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PUSH THE SKY AWAY is the fifteenth album by NICK CAVE & THE BAD SEEDS, which returns after four long years of absence. Produced by their now faithful companion NICK LAUNAY, who has worked on the band's last three albums, and recorded in a 19th century mansion in the south of France, the opus is considered by its composer as the most successful bad seeds album to date. The first clip directed by the famous French director GASPARD NOÉ immediately plunges us into the half - nagging, half - disturbing atmosphere of this album with sounds both rough and delicate. To those who thought they knew everything about the work of the Australian composer, he promised an album unlike anything done so far by the Bad Seeds, one of the best band in the world by Nick Cave's own admission: "The Bad Seeds have no equal on earth in terms of inventiveness and instinct". Far from being just another link in an already impressive discography, PUSH THE SKY AWAY promises to open up new dark and haunting horizons.

... incl. coupon for free download of the entire album

Giving the World Away, the sophomore album from Hatchie, is the truest introduction to the songwriter/bassist at the helm of the project, Harriette Pilbeam. Produced by Jorge Elbrecht, Giving the World Away is Hatchie's most thunderous, sprawling work yet. Featuring input from longtime Hatchie collaborator Joe Agius, it takes the celestial, shimmering shoegaze and pop sensibilities of her earlier releases, but with the volume knob cranked up tenfold. Built out with percussion from Beach House drummer James Barone, it's synthed-out, sonic opulence, a more structured and ornate musicality with traces of `90s trip-hop and acid house influences. Pilbeam initially intended for these songs to go in a higher-energy direction. She had the distinct vision of a Hatchie show turned dance party, inviting more movement and vibrancy into her live shows. But then, between Covid and the lockdowns in Australia, Pilbeam retreated more into herself, and that introspection and self-discovery served as the true inspiration for the record. Again and again across Giving the World Away, she returns to that same theme of dismantling internalized shame and finding gratitude and steadiness, and finally being able to trust herself. Giving the World Away is an album about self-confidence, about the strange time in young adulthood where you begin to finally be able to see yourself clearly. Incisive and probing, Giving the World Away is the clearest look at Pilbeam yet, and a relic of the power and bravery that spring forth from embracing vulnerability and putting your heart on the line.

Most of the tunes on Keep Away The Dead were born at Mara Hall in Mara, BC (pop. 350) where bed tracks were laid down in the crisp air during the depth of winter. The arctic atmosphere of that empty, cavernous, hardwood structure was the perfect complement to Huebert's sensibility: a tense and acute restraint; a shivering, biting, sometimes bitter rending of barebones, folk-inflected rock music.Siskiyou's debut was a stunning little scrapbook of short, sharp tunes; Keep Away The Dead ramps up with subtle care and clarity - something closer to a sonic novella. The resulting song cycle yields a strikingly cold-eyed, warm-hearted album, marked by quiet defiance and desperation, where each tune feels like another precious log thrown on a lone campfire burning in the cold night.

Cardboard sleeve.

Includes sticker.

Urban realism by a social outsider. Bittersweet melodies pumped through amplifiers as distorted as the mind of the person playing them. Or, simply put, ”loser punk”. Jakob Mind is Rotten Mind guitars and vocalist Jakob Arvidsson’s newly established solo project. His debut album ”The One Who Got Away” is released on vinyl. Jakob Arvidsson has been a prominent part of the Swedish punk scene for years, starting his career with hardcore punk band Agent Attitude in 2010. The band toured frequently in Europe and did a US tour in 2013. Agent Attitude managed to release three full length albums as well as an EP before breaking up in 2015. Jakob quickly moved on to form Rotten Mind, which to date is his most wide-known project. Their debut album ”I’m Alone Even With You” was released in 2015 and was followed by tours across mainland Europe, UK, USA and Australia. Jakob has released a total of four albums with Rotten Mind.

Deluxe Edition = "Queen's Tassel Pink" Vinyl + bonus 7".Video Age make breezy and timeless songs that are so ineable,they can only be the result of a decades-long friendship andsongwriting partnership. Across four albums, Ross Farbe and RayMicarelli have gleefully worn their influences on their sleeve,writing inviting tunes that reference sounds ranging from disco topop and indie rock. On their latest LP, Away From The Castle, theNew Orleans duo have strayed from nostalgia and instead havehoned their own unique musicality, making songs that sound likethemselves with a taste of inspiration from classic singer-songwritersof the 60s and 70s. The album is a testament to thepossibilities that come from getting out of your comfort zone, thefreedom of writing vulnerably and unselfconsciously, and the joysof getting to work with your closest companions.After releasing and eventually touring their critically-acclaimedthird album Pleasure Line in 2020, Farbe and Micarelli soughtinspiration for their next project through collaboration. Theyworked with Drugdealer on his album Hiding In Plain Sight,Micarelli gigged throughout New Orleans' jazz and blues scenes,and Farbe recorded local artists at his home studio, most recentlyproducing Esther Rose's new album Safe to Run. Feelingrefreshed, they rented a cabin in Eunice, Louisiana with touringmembers Nick Corson and Duncan Troast, where they spent eightdays in August 2022 jamming, cooking and writing together.Through this process, Video Age have made their best collectionof tracks to date by perfectly alchemizing their influences andexperiences into a record still tinged with nostalgia, but movingtowards a more succinct and authentic voice. Away From TheCastle is a document of a band having fun and rediscovering theirlove for making music together, but it's also their most honest andpersonal work yet-Video Age distilled to its purest form.

Giving the World Away, the sophomore album from Hatchie, is the truest introduction to the songwriter/bassist at the helm of the project, Harriette Pilbeam. Produced by Jorge Elbrecht, Giving the World Away is Hatchie's most thunderous, sprawling work yet. Featuring input from longtime Hatchie collaborator Joe Agius, it takes the celestial, shimmering shoegaze and pop sensibilities of her earlier releases, but with the volume knob cranked up tenfold. Built out with percussion from Beach House drummer James Barone, it's synthed-out, sonic opulence, a more structured and ornate musicality with traces of `90s trip-hop and acid house influences. Pilbeam initially intended for these songs to go in a higher-energy direction. She had the distinct vision of a Hatchie show turned dance party, inviting more movement and vibrancy into her live shows. But then, between Covid and the lockdowns in Australia, Pilbeam retreated more into herself, and that introspection and self-discovery served as the true inspiration for the record. Again and again across Giving the World Away, she returns to that same theme of dismantling internalized shame and finding gratitude and steadiness, and finally being able to trust herself. Giving the World Away is an album about self-confidence, about the strange time in young adulthood where you begin to finally be able to see yourself clearly. Incisive and probing, Giving the World Away is the clearest look at Pilbeam yet, and a relic of the power and bravery that spring forth from embracing vulnerability and putting your heart on the line.

His first solo LP since 1998's "Songs From The Pink Death", Kramer recorded this LP while wondering, through sound and song, if he'll ever collaborate on making music with another artist by his side again, or live to see another New Year's Eve, or ever hear his daughter's voice again, or ever Love again. Kramer - whose production credits also include Galaxie 500, Will Oldham, Daniel Johnston, Low and Urge Overkill - performed all the instruments and vocals on the record, which features nine new songs and closes with a cover of Leonard Cohen's "Winter Lady."It's a gentle and magical mystery tour of simmering acoustic strings, organs, pianos and mellotrons, tape loops, found sounds and a whisper of percussion, laced through Kramer's distinctively idiosyncratic singing voice and lyrics.

Grey vinyl!

Video Age make breezy and timeless songs that are so ine¬able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Foyer Red’s debut LP plays out as a collection of short stories, each with its environment and protagonist(s) meticulously crafted by the band, with lead singer, vocalist, and clarinetist Elana Riordan at the helm. Foyer Red’s debut EP, »Zigzag Wombat«, showcased their playfully chaotic arrangements, which bridge art-punk, math rock, and sweetly sung indie with a dash of the zoomies. The band synthesizes their homespun take on magical realist indie rock, taking cues from the otherworldly melodies of Cate Le Bon, Yucky Duster’s jangle-filled crayon rock, and Deerhoof’s iconic polyrhythms. The songs that makeup »Yarn the Hours Away« are fantastical, surrealist stories that hinge on contemporary, post-digital life.

Urban Realism By A Social Outsider. Bittersweet Melodies Pumped Through Amplifiers As Distorted As The Mind Of The Person Playing Them. Or, Simply Put, "Loser Punk". Jakob Mind Is Rotten Mind Guitars And Vocalist Jakob Arvidsson's Newly Established Solo Project. His Debut Album "The One Who Got Away" Is Released On Vinyl.Jakob Arvidsson Has Been A Prominent Part Of The Swedish Punk Scene For Years, Starting His Career With Hardcore Punk Band Agent Attitude In 2010. The Band Toured Frequently In Europe And Did A Us Tour In 2013. Agent Attitude Managed To Release Three Full Length Albums As Well As An Ep Before Breaking Up In 2015. Jakob Quickly Moved On To Form Rotten Mind, Which To Date Is His Most Wide-Known Project. Their Debut Album "I'm Alone Even With You" Was Released In 2015 And Was Followed By Tours Across Mainland Europe, Uk, Usa And Australia. Jakob Has Released A Total Of Four Albums With Rotten Mind.Shortly After Rotten Mind Recorded Their Latest Studio Album "Rat City Dog Boy" (2020, Lövely Records), Jakob Returned To The Studio To Record Some New Material. Back Then, There Was No Real End Goal With The Project, Other Than Making Music For The Sake Of Creating It. When Jakob Posted A Demo Presenting One Of The Tracks "7 Days", This Came To Change. Fans Of Rotten Mind As Well As The Label Wanted To Hear More, And It Was Soon Decided That The New Material Deserved A Proper Release. So Jakob Returned To The Studio, And Together With Jakob Blom (Real Tears, Sista Bussen), He Recorded The Songs That Would End Up On "The One Who Got Away".A Fan Of Rotten Mind Will Easily Be Able To Recognize The Sound And Energy Of The New Tracks, But There's Much More To It. Being Able To Follow His Own, Individual Creative Path, Jakob Mind Naturally Draws More Inspiration From The Bands And Artists That He Holds Close. This Includes John Cale And The Velvet Underground, Roky Erickson, As Well As More Obvious Influences Such As Buzzcocks, Wipers, Dead Boys And Ramones. Since All Of The Instruments Ar...

Josh Ritter’s “Metallic Silver” vinyl edition of 2010’s So Runs the World Away.

Limited to 1000 copies worldwide and newly remastered and optimized for vinyl. The last vinyl LP, coke bottle clear with blue swirl, sold out quickly, and there hasn’t been vinyl available for nearly two years.

Includes album download card, and full color marketing sticker with: “Metallic Silver 1000 LP limited edition, Remastered + Optimized for Vinyl.

First-ever vinyl release of the long rumored 1969 studio album (plus related acetate and 45 only tracks) from pre- Hotlegs/10cc duo Godley & Creme, during their days as Frabjoy And Runcible Spoon. Classic UK late 60s psychedelic/folk/pop sound recorded at