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Solid green coloured heavyweight 180 gram audiophile vinyl double LP reissue with the new 2019 artwork layout. Re-mastered by John Rivers at Woodbine Street Studio especially for vinyl release.Does The Cosmic Shepherd Dream Of Electric Tapirs? is not only a question deserving of an answer, but also the title of Acid Mother Temples first ever release on Space Age Recordings. As a Japanese soul collective, Acid Mothers Temple and The Melting Paraiso UFO are something of an enigma to the western world, and most likely to eastern ears too. Their music can be described as acid-rock, experimental, psychedelic or a whole host of genres dependent on the listeners' mood. Having been out of stock for some time, the long anticipated repress of this wild offering from AMT, comes as double solid green vinyl with the seductive, uncensored artwork of the original sleeve. Limited to 500 copies ww.

Alexander Ebert (born May 12, 1978) is an American singer-songwriter and composer. Lead singer and songwriter for Ima Robot and Edward Sharpe and the Magnetic Zeros. Received the Golden Globe Award for Best Original Score for his musical score to the film All Is Lost (2013).

Ananda Mida is a Stoner and Psychedelic Rock music collective led by Max Ear (OJM’s drummer and Go Down Records’ Art Director) and Matteo Pablo Scolaro. From the very beginning of the project, graphic imagery has been given a crucial role thanks to the precious collaboration with the visual artist Eeviac. Since 2015, they have been performing with different lineups, from three to six members, either instrumental or featuring singers. Their sound is inspired by 70s Rock, mixed with desert and psychedelic grooves. In 2015, they debuted with the double A-sided 7-inch Aktavas/Passavas, which gave rise to the band’s mythology, elaborated from some fragments of enigmatic teachings. In Fall 2016 they released their first full-length Anodnatius, co-produced by Go Down Records and Vincebus Eruptum Recordings. It reminds us of all the positive forces and slight vibrations settled inside and outside everything and everyone. In January 2019, the second chapter Cathodnatius was published, depicting all the opposing forces and obscure vibes we live in today. This record featured Conny Ochs on vocals and dropped via Go Down and Vincebus Eruptum on vinyl, CD, and digital. In June 2021, the band put out the live EP Karnak on a deluxe picture-back disc, featuring a special appearance by Desert Rock icon Mario Lalli on guitar. November 2023 will see the release of their third work, which will “mythologically” complete the trilogy.

Ananda Mida is a Stoner and Psychedelic Rock music collective led by Max Ear (OJM’s drummer and Go Down Records’ Art Director) and Matteo Pablo Scolaro. From the very beginning of the project, graphic imagery has been given a crucial role thanks to the precious collaboration with the visual artist Eeviac. Since 2015, they have been performing with different lineups, from three to six members, either instrumental or featuring singers. Their sound is inspired by 70s Rock, mixed with desert and psychedelic grooves. In 2015, they debuted with the double A-sided 7-inch Aktavas/Passavas, which gave rise to the band’s mythology, elaborated from some fragments of enigmatic teachings. In Fall 2016 they released their first full-length Anodnatius, co-produced by Go Down Records and Vincebus Eruptum Recordings. It reminds us of all the positive forces and slight vibrations settled inside and outside everything and everyone. In January 2019, the second chapter Cathodnatius was published, depicting all the opposing forces and obscure vibes we live in today. This record featured Conny Ochs on vocals and dropped via Go Down and Vincebus Eruptum on vinyl, CD, and digital. In June 2021, the band put out the live EP Karnak on a deluxe picture-back disc, featuring a special appearance by Desert Rock icon Mario Lalli on guitar. November 2023 will see the release of their third work, which will “mythologically” complete the trilogy.

Ananda Mida is a Stoner and Psychedelic Rock music collective led by Max Ear (OJM’s drummer and Go Down Records’ Art Director) and Matteo Pablo Scolaro. From the very beginning of the project, graphic imagery has been given a crucial role thanks to the precious collaboration with the visual artist Eeviac. Since 2015, they have been performing with different lineups, from three to six members, either instrumental or featuring singers. Their sound is inspired by 70s Rock, mixed with desert and psychedelic grooves. In 2015, they debuted with the double A-sided 7-inch Aktavas/Passavas, which gave rise to the band’s mythology, elaborated from some fragments of enigmatic teachings. In Fall 2016 they released their first full-length Anodnatius, co-produced by Go Down Records and Vincebus Eruptum Recordings. It reminds us of all the positive forces and slight vibrations settled inside and outside everything and everyone. In January 2019, the second chapter Cathodnatius was published, depicting all the opposing forces and obscure vibes we live in today. This record featured Conny Ochs on vocals and dropped via Go Down and Vincebus Eruptum on vinyl, CD, and digital. In June 2021, the band put out the live EP Karnak on a deluxe picture-back disc, featuring a special appearance by Desert Rock icon Mario Lalli on guitar. November 2023 will see the release of their third work, which will “mythologically” complete the trilogy.

