored big time with critics all over the world.

•CD Box Set with 6 CDs
•Each show is 2 discs.
•Each disc in sleeves, with all sleeves in a clamshell box

In 2023, King Gizzard performed multiple nights in cities across the Us-- this tour being known as the Residency Tour. This is one of those 3-night runs at The Salt Shed in Chicago!

Dark cloud approaching – Black Magic Six set to release their fifth album in September!

The title of Black Magic Six’s upcoming album Black Cloud Descending really sums up the mood and thoughts of its creators during the album making process. It tells stories of constant escaping, accepting defeat, destinies of outcasts, failures, and drunks. Tales of the wiser, exaggerated lies, vague rumours, fuzzy states of mind and suspicious circumstances – even the thought in the back of your head about the possibility of redemption while standing on the edge of the cliff right before falling in; it’s all there.

The album’s first single Blood of Babylon is a garage rocking song about Sam Berkowitz’s relationship with Sam Carr’s speaking dog. Lyrical themes of the upcoming album are moving between reality and the imaginary world; remembering the moments at Belo Horizonte, how to use the powder that protects you from the evil eye, how it felt to wonder in the same alleyways with the werewolf of Istanbul or diving to safety to the bottom of a pond in Northern Savo.

Musically the album is on a narrow path. All the sounds heard on Black Cloud Descending are produced by Taskinen and Motherfuckin’ Japa. Sure, there are two exceptions; the gong heard in the end of Werewolf of Istanbul was recorded by Sakke Koivula at his home and the church bells in the outro of Full House Blues are ringed by unknown. Previous albums of BM6 had lots of featured vocalists and other guests playing guitar, percussions, and harmonica. People that one could call actual musicians. These past albums have had a softer, more versatile, and maybe even a livelier touch to them. This time around there’s only the core; the percussionist and the singing guitar player. The result is more raw, rugged, and rougher than before.

Black Cloud Descending is out on September 1st on vinyl, CD and digital platforms. The album was produced, recorded, and mixed by Mitro Kylliäinen at Kung Fu Audio along with BM6 during 2022-2023. Original art used for the album cover was made by Greger Grönholm. The band will play selected live shows to celebrate the new album in Finland, Germany, Denmark, and Spain. Dates of these gigs will be announced closer to the release date of the album.

Sacd

When Von Spar made their ciritcally acclaimed entrance in the pop circuit in 2003 (e.g. coverstory in Spex Magazine) they were regarded as the German answer to the Post-Punk/No-Wave-renaissance. But their debut was more a clever parody about eighties-style-hipster-bands. Three years later and wiser the supergroup (with members of Urlaub in Polen, Oliver Twist, Aggro Cologne) returns with an uncompromising album that gets ahead of all expectations and will surprise their audience and critics who will be shocked. This is not a band following the latest trend. Detached from the usual style issues Von Spar have exorsized the Zeitgeist and overtaken the discourse. There is no scheme. Anything goes. Their new musical language is inspired by seventies Krautrock taking lines of flight to Fluxus art, Minimal Music and early TripHop. Apart from ringtone-compatible hits Von Spar reanimate the classical album-format. The two 20-minute long songs combine the spirit of exploration from Can and Kraftwerk with the conceptual aesthetics of Steve Reich and John Cage and techniques of dark, psychedelic multi-layering by Neurosis and Bohren & Der Club of Gore. All references are permantly ruptured, adopted and newly interweaved. With two new members the five-headed pack recorded in the legendary Electric Avenue Studio, Hamburg, with producer Tobias Levin (Tocotronic, Blumfeld, Kante). Their new labelbase Tomlab offers the congenial platform for this unusual journey. The new album of Von Spar reclaims music as a truthful place for concentration and collective energy from which newness enters the world.

The material for «Gemini Twins» was created in the summer of 2022 and finished in 2023. Serge: "I am interested in the themes of Man, his place in the Universe. From primitive times to the era of space exploration, people continue to ask themselves eternal questions: Who am I? Where am I from? Where am I going? The character of 'The Story Of Captain Glosster' is a slightly modified version of Homer’s Odysseus. This is the image of the End of the Wanderings. But Odysseus, after long wanderings, returned to his beloved woman. On the contrary, Captain Glosster found his love as a result of his trips. Found her in Other Worlds. I don’t use science fiction images because that’s how it’s supposed to be according to the laws of the genre. It would be too primitive and not interesting. The composition 'Time Loop' is not a reference to some kind of science fiction. In my composition, the image of the Time Loop is an image of human life. Life is rhythmic, irreversible. Under any given circumstances, we do not have the ability to press «Ctrl+Z». We can only move forward. 'Solstice' is inspired by the feeling of a calm, soft summer day. When all thoughts are stable, there is no anxiety and the world around you looks amazing through the haze of sun rays and summer smells. I tried to convey this state in my track. 'Over the Mountains' could, of course, be an image from science fiction. But not necessarily. This is the feeling of flying over the mountains. Perhaps on another planet. Or maybe not. This is a feeling of triumph from conquering air. 'Fugit Irreparabile Tempus' is my musical reflections on our world and the place of Man in this world.”

Øresund Space Collective (øsc), formed in 2004, is a totally improvising Scandinavian space rock band and has been releasing albums since 2006. The band has played concerts & festivals all over Europe. Their music is quite diverse and influenced by the ever-changing line up in the collective. Picks From Space was a Cd-r series produced by Dr Space between 2005-2007. The collective during this time period was primarily the members of the bands Mantric Muse (dk), Bland Bladen (se), and The Carpet Knights (se). The main players being: Magnus (guitar and synth), Sebbe (guitar), Tobias (guitar), Jocke (bass), Michael (bass), Dave (bass), Kaufmann (drums), Søren (drums), Ola (synths), Mogens (synths), Dr Space (synths) plus additional players like Solvi (guitar), Eduardo (guitar), and a few others…. There were 12 CDs in the series. Each disc was a mixture of usually one or two rehearsal room jams with the exception of Disc 11, which was unreleased studio material (most but not all of which has appeared now). It is estimated about 50 complete sets were burned and exist. A few volumes exist in more copies as they were more popular and there was a period where you could buy them separately. During the covid period, Dr Space found most of the original recordings and was able to greatly improve the sound on most of the recordings. This is what you hear on this limited-edition set starting with some tracks from the very first Jam session in April 2004 to one of the last regular jams in 2007. There are some of the best jams the band ever had in this very inspired series of music exploring the early origins of the band. Artwork by David Graham

"Into The Blue is the clearest portrait of who I am as an artist. It's me through and through," says multi-instrumentalist Aaron Frazer. A daring blend of soul, psychedelia, spaghetti western, disco, gospel and hip-hop, Into the Blue represents the impressive range of Frazer's sonic talents. Frazer maintains the unmistakable falsetto and classic songwriting he's known for, but plants Into the Blue firmly in the now with a hip-hop mentality at its core, weaving together genres and production techniques to form something new. Into The Blue was conceived, like so many classic records, out of actual heartbreak. Frazer moved cross-country from Brooklyn to Los Angeles and embarked on a journey that's reflected in the album's themes of grief, loneliness, and searching for healing. "Into The Blue really means heading into the unknown. That has been the last year of my life and I'm still in the blue," Frazer explains. "But there are also songs here that celebrate love and the giddiness of a new relationship and all that. That's part of a breakup to me, processing the whole thing, remembering the things that were right as much as the things that were wrong." Frazer wrote on every track and played several live instruments on the album. The title track, "Into The Blue", is a haunting, resolute anthem, combining cinematic strings and tough-as-nails breakbeats as Frazer heads west. "Here I go, to a place where the broken heart knows," he sings. "It's all I can do. Back into the blue." "Payback" is an explosive dancefloor heater, featuring shimmering tambourines and driving bass lines. Northern soul drums meet snarling fuzz guitar, hurdling towards its epic conclusion. The album features moments of towering arrangements, recalling David Axelrod and Ennio Merricone, balanced by rawness, incorporating iPhone recordings and one-take vocals. For Into the Blue, Frazer enlisted Grammy-winner Alex Goose as coproducer, known for his crate-digging samples and collaborations with hip-hop artists like Freddie Gibbs, Madlib and Brockhampton. Frazer also experimented with samples for the first time on a record, drawing from unexpected sources like 90s R&B group Hi-Five. Though Into the Blue is born out of heartbreak, Frazer hopes it leaves listeners with a sense of optimism. "You know, you can still laugh on a day when you're grieving," he says, "there's no peaks without valleys," he says, but Into The Blue sees Aaron Frazer at new heights.

This live compilation attempts to replicate the seamless, infinite loop of the original Nonagon Infinity album.

Five CD set. The Gorge '98 is a two show audio box set from 7/16/98 and 7/17/98 at The Gorge Amphitheater in George, WA - a natural open-air venue with stunning views of the Columbia River Gorge, and onsite camping under the stars. Capturing the band at a summertime peak at this storied high desert venue, The Gorge '98 celebrates this idyllic two-night stand across 30 songs on the band's first archival CD release since 'St. Louis '93 (2017) and The Baker's Dozen (2018). Recorded live by Paul Languedoc, mixed from multitrack by Jon Altschiller, and mastered by Fred Kevorkian, The Gorge '98 is must-hear Phish.

Original old stock. "On break from Rough Trade and her band The Moldy Peaches, our friend Kimya finds herself at home on Important Records releasing two full length albums at once. Both albums are full of moving original folk songs about Atari 2600's, love, growing up, growing old, overcoming hardships and Matlock . Kimya is one of the most genuine voices in modern music and the superstar of NYC's Anti-Folk scene. Both solo albums were recorded after her Rough Trade solo debut . Knock Knock Who? and My Cute Fiend Sweet Princess find Kimya stronger and more confident than before, creating more powerful records every time."

Combining the best elements of classic Japanese Hardcore with a scorching Metal-infused guitar work as well as a solid rocking vibe, Juntess stands as one of the most underrated bands of the late ’80s to early ’90s wave of Tokyo HC. This ultra exhaustive anthology finally makes justice to the quality and originality of their music, collecting all their existing recordings: singles, compilation tracks, the rare “not for sale” demo 1989 and a very complete selection of live material, except the album “Under the red moon” that was already reissued on F.O.A.D. in 2017. A maniacal collection that reconstructs their history from the very first days to the final show: 1988 to 1992. Double LP + 2x extra bonus CDs, for a total of 86 Songs! Comes in a thick gatefold jacket with OBI strip and 12 page full colored booklet with rare photos, flyers, biographical notes and scans of their complete discography. Detailed contents: “Knells for the past” 7″, “You were free” 7″, Split 7″ with Doctor and the Crippens, “Not for sale” studio/live tape, songs from “The bottom rise up to the top” v.a. flexi 8″, songs from “Kakumei – best run fast” v.a. LP, songs from “Kiss my ass” v.a. tape, songs from “Office L.M.” v.a. tape, songs from “Who’s chained up to the dogs of outrage!!” v.a. LP. Bonus CD1: Demo and early gigs 1988-1989 / Bonus CD2: live 1991-1992 including the final show (mostly soundboard recordings).

Paving the way for independent artists with songs about love, loss and life, Low Island release their highly anticipated sophomore album, Life In Miniature, promising more ‘delicious alt pop’ (Clash) as the group follow in the footsteps of fellow ‘Oxford bands Glass Animals, Radiohead and Foals’ (Rolling Stone Germany).

It comes fresh off the back of their debut album, If You Could Have It All Again, which placed #17 in the Official UK Album Sales Chart and won them plaudits from Gigwise (‘truly engrossing’), Line of Best Fit (‘arena ready’), Double J, Kcrw, Radio1, 6music and Zane Lowe, who described the bands ‘intellectual, soulful creativity.’ Their second album, Life In Miniature, sees Low Island continue to broaden the scope of their ambition, with a record that exquisitely balances stirring electronics, euphoric indie and infectious pop. It’s a record described by the band as a ‘timecapsule, a sonic photo album that captures three years of accelerated change that felt like a lifetime. Leaving home, falling in love, losing loved ones, trying to capture full complexity of emotion that all of those experiences engender.’

Setting that heartfelt lyricism against such a diverse range of sonic backdrops is something that Low Island have been devotedly fine-tuning over the years, firmly rooted in an independence that extends to everything from managing themselves and releasing their music on their own label, Emotional Interference. Its lead to an electrifying live show, which has seen them play festivals from Glastonbury to Lollapalooza Berlin, support synthpop legends Hot Chip and pack out their own shows everywhere from London to Berlin, Prague and Paris, prompting 6music’s Tom Robinson to prophesise that ‘we’ll have them rocking the Pyramid Stage yet, mark my words’.

The tenth studio album by Bjork coming in a Deluxe Mediabook edition.

For collectors: This edition comes with a different barcode than the first edition.

Debut LP from The Guy Hamper Trio! For fans of Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ). Q & A with Billy Childish:Q: We're loving this new album by The Guy Hamper Trio! Who's in the band sunshine?A: Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two.Q: You and James Taylor go back a long way. Do you remember how you first met?A: The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. Q: You've revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio's sound?A: I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. Thereyou made me say "man". Next thing you know I will be saying "cool!" Let's just say it's a wizard sound, Jamie is such a great player.Q: Prior to this album The Guy Hamper Trio's sole release was the `Polygraph Test' 7" from 2009. Why such a big gap?A: It takes time for all of us to get all our solders in line. "Get on with it mush! And trifle not, your time is but short!"Q: What inspired the album's title track All The Poisons In the Mud?A: It's actually the title of a novel I've been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on m...

Contains bonus tracks Glass replicated CD Lyric booklet

With the downtime of the past 2 years I've been writing a lot. As sort of a little songwriting challenge every once in a while I’d write some Ramonescore tunes. It's almost a concept album in that sense. Most of these songs were written in 2020/2021 but a couple are some of my first attempts at songwriting circa 2004! I was originally going to release this under an alias but decided to just make it a Brad Marino album on the advice of some people whose opinion I trust. It's different than "Looking for Trouble" and "Extra Credit" but It's all rock and roll to me... NO Upstrokes Were Used IN THE Making OF This Record

In your face guitar hooks, sing along choruses, and a penchant for writing 90's alt-rock anthems deeply rooted in Boston Garage Punk, Stars Like Ours deliver their eponymous self titled full length release. Stars Like Ours is a 3 piece, 90's influenced, driving rock band with pop sensibility from Boston, MA, who’s influences include: Sugar, The Amps, Superchunk, Dinosaur Jr., and The Breeders. The band consists of Michelle Paulhus (The Decals, The Marvels, The Real Kids, The Dents, and Andrea Gillis Band) on bass and lead vocals, Kristin Holliday (drago, The Blue Bloods, Full Body Anchor, and The Downhauls) on guitar and backing vocals and Rice Edmonston (Darkbuster, Big Wig, Senior Happy, Heidi, Linus, Full Body Anchor, Mill Pond Falls, and Abbie Barrett Band) on drums and backing vocals.

The Practice Run is a fun new Mom’s Basement Records super group that features members of The Putz, Covert Flops, Ghost Party and Horror Section. The Practice Run takes influence from all of the great Lookout Records bands so you can expect a great time with this one.

Smelters from Alberta, Canada are here with their debut full length Burnin’ Dirt. These dudes play straight up 4 chord punk rock that is heavily influenced by the Ramones! 12 fast and catchy punk rock songs that’ll surely have you up and moving!

Look no further than the forest and wetlands of southern Ontario to find Avem. A bubblegum punk rock band with songs about birds and human lived experiences as told through the perspective of birds. The subject matter may seem as crazy as a loon, but their infectious sound will have you bopping along instantly.

The tenth studio album by Bjork coming in a Deluxe Mediabook edition

The tenth studio album by Bjork on CD coming with a Digipak sleeve.

Another fantastic and explosive album by Heldon.

Richard Pinhas, the founder of 70s legends "Heldon", is one of France's best known experimental musicians and is a key figure in the development of rock music fused with electronic music. The perfect symbiosis between the musicians allows them to create an amazing sound full of power and energy....

For fans of Krautrock.

“You do what you’ve got to do / To see the picture” Bill’s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might — but you might not, too.

Track 11 is a bonus.

Released in a gatefold paper sleeve with 8-page booklet, Japanese liner notes insert and an obi.

A culmination of life and musical experience, uncompromising in its vision, Stonechild, the new studio album from Jesca Hoop is a self described "compassion project." Released on July 5th by Memphis Industries, Stonechild is Hoop refined and defined. Beautiful, subtle and stark, her fifth album, the follow up to 2017's highly acclaimed 'Memories Are Now', is her best yet. Despite being a long term resident of Manchester, Hoop, has until now, returned to her native California to record. This time round however, "it was" according to Hoop "time to step out of my comfort zone, my safe place", venturing south to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding, This is the Kit). Parish's minimal and purist approach helped clarify Hoop in her ideas and subtly yet effectively realigning her sound. The simplified arrangements draw focus to the fundamental sophistication of the songs.

Fourth instalment in The Wedding Present's popular 'Marc Riley Sessions' series. The Wedding Present are a band with a history that's inextricably intertwined with the BBC and, in particular, the late DJ John Peel, an early champion of the band. Having received critical acclaim for releases 1 - 3, Marc Riley Sessions Volume 4 goes on to feature nine songs recorded for the award-winning BBC 6 Music show in 2017 and 2018. The first four tracks on the album were recorded with a string quartet and trumpeter and include a remarkable reimagining of 'Bewitched', originally from the band's 1989 album Bizarro.

Glass replicated compact discs All new artwork by Gonzalo Sepulveda

Aspidistrafly, the Singaporean duo comprising April Lee and producer Ricks Ang, return with Altar of Dreams, their first studio album in a decade.

While their last album A Little Fable introduced the world to their bucolic and wispy brand of folk songwriting, Altar of Dreams sees the duo – also the founders of Kitchen. Label – harness their experiences over the past decade to create a wholly new and inspired vision. In this new and third album, they drew upon a rich palette of shapes, sounds and movement: straddling between the visionary photography of Serge Lutens and Dora Maar, 80s Japanese ambient pop, musique concrète and the mournful strings of Béla Bartók.

The world in which Aspidistrafly once inhabited was foggy and awash in faded memory. A feeling of being suspended in time felt inescapable with each listen. In Altar of Dreams, the fog is clearing up. At nine songs under 35 minutes, the album possesses all the defining hallmarks of Aspidistrafly – poetic lyricism, cosmic introspection, lush strings, surrealism, tenderness and texture. But what was once seemingly inscrutable has now been explored with astounding clarity, the duo maneuvering through a space-time continuum with delicate leaps.

‘How To Find A Marblewing’, the opening track, is a heady sound collage of early internet sounds, film, anime, and chopped-and-screwed 90s J-pop. It’s a presence deeply embedded throughout the record, a method Lee describes as “a form of environmental/tape treatment”.

The compositions glimmer with sincerity, addressing all at once destruction, mystery, uncertainty, hopes and dreams. The resulting music is backed by an opulence only possible with a line-up of guest musicians. ‘The Voice of Flowers’ is stirring in its balance of flute, clarinet, tenor saxophone and piano, bolstered by a string quartet. Kitchen. Label artist haruka nakamura features on the track alongside Kyo Ichinose (who arranged the strings for the album) and wind instrumentalist Araki Shin.

‘Interlude: Chrysalises and Larvae’ takes the heavy path downward, adopting its name from the 1973 surrealist odyssey The Hourglass Sanatorium. It leads into ‘Companion to Owls’, a gothic pop paean to mortality inspired by the Book of Job.

Before the namesake centrepiece of the album, another interlude arrives in ‘A Ceremonial Ode’, both of which were stirred by a series of regal Shiseido ads from the 1980s starring model Sayoko Yamaguchi. ‘Altar of Dreams’ is haunted by the lucid dreams that once provided escapism for Lee. Its tranquility belies a simmering tension, just as how a lucid dream would offer control in the face of the unknown. “In one of them, I was floating in a vast darkness safe and secure, and then I fell into a turbulent mirage where I willingly allowed myself to be swept away further and further from reality, hoping that I would never wake up,” she says. “Needless to say I did, and ended up writing this song on one of these dead nights.”

If the title track replicates the feeling of falling deep into that spiral, ‘Silk and Satins’ is a direct analysis of the phenomenon. Warped frequencies collide with nature and television sound effects – the latter sourced from 80s Singaporean horror series Mystery – within an inter-dimensional music world. The track was made with featured artist Sugai KEN, whose own work is an endless scroll of intoxicating found sounds.

‘Quintessence’, the sweeping closing track, distills all the elements scattered across the album into a coda that beautifully refuses to resolve. At first an exercise in guitar looping, the song was then written without a beginning and end in mind. “I’d like to think of it as poetry that’s sung,” says Lee.

In Altar of Dreams, Aspidistrafly are renewed and hopeful. They’ve emerged from a decade spent reframing the world they see through vivid dreams and memories. Now, it’s all yours to experience.

The garage -psychedelic French duo The Liminanas straddles since 2009 the boundary between psychedelic, shoegaze,garage & French yé-yé up to cool vocals . Quintessentially French but first known at the start in the US before hitting homeland France. 7 studio albums so far, 2 rare tracks compilations, many Eps,some OST, collabs such as L’Epée with Anton Newcombe & Emmanuelle Seigner : time for a first time Best of, and actually more than a Best of : Double Cd , Ltd Triple Vinyl& Digital editions offer 12 exclusive bonus tracks -new songs + rare songs when they called themselves les Bellas, before The Liminanas-.
“Electrified” also includes 23 classics songs , with featurings such as Peter Hook, Anton Newcombe and French pionners Laurent Garnier, Etienne Daho & Pascal Comelade.
Features liner notes written by Iggy Pop, Peter Hook & Keith Streng (Fleshtones) : because it’s only rock’n’roll.

From the ballad Talk No More to the lightness of Smile, an invitation to smile through a declaration of love, the tracks in the album are wonderful snapshots that strike a chord. The title track talks about the desire of a father for his children to explore the opportunities that life offers with enthusiasm, The Hole crystalizes an inner moment of crisis and in Back To The Sun, written during the worst moment of the Pandemic, the loss of loved ones is the central theme. Coexisting with sounds from the previous decades, the 90’s pop scene strongly influences the album. From the new wave in Telematic Love to Me, Myselfie & I which ironizes on one of our most frequent daily habits, to the punk theme in Syd & Nancy and Drum Machine, which is “an encounter between the traditional British scene and Rancid”

Since the band's inception in 1992, Built to Spill founder Doug Martsch intended his beloved band to be a collaborative project, an ever-evolving group of musicians making music and playing live together. "I wanted to switch the lineup for many reasons. Each time we finish a record I want the next one to sound totally different. It's fun to play with people who bring in new styles and ideas," says Martsch. "And it's nice to be in a band with people who aren't sick of me yet." Following several albums and EPs on Pacific Northwest independent labels, including the indie-rock classic, There's Nothing Wrong With Love, released on Sub Pop offshoot Up Records in 1994, Martsch signed with Warner Brothers from 1995 to 2016. He and his rotating cast of cohorts recorded six more great albums during that time - Perfect From Now On, Keep It Like a Secret, Ancient Melodies of the Future, You In Reverse, Untethered Moon, There Is No Enemy. There was also a live album, and a solo record, Now You Know. While the band's impeccable recorded catalog is the entry point, Built to Spill live is an essential force of its own: heavy, psychedelic, melodic, and visceral tunes blaring from amps that sound as if they're powered by Mack trucks. Now in 2022, Built to Spill returns with When the Wind Forgets Your Name, Martsch's unbelievably great new album (and his eighth full-length)... with a fresh new label. "I'm psyched: I've wanted to be on Sub Pop since I was a teenager. And I think I'm the first fifty year-old they've ever signed." (The rumors are true, we love quinquagenarians_) When the Wind Forgets Your Name continues expanding the Built to Spill universe in new and exciting ways. In 2018 Martsch's good fortune and keen intuition brought him together with Brazilian lo-fi punk artist and producer Le Almeida, and his long-time collaborator, Joao Casaes, both of the psychedelic jazz rock band, Orua. Martsch fell in love with their music the moment he heard it. So when he needed a new band for shows in Brazil, he asked them, and the partnership went so well Martsch, Almeida, and Casaes continued playing together throughout 2019, touring the US and Europe and ultimately recording the bass and drum tracks for When the Wind Forgets Your Name at Doug's rehearsal space in Boise. After Martsch tracked guitars and vocals, they group collaborated from afar to mix the album. What emerged is When the Wind Forgets Your Name, a complex and cohesive blend of the artists' distinct musical ideas. Alongside Built to Spill's poetic lyrics and themes, the experimentation and attention to detail produces an album full of unique, vivid, and timeless sounds, from guitar-driven rock odes to REM and Dinosaur Jr to bluesy '60s-style anthems to dub-reggae-inspired instrumentation. It may have taken us 30 years of obvious fandom and courtship, but on September 9, 2022, Sub Pop Records is unabashedly proud to finally release an excellent new album from Built to Spill: When the Wind Forgets Your Name. Sometimes persistence pays off.

Hot off the metaphorical heels of our rousing Spirit Phone success, Needlejuice is delighted to bring you another Lemon Demon release. This time around we’re offering Neil’s 2012 Christmas EP I Am Become Christmas. Lightheartedly exploring such dark topics as a government-funded Santa Claus and seasonal affective disorder, this set of 5 spooky holiday songs hinted at the direction Neil was headed toward on Spirit Phone.

Good things come to those who wait. The album 'The Children of Scorpio' by Project Gemini aka Paul Osborne is a result of his steeped 30-year musical journey that’s seen him dig deep, study his record collection and re-emerge to fine-tune his craft.

A cinematic musical journey that plays out like a long-lost soundtrack (think cult B-movies of the 60s and 70s); 'The Children of Scorpio’ was formed from Paul's love of a myriad of genres; from European library music, acid folk, psych-funk, vintage soundtracks and the contemporary breaks scene. The album draws on iconic classics such as the masterful cinematic funk of Lalo Schifrin's 'Dirty Harry', Ennio Morricone's 'Vergogna Schifosi’ and Luis Bacalov’s 'The Summertime Killer’, to name but a few. You can also hear the folk sounds of Mark Fry's iconic 'Dreaming With Alice', the Britsh folk-jazz of The Pentangle and the David Axelrod-produced 'Release Of An Oath' by The Electric Prunes, woven into the cultural tapestry of this gem. The influence of these vintage productions of the 60s and 70s is evident; however, it could be argued that there’s also echoes of the funkier psychedelic moments of bands such as The Stones Roses and The Charlatans, alongside contemporaries such as The Heliocentrics and Little Barrie, thus giving the album a broader crossover potential beyond the world of crate digging and vintage soundtracks.

A bass player and musician since the age of 16, the arrival of his first child in 2010 saw Paul move away from live performance and retreat to his home studio, recording a wealth of music that was destined to never be heard. One of the first tunes to be made was a demo entitled ‘The Children Of Scorpio’, inspired by his long-time obsession with Lalo Schifrin’s soundtrack to violent Clint Eastwood cop classic 'Dirty Harry'. Recorded for fun, the track was fated to sit in the archives untouched. However, like a phoenix rising from the ashes, connections to a wealth of inspirational musicians and labels would re-ignite Paul's musical fire and give him the impetus to develop his slept-on ideas into something more concrete. Firstly resulting in releasing two limited 7'' records on Delights Records and now the long-player for Mr Bongo.

Assisting in the recording of the record were several close friends that have helped spark Paul's musical creativity along the way, including well-renowned guitarist and Little Barrie frontman Barrie Cadogan (who contributes killer six-string guitar to four tracks), Delights Records head-honcho Markey Funk (who adds spooked out keyboards to ‘Path Through The Forest’), Kid Victrola, the chief songwriter and guitarist with French psych girl group Gloria who added wild 12-string to ‘Scorpio’s Garden’, Haifa-based multi-instrumentalist and producer Shuzin who brings the heat behind the drum kit, and Paul Isherwood, co-founder of Nottingham’s The Soundcarriers, who mixed the album on his wealth of vintage gear.

We are delighted to be releasing this slowly-brewed timeless classic that manages to achieve that rare feat of keeping one foot firmly in the past whilst still sounding totally contemporary.