An all-encompassing aural assault, a force as unstoppable and fiercely alive as the tide. The post-rock powerhouse known as And So I Watch You From Afar have returned with their 7th studio album, ‘Megafauna’. A tribute to the two places the collective call home, their beloved Portrush on the Irish North Coast and the beating heart that is Belfast; ‘ Megafauna’ is headstrong exploration and heartfelt appreciation with all the intuition, intimacy and humour of four firm friends approaching their 20th year as a band and a nod to the Irish roots that simultaneously ground & propel them forward. Like so many other bands and creatives throughout the pandemic, ASIWYFA found themselves suddenly stationary, with any plans outside of their immediate vicinity put on indefinite hold. However, where this might have seen other acts falter, ASIWYFA took comfort in their communal bond and, as soon as they were able, began writing a record that quickly became a love letter to the communities they call home. “‘Megafauna’ is essentially a distilled moniker for our peers,” says guitarist Rory Friers, “all of the friends and characters that we’ve grown up with who’ve made us and our homes what they are today. Lockdown was an intensely introspective and reflective process, which put the comfort of community at the forefront of our minds. ”The intent behind ‘Megafauna’ is clear from the outset. Two guitars, bass and drums all recorded in a week erupt into effervescent life in an endorphin rush of collaboration and togetherness after the physical and psychological wilderness of isolation. Lead single ‘Do Mór’ is a preposterously playful collision of light-hearted guitar hooks, effortless jazz syncopation and the triumphant return of ASIWYFA’s inimitable wall-of-sound distortion, whilst opening track ‘North Coast Megafauna’ serves as an anthem for the whole album and perhaps for a band reinvigorated too; proudly wearing the joyously jarring confrontation of their sound on their sleeves. ‘Megafauna’ is the band’s first new music since 2022’s critically-acclaimed ‘Jettison’, an ambitious multi-media ensemble piece packed full of experimentation and collaboration. Jokingly referring to ‘Jettison’ as the band’s “mature record”, guitarist Niall Kennedy frames the writing of ‘Megafauna’ around the band’s long-running mantra of ‘DO THE SCARY THING’ which sees them constantly hurtling towards newness, towards progress, evolution and the unknown. Whilst the new record is ASIWYFA taking on a more familiar, traditional form; in this post-’Jettison’, post-pandemic world ‘Megafauna’ is a deafening and defiant statement of intent from the band’s propulsive core - a clarion call for the communities that shape them, a resplendent celebration of togetherness over separation. 1. North Coast Megafauna2. Do Mór3. Gallery of Honour4. Mother Belfast (Part 1)5. Mother Belfast (Part 2)6. Years Ago7. Any Joy8. Button Days9. Me and Dunbar

Uomo Donna on which Andrea Laszlo’s special musical identity became distinct. It’s a complex album, featuring eerie keyboards and a wave of different genres, in which classic and contemporary sounds coincide: Luccio Battisti’s progressive rock and Tame Impala’s psychedelia, The Beatles’ trippy moments and Paolo Conte’s smoothness.

Unbound opens with a single, trembling chord that rises anddescends before meeting a warm, beguiling voice, a voicesinging in a tradition that's been heard in this northern rivercountry for millennia. The music that follows is a soulfuldialogue between the ancient tradition of powwow singing anda contemporary musical palette. On Unbound, the powwowstyle of singing is entwined with synthesized voice modulation,and hand drumming is accented with electronic samples andbeats _ the harmonies and resonances are equal parts culturaland musical.Geographically, Bizhiki is almost wholly a made-in-Wisconsinproject, a collaboration between Dylan Bizhikiins Jennings, JoeRainey and the multi-instrumentalist Sean Carey (S. Carey), whofor years has been a secret weapon within the Bon Iver family.Bezhikiins Jennings grew up singing within the powwowtradition, around the Lac Du Flambeau and Lac Courte Oreillesreservations in Central Wisconsin. He now makes his home inNorthern Wisconsin, on the Bad River reservation on the shoresof Lake Superior. He's joined on the album by his adoptedbrother, Rainey, a Red Lake Ojibwe powwow singer fromMinneapolis who now makes his home within his wife's OneidaNation on the shores of Lake Michigan.The collaboration between these three musicians first began atthe Eaux Claires festival in 2015. The festival was being organizedon Ojibwe's ancestral homelands, and the organizers didn't feelright without the inclusion of the native communities who livednearby. Bizhikiins Jennings remembers getting an invitation toplay the festival and thinking "I wish more people would say this_ that instead of reading from some land acknowledgement,that they would say `we're gonna give your people space andjust invite you to do what you wanna do.'" The open-endednessof the initial invitation and the "let's just do something together"spirit continues to inform Bizhiki's process.Recording steadily over the course of years _ and betweenseveral project...

Sky Blue Vinyl.Unbound opens with a single, trembling chord that rises anddescends before meeting a warm, beguiling voice, a voicesinging in a tradition that's been heard in this northern rivercountry for millennia. The music that follows is a soulfuldialogue between the ancient tradition of powwow singing anda contemporary musical palette. On Unbound, the powwowstyle of singing is entwined with synthesized voice modulation,and hand drumming is accented with electronic samples andbeats _ the harmonies and resonances are equal parts culturaland musical.Geographically, Bizhiki is almost wholly a made-in-Wisconsinproject, a collaboration between Dylan Bizhikiins Jennings, JoeRainey and the multi-instrumentalist Sean Carey (S. Carey), whofor years has been a secret weapon within the Bon Iver family.Bezhikiins Jennings grew up singing within the powwowtradition, around the Lac Du Flambeau and Lac Courte Oreillesreservations in Central Wisconsin. He now makes his home inNorthern Wisconsin, on the Bad River reservation on the shoresof Lake Superior. He's joined on the album by his adoptedbrother, Rainey, a Red Lake Ojibwe powwow singer fromMinneapolis who now makes his home within his wife's OneidaNation on the shores of Lake Michigan.The collaboration between these three musicians first began atthe Eaux Claires festival in 2015. The festival was being organizedon Ojibwe's ancestral homelands, and the organizers didn't feelright without the inclusion of the native communities who livednearby. Bizhikiins Jennings remembers getting an invitation toplay the festival and thinking "I wish more people would say this_ that instead of reading from some land acknowledgement,that they would say `we're gonna give your people space andjust invite you to do what you wanna do.'" The open-endednessof the initial invitation and the "let's just do something together"spirit continues to inform Bizhiki's process.Recording steadily over the course of years _ and between...

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once.

Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sound[s] like the Beatles at Big Pink.”

Loving You Backwards, the debut album from Blood, flourishes in the subtle, the ambiguous, the shades of gray. In winter of 2021, longtime Austin residents Blood made a fresh start, using a move into a house together in Philadelphia as a chance to reorient and spend time writing music around the clock. As they wrote, the sound of the band began to shift. Blood, in the past, made huge, angry, grandiose, operatic songs. Loving You Backwards, was not that. Instead, this debut record is quieter, less reactive, but no less powerful. As an organism, Blood circa Loving You Backwards, was a six piece. Tim O'Brien is the lyric writer, but the song writing and arrangement is a painstakingly collaborative process in which the band aims for democracy over swiftness. The record also features the band’s first major work with the producer Daniel Enrique Howard, whom the band recorded with at his studio in Brooklyn. Howard helped guide Blood into this new sonic territory. It is not a bedroom project, but instead fully realized, somehow sounding both intimate like Liz Harris’ Grouper feels intimate and totally vast in the way that a Talk Talk record feels vast. It’s in the same universe as Ought in its earlier iterations. The songs on Loving You Backwards exist in the realm of ballads, heart-wrenching and weird pop with a post rock sensibility. It explores, as the title implies, approaching a relationship in the reverse, dealing with your past while you try to stay in the present. Loving You Backwards is a record of ideas and big honesty, but it’s also a record of genuinely pristine pop. A definitive statement from a band that is more than on the rise as truly excellent songwriters and performers.

Blur's performance at Worthy Farm, Pilton, England, on June 27th, 1998, was a significant event in the band's history and for the Glastonbury Festival as a whole. This performance marked Blur's headline slot at the festival, cementing their status as one of the UK's premier rock acts at the time.

A year ago, the Philharmonie de Paris invited French musician extraordinaire Christophe Chassol to write a musical piece as part of the Basquiat Soundtracks exhibition. Chassol took on this commission to offer a poetic and unique work around the painter and his creative gesture. From his research were born seven daring compositions, which we find here on a magnificent limited edition vinyl, as, captured live in the prestigious concert hall.

Chilton is back with a brand new album for 2024! Brooklyn, NY veteran math-rock-punkers return with their sophomore effort that does not miss a single beat. The Brainchild of Josh Carothers (formerly of I Farm, Earworms, Funbox), Chilton channels their inner ALL/Descendents while tip-toeing the line of prog-punk & skate-rock. Recorded at the Blasting Room with Jason Livermore. Limited to 223 copies on Mixed Color vinyl.

Milwaukee, Wisconsin pop-punkers are back with their first new material since 2007! The Chi-Tels pummel through 3 awesome new songs, plus a Dictators cover! More power-pop this time around, tinged with melodies, but still that fast paced punk you expect from these DIY punk vets.

Jeff Poot (witches With Dicks, Awful MAN, a hundred more) is back in action with an Uncontrollable Frank on bass and our fave art guy Henderson (shorebirds) on drums for another Boston pop-punx packed EP chock full of 10 songs! That's right, 10 songs, 45 rpm, punk shit! Just get it cus it's sick.

Like an unsent love letter to a psychedelic London where everyone is trying to find their way to a secret Television Personalities gig, Cuneiform Tabs emerge with an astounding debut of lo-fi pop and DIY experimentation. A hazy collage of joyful heartaches, twisted children’s TV themes and sing-song melodies, the album echoes the sounds of ’60s AM radio from a dozen narrow alleyways to the North. Over 18 months, the Tabs’ Matt Bieyle and Sterling Mackinnon traded 4-track tapes between the Bay Area and the UK. While they previously played together in indie band Violent Change, the duo’s physical distance and their songwriti ng process of building, blurring and distorting across the Atlantic would create something no one saw coming. Grabbing any instruments at their disposal and splitting vocal duties, Bieyle and Mackinnon pushed their Tascam to its limit to make glittering, odd-shaped gems. There is an insular feel to Cuneiform Tabs, suited for late nights after the entire city has stumbled into dreamtime or lazy afternoons when you can’t quite recall where you need to be, but you know you won’t make it there on time. It’s like a pirate radio show where Bob Pollard alternates Swell Maps and Cleaners From Venus records while randomly unplugging various bits of gear and reading passages from a book on R.D. Laing. Originally released in a hyper-limited artist edition, W.25TH / Superior Viaduct is thrilled to bring this kaleidoscopic LP to a wider audience.

Love is everyday magic. That’s the impression you get listening to Water, the new album by Chicago trio Dehd. Veterans of Chicago’s increasingly fruitful DIY scene Jason Balla ( Ne-Hi and Earring) Emily Kempf (Vail and formerly with Lala Lala) and drummer Eric McGrady share a strange and inexplicable chemistry. Love rises up into the atmosphere like steam off a summer sidewalk and makes you wild. Love breaks your heart and you consider yourself lucky for it. Like water itself, it surrounds us, it supports us; it’s what we’re made of. It takes the shape of its container. The music is hazy and reverb-drenched, a scuzzy and hyped-up take on surf rock that could only come from the Third Coast. It’s all animated by the red-lining feel-good spirit of the Velvet Underground’s Loaded and the breezy melodicism of C86-era indie rock, with a dash of the Cramps’ spooky-hop bop courtesy of McGrady’s locomotive drumming.It’s a clear-eyed look at the wild nature of everyday life that’s been spun up in sugary sweet melodies and scratched-crystal sounds. More than anything, it’s the embodiment of Dehd’s m.o. from the start: As Kempf puts it, “Work with what you have and make it magical.”

Finally! A Doc Hopper release on Dead Broke! 90's pop-punk underdogs from the greater New England area & some of the best to do it. This is a collection of demos, leftovers + non-LP cover songs. First collected in 2000 intended for a disbanded Go-Kart Records release. Only self-released by band on CDRs for “final” year of shows back then. Art by Ray Ahn (the Hard-ons) Color by Tom Lowell. 100 Puke Green Tapes pressed.

The first LP release of Doping PANDA's career! The classic album from the indies era, which still boasts popularity 20 years after its original release, is being reissued in analog format! With Syuta-low "tgmx" Tagami (scaful King/frontier Backyard) as the producer, this album is an impressive new innovation, a transition from the traditional band sound to a lighter sound with the essence of digi-rock, while still maintaining the melody line developed by the vocalist Furukawa. Guest musicians include Cubismo Grafico (neil&iraiza), Gouta Nishidera (nona Reeves), Kenzi Masubuchi (scafulL King) and many more.

Deb Demure's powerful presence and hypnotic sound has firmly defined the identity of Drab Majesty. After releasing the debut album, Careless, Drab Majesty split time between touring and studios, piecing together the ideas for the follow-up album, "The Demonstration", an album depicting Deb Demure as only one part of Drab Majesty's overall being and storytelling saga.With "Induction", Drab Majesty sets up an ethereal backdrop for which the rest of the album follows. Tracks such as "Dot In The Sky" and "39 By Design" (a song pointing to the doomsday Heaven's Gate cult) use lush, shoegaze approach to portray the fragility of humanity's loss of self, looking only to the heavens for answers. "Cold Souls" flawlessly executes Drab Majesty's arpeggiated finger picking signature, complete with washes of hazy noise and atmospheric reverb. With the addition of Mona D. to Drab Majesty's mysterious portfolio, songs from The Demonstration perpetually create new meanings and depth with every listen. After Drab Majesty wraps up The Demonstration with "Behind The Wall", one is left wondering what kind of identity is truly their own.Compact disc features two bonus tracks plus four exclusive remixes by Cold Cave, Drew McDowall, Silent Servant and Martial Canterel.

Dull Boy Johnny's long-awaited debut consists of a double EP, which acts as a soundtrack to your own imagination. As you listen, you are invited to wander through the different landscapes of their musical world, with frequent nods to the more lusty side of your brain. Besides the bonus EP ‘Fictional Love Scene's, Vol. 1’, ‘Tropical Swing Club’ is now ready in the starting blocks.

The EP contains a collection of songs that both retains Dull Boy Johnny's signature sound and adds new, surprising elements to their repertoire. From uplifting beats to dreamy melodies, ‘Tropical Swing Club’ shows that the band is ready to explore new horizons. Inspired by a writing holiday to the idyllic island of Ponza off the coast of Italy, ‘Tropical Swing Club’ exudes an atmosphere of tropical delight and sizzling passion. The songs are infused with the warmth of the sun and the rhythm of the ocean.

With ‘Salty Lips’ and ‘Bitter Affection’, Dull Boy Johnny already managed to impress critics and listeners alike. The songs were praised for their compelling melodies, catchy hooks and irresistible energy. Now, with the release of ‘Tropical Swing Club’, the band continues its musical evolution, bringing a refreshing mix of tropical sounds and swinging rhythms. With ‘Tropical Swing Club’ by your side, summer is already on your doorstep.

The EP is the first release on N.E.W.S. newest sublabel Another Weekend. For fans of Khruangbin and Balthazar. Airplay on Studio Brussel, Radio 1, Willy and more. Release clubshows in Antwerp, Ghent, Mechelen …

"December 2012 I showed up totally exhausted in Vancouver BC after touring stupidly and relentlessly for however many straight months and got a job at a call centre raising money for the Red Cross. It was a scent free office but one time this woman cooked a piece of fish in the microwave for 10 minutes on low and hot boxed the whole office - we got sent home early no pay. There was the other woman I named the Call Centre Coltrane because her pitch and routine usually involved improvised flights of fancy that went off in both directions at once somehow landing back down with a credit card number and a donation. I used to sleep under the desk. I was there a few months and at the time I reconnected with John Brennan who I had played with briefly in Montreal at the Mutek Festival. In Montreal John was running an experimental music night at a burrito shop downtown called Garbage Night. While in Vancouver I began connecting with the music scene there and would go hang out with the Shearing Pinx lads who I think lived with Sydney the bass player at the time. I knew Nic and Jer from an AIDS Wolf Tour and was so stoked to get to know them both better. I really fell in love with that era of Vancouver's music scene.

Fast Forward to today. 2024

Actually it was the dying days of 2023 but you get it and John asks if I'll sit in with Earth Ball and I keep thinking about Earth Balance, the vegan butter everyone eats here. I brought my aching bones and my ipads on the beautiful ferry named the Queen of Oak Bay and out to Nanaimo BC, home of the nanaimo bar (a dessert treat - special to this region - that seems to be more popularly found under the weird glass sneeze guards in office building deli's out east in Ontario.... anyhoops ). No one in Nanaimo wants to talk to me about the famous treat. I asked a couple of people. Silence. Nanaimo is like London, Ontario but more fried and by the sea. The town is filled with blown out old sea dawgs with tin coffee pots and loose leaf tobacco, then there's the usual streetfolk you find in this part of the Canadian Pacific Northwest and a bunch of bohemians who I guess have left Vancouver behind - that fine city having become uninhabitable for those not making over 100k a year. And then up the way are all the retirees.

Yup Nanaimo is a strange one. They mined the shit out of this region and Nanaimo is surely haunted

by those buried in mining shafts or maimed by the heavy machinery or blown up by accident in the explosives store house. And when Earth Ball fire up the amps in Izzy and Jer's basement you can hear the voices of the ghosts hum through electrical lines and out the speakers, Kellen's hued feedback, Izy's sturdy basslines, Jer's paperbag guitar tone and rumble pack zaps, Liam's (aka the Kid) sheets of sound and Brennen's multidirectional drums.

You wouldn't guess Earth Ball was auto-composing and from what my rat brain can tell - the lyrics are improvised too...Improvising lyrics and singing them is the hardest thing to do in all of music.. Izzy and Jer are pros. And their attitudes are pro too.

The live show is scorched and without naming names they've been known to make headliners nervous. Lucky ones will get to see them live as they tour this beast of a record entitled ‘It’s Yours’ (out May 17th on Upset The Rhythm) and I hope I'm one of them.

But now you, fan of fun but totally fucked up music, have the opportunity to Ball with them thanks to Upset The Rhythm. Enjoy"

Not God is the new album from Chicago's beloved two-headed monster,Finom (fka Ohmme). You can ask them to go into more detail about theboring reasons why they changed their name, but for now, the answer is goingto be polite refusal. No.Co-fronted by Sima Cunningham and Macie Stewart, Finom's influences runvast and varied, and they put a premium on change. Produced by Jeff Tweedyin the Wilco Loft, Not God is a marvel of growth, a progression from the rootsof this collaborative band whose history can be traced back to its improvisedconception. This is owed in no small part to their hometown of Chicago, thelife raft to so many persisters in musical adventurosity. That energy combinedwith Finom's dramatic vocal and musical gifts puts them in the peripheries ofthe legacies cemented by The Roches, Roxy Music, the B52s, Kate Bush, CateLe Bon, and Wilco.Cunningham and Stewart are brilliant harmonizers, but harmony doesn'tequate to a utopia. In Finom's maws harmony can also be a fight, holding theline until the volcano erupts. This realistic depiction of a creative relationshipjolts throughout the songs of Not God, and brings the whole damn thing to life.Finom are more than one person with more than one dream. But still, theygrow together, harnessed by their shared love of pop songwriting, control,chaos, and being generally freaky-deaky. Freaky in that way that is only reallyfun when you're doing it with a friend. As the globe spins and advancementsadvance, it can feel essential to return to relationships that make us feelwhole, that generate energy of strength and relief. Which puts double theweight on the reality that Sima and Macie continue to pledge allegiance toeach other, at the base of the volcano, in the front seat of the car as it pulls offthe highway.

In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment. An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. "It sounded really great," James recalls. "We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member." After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. "That added to the intensity of the album," James says about the frenzied creative process overseen by producer Burke Reid. "I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head." Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. "I've struggled with mental health for a lot of my life," he explains, "and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it." "This record is about an individual who's too far in their head, trying to get out," James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

180 GRAM AUDIOPHILE VINYL
GATEFOLD SLEEVE WITH LINER NOTES
LEGENDARY LEIDEN CONCERT AVAILABLE IN IT’S ENTIRELY
REMASTERED AUDIO
BLACK VINYL

In the past 7 years Guppy has evolved from their In the Garage EP origins, releasing 2 albums - In Heat and their most recent album Big Man Says Slappydoo. Joined in the last 2 years by their newest member Kabir Kumar (Sun Kin) on lead guitar and backing vocals, the band has expanded their musicality, moving beyond their garage punk origins into the realms of power pop, disco, country, and surf rock. With this latest evolution of Guppy comes their most ambitious record yet Something is Happening… Guppy again teamed up with Slappydoo producer Sarah Tudzin (Illuminati Hotties / boygenius) for their third album ‘Something is Happening…,’ recorded at Elliott Smith’s old studio New Monkey in Van Nuys. The songs on this album are Guppy’s most collaborative e ort yet made up of equal contributions from all four members. The result is a sonic hero’s journey venturing from ambient wistfulness, to post punk irreverence, to sincere indie crooning, to playful garage rock, and returning back again to the beginning, but this time you’re changed. The themes of Something is Happening speak to a feeling of overall hopelessness born from the realization that the system is not here to protect us and an accompanying emergence of hope as we invest in and lean on our communities. Guppy rejects nihilism, relishes in absurdism, and ultimately agrees with poet Khalil Gibran that “the deeper that sorrow carves into your being, the more joy you can contain”. The album is made up of observations about absurd speci cs that either want to kill us or celebrate us and sometimes Guppy can’t di erentiate between the two: “Why does it smell like scrambled eggs when I’m driving on the freeway? What’s the di erence between love and hate when I feel it in my body?”

Horse Jumper of Love thrive on patient and pummeling songs.Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos,bassist John Margaris, and drummer James Doran haveslowly stretched the fringes of indie rock across five full-lengthLPs. Their music unwinds with gutting emotional intensity thanksto Giannopoulos' impressionistic lyrics and how the arrangementsviolently lurch from delicate to bludgeoning. Disaster Trick, theband's new album out August 16 via Run For Cover, is their mostdirect and uncompromising LP yet. Its 11 songs tackle self-destructivenessand healing with jolting lucidity.Where the band's last LP 2023's Heartbreak Rules excelled withquiet, bare-bones songwriting, Disaster Trick cranks up the volumeand boasts some of the most expansive arrangements of theband's catalog. Recorded at Asheville, North Carolina's Drop ofSun Studios with producer Alex Farrar, the recordings soar withsearing guitars and a thunderous rhythm section. "I tried the quietthing on the last album and I realized there's definitely two parts ofme: I like really heavy music, and I like really gentle music," saysGiannopoulos. "The two albums I was listening to the most, whilewe were in the studio were the Leonard Cohen's Songs From aRoom and Hum's Downward is Heavenward."Disaster Trick is a dark record but it's never dour. There's a glimmerof hope and humor throughout these 11 songs, written with thegrace that only time and growing up can bring. As he sings on"Death Spiral," "I know it sounds dramatic / But I must describe /The way that it felt." There's catharsis when it's needed most. "Thisalbum is a reflection on destructive behavior from a lens of moreclarity," says Giannopoulos. "A lot of the songs came out of thispoint where things in my life were going well but I couldn't accept it.I was being a brat. Disaster Trick is me cleaning up my act a bit andreflecting on it."

Horse Jumper of Love thrive on patient and pummeling songs.Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos,bassist John Margaris, and drummer James Doran haveslowly stretched the fringes of indie rock across five full-lengthLPs. Their music unwinds with gutting emotional intensity thanksto Giannopoulos' impressionistic lyrics and how the arrangementsviolently lurch from delicate to bludgeoning. Disaster Trick, theband's new album out August 16 via Run For Cover, is their mostdirect and uncompromising LP yet. Its 11 songs tackle self-destructivenessand healing with jolting lucidity.Where the band's last LP 2023's Heartbreak Rules excelled withquiet, bare-bones songwriting, Disaster Trick cranks up the volumeand boasts some of the most expansive arrangements of theband's catalog. Recorded at Asheville, North Carolina's Drop ofSun Studios with producer Alex Farrar, the recordings soar withsearing guitars and a thunderous rhythm section. "I tried the quietthing on the last album and I realized there's definitely two parts ofme: I like really heavy music, and I like really gentle music," saysGiannopoulos. "The two albums I was listening to the most, whilewe were in the studio were the Leonard Cohen's Songs From aRoom and Hum's Downward is Heavenward."Disaster Trick is a dark record but it's never dour. There's a glimmerof hope and humor throughout these 11 songs, written with thegrace that only time and growing up can bring. As he sings on"Death Spiral," "I know it sounds dramatic / But I must describe /The way that it felt." There's catharsis when it's needed most. "Thisalbum is a reflection on destructive behavior from a lens of moreclarity," says Giannopoulos. "A lot of the songs came out of thispoint where things in my life were going well but I couldn't accept it.I was being a brat. Disaster Trick is me cleaning up my act a bit andreflecting on it."

Theme: collaboration. Or how to remain creative in the modern world. Nanocluster started as a bespoke one off pop up gig that turned into an album series. Built around Colin Newman from acclaimed UK post-punk band Wire and his partner in life and sound Malka Spigel from Minimal Compact with various guests, they define collaboration. Colin met Malka when he produced her band in 1985.The collaboration started there. They became a couple and created their own projects like the instrumental electronic duo Immersion in 1994 and Githead in 2004 - spaces where they both 'feel really comfortable.' Growing out of Immersion, Nanocluster was birthed as a series of one-off gigs at the Rosehill in their new hometown of Brighton in 2017 with an added cast of influential and cutting edge musicians. These were not ad hoc jams. The songs had been written and rehearsed prior to each performance. This adventure led to a debut album, Nanocluster Vol 1, released in 2021 with Stereolab singer/guitarist Laetitia Sadier, German post-rock duo Tarwater, electronic musician Ulrich Schnauss and experimental artist Robin Rimbaud (Scanner). Released again as double 10 inch with each collaboration taking up each disc, the new album Nanocluster Vol 2 has further developed this idea with a stark beauty that sounds like a future pop with sleek lines and unexpected great melodies. Disc one is built around Thor Harris, the charismatic percussion player from Swans and many other projects, who they met and performed with at South By South West in Austin, Texas in 2023. Thor adds ideas, his tuned percussion instruments, clarinet and trumpet to the sessions. Disc two is built around Cubzoa (Jack Wolter from the band Penelope Isles) who brings his musical craft, beguiling voice, guitar and much more. Meanwhile Matt Schulz from Holy Fuck plays drums across both combinations helping the resulting music become a third entity. What results is a true collaboration that, enhanced via Immersion's production, merges its elements to develop a new har...

Debut full-length album from Long Island natives back in print! Anthemic & melodic punk rock from line-up that features members of: Latterman, Small Arms Dealer, Capital, Get Bent & Jonesin'. Artwork by: Lubrano. 10th pressing! Limited to 435 Black vinyl.

Nothing Makes Sense Without It, the seminal sophomore LP by Kind of Like Spitting, is finalyl getting the deluxe reissue that it deserves.. The group's second album, originally released in 2000, is a heartbreakingly tender effort, with songwriter Ben Barnett's signature, sullen voice aching across twelve slow-burners. Now, 24 years after its original vinyl pressing, the album has been reissued as a deluxe 2xLP featuring an entire extra LP of demos and unreleased tracks. Whether you're replacing your worn out original pressing or just discovering Nothing Makes Sense Without It, this reissue is a must have for both longtime die-hards or any fan of the music of Kind of Like Spitting's northwest indie contemporaries like Death Cab For Cutie, Pedro The Lion and Elliott Smith.

You may ask yourself what lies beyond the cumbia? What psychedelic permeations reveal themselves in the breaks of the modern day tropical wave? La Banda Chuska's debut single on Names You Can Trust provides a glimpse into the broad benchmarks of this new noise and language, channeling and surfing through a barrel of rip-roaring guitar licks to create something decidedly distinct and du jour at the same time. Just imagine if the B-52s got trapped in some sort of demented Pacific-Peruvian time warp and were forced to shred their way back into existence, bongos in tow. Come along for this excellent adventure and experience for yourself, the tropical waviness of La Banda Chuska's colorful crush.

North Carolina, USA alt-indie rockers fourth album & some of their finest to date. Late Bloomer has long been known for meshing considered pop songwriting with “loud, confrontational force.” But on Another One Again, the band’s fourth record, the band channels the frenetic energy of longtime influences like The Replacements and Guided By Voices into a more calculated direction. The result is an enormous leap forward for the band, one which lands somewhere between the DIY punk rock they grew up on, the fuzzy alt-rock of Superdrag, Sugar, Dinosaur Jr, mixed with the subdued harmony of The Weakerthans - often in the same song. The final record in a loose trilogy that began with 2014’s acclaimed Things Change and continued with Waiting (2018), Another One Again sees the band tackling familiar themes like forgiveness, depression, and religion, and the dissolution of friendships, illustrated by earworms like the enormous opener “Self Control” and the power pop banger “Birthday.”

Presenting 3+5, the long-awaited eighth album from Tokyo-based noise-rockers Melt-Banana on their own A-Zap label!

The album showcases the duo’s visionary musical approach and extraordinary abilities as performers: Yasuko Onuki’s giddy, hyperactive vocalizing and Ichiro Agata’s glitchy, cyberpunk guitar, delivered at dizzying speed, bathed in aggressive electronic sounds. Their aesthetic approach is exultantly experimental, fusing diverse genres imbued with chaotic energy. As on their previous works, the music on 3+5 is unpredictable, always filled with surprises and excitement.

3+5 synthesizes elements of a variety of extreme musics, hyper-pop, classic punk, vintage metal, and noise. It partakes of Japanese culture overall, especially the subcultures of gaming, anime and underground music.

Melt-Banana seek to offer possibilities to musicians who won’t start a band if they can’t find a drummer, young women afraid to express themselves in their own unfiltered and unique voices, bedroom musicians and egg punks seeking to blend electronic noise with live instrumentation. 3+5 provides a fresh experience and perhaps inspiration for all.

While Melt-Banana hasn’t explicitly explained the meaning behind the album’s title, 3+5, prime numbers symbolize mathematical integrity and independence, which could represent the band’s uniqueness and freedom. Why “3+5” and not “1 + 7”? One is left to ponder.

Blue Smoke Vinyl. To celebrate Minus the Bear's 10th anniversary, Suicide Squeeze willissue the band's earliest recordings on vinyl. "Highly RenedPirates," is Minus the Bear's rst proper album. Originally releasedin 2002, this edition is being remastered from the original tapes, forvinyl, by the legendary Bernie Grundman, the Hollywood-basedlegend behind many of the industry's landmark recordings. Theinitial pressing will be limited to 2000 copies: 1000 black(180gram), and 1000 `translucent' blue vinyl; each copy comes witha download coupon. A real chance to hear where this soundstarted...

When ? ???? ????? ?????, the debut album by Molchat Doma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time. Molchat Doma (translated as "Houses Are Silent"), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own. The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.

As mui zyu, Hong Kong British artist Eva Liu searches for a portal, wandering between nothing and everything in her pursuit of peace. On her second full-length album nothing or something to die for she looks outward, embracing the chaos with each tentative step. mui zyu's debut album Rotten Bun for an Eggless Century saw her explore her heritage, as she dived inward to find acceptance and healing. Now, instead of searching for answers from the inside, Liu raises her head to look at the world around her. As she attempts to understand the complexities and significance of human existence, she observes apathy alongside overwhelming chaos; the technological advancements of connection with the lack of meaningful bonds and the frustrations of upholding standards set by others. nothing or something to die for tries to decipher these juxtaposing truths, holding both the weight of those trying to destroy the world with the utter futility of it all. Working with co-producer and fellow Dama Scout band member Luciano Rossi, the sonic world of nothing or something to die for encapsulates both the fleeting tranquility of serenity and the dissonance in chasing it. After all, our reality can change in an instant. Like the psychedelic tones of Ryuichi Sakamoto's Thousand Knives, the urgent techno-pop of Miharu Koshis Parallelisme or the eerie wanderings of Angelo Badalamenti's work for Twin Peaks, nothing or something to die for expertly toes the line between disorder and clarity

It 's been three years since Glasgow musical collective NIGHTSHIFT's last album ("Zöe", 2021) & aside form an odds & sods tape compilation "Made Of The Earth", the group has remained relatively quiet on the recorded front. Newly regrouped into a quartet, the band has readied their proper follow up to "Zöe" & their third album "Homosapien", again for Chicago's Trouble In Mind Records. Recorded & mixed in the band's rehearsal space by members Chris White & Rob Alexander, "Homosapien" started to take shape in Summer 2023. Writing had begun prior, but due to a crucial lineup change, the band had to start again. Thankfully, once they regrouped, the assembly and recording of the new set of songs was fun and relatively quick. Notably, the band has lost some members, gained a new member & shuffled some roles; former drummer Chris White (Spinning Coin) is now on guitar. His distinctive playing delivers a countrified energy that is central to the album, leading the song structures into more succinct and colorful places, matching the upbeat and playful nature the band has always drawn strength from, only more so now under his stylish approach. Primar y vocalist & keyboardist Eothen Stern (also of 2 Ply)'s lyrical gifts illuminate the group's output with an optimistic urgency that is unmatched. On 'Homosapien' she wears her heart on her sleeve, but even in the song's darkest moments, the words create a sense of hope and potential. She doesn't shy away from politics or contemporary love languages and finds humor, earnestness, and critique at ever y turn. Andrew Robert Doig continues to play bass (Dancer/Robert Sotelo) and provides occasional lead vocals on tunes like "Together We Roll" & "Mellow Baby ". Newest member & drummer Rob Alexander (Tarantula/Radio Banter) allows for a second new development in the band dynamic. Replacing Chris (his longtime friend from childhood) is no mean feat. Thankfully his drumming is an avalanche of skillful technique with a glorious abandon that swerves it away from the academic and absolutely into a wild and tactile performance that lifts the sound of the album (he also plays accordion and tin whistle). Friend & colleague Ray Aggs (Shopping, Raggs) also contributes fiddle to "Sure Look" & "Phone". NIGHTSHIFT's newest songs were born out of some genuinely existential times (birth, death and love all played a very real part in the gestation of the new record). Songs like first single "Crystal Ball", "Cut" & "Side Effects" all touch upon struggle created by an ever encroaching fascist government (exacerbated by Brexit) & the effects austerity has upon their people. Other songs like "Sure Look", "Phone" & "Crush" deal with matters of the heart while "Your Good Self " & "Together We Roll" take on self-preservation & community. It 's a great irony that the band are sculpting their most succinct and tuneful music yet from this potential chaos, but it 's this unexpected quality that drives them onwards into a dizzying universe.

No Doubt performed at Irvine Meadows numerous times over the years, including a main-stage slot at KROQ's annual Weenie Roast in 1996. This performance was part of the Tragic Kingdom tour. This edition features 4 bonus tracks with 1991 demos produced by Flea.

Green shoots have burst forth from Parsnip, let’s warmly welcome the Australian group’s sophomore album ‘Behold’.

aul Weller – der „Godfather of Brit-Pop“ ist zurück!

„66“ heißt sein neues und mittlerweile 17. Studioalbum. Der ehemalige Sänger und Gitarrist von „The Jam“ zeigt auf dem Album seine reflektierte Seite, mit viel Melancholie und dennoch auch einem positiven Kern. Die 12 Songs auf "66" wurden im Laufe von drei Jahren in Wellers Black Barn Studio mit einer Reihe von Gastmusikern aufgenommen.

Paul Weller wurde bisher mit 4 Brit – Awards ausgezeichnet, einen für „Outstanding Contribution to British Music“ und auf seinem neuen Album beweist er uns einmal mehr sein eiinzigartiges musikalisches Talent.

Das Album erscheint auf Vinyl, CD und digital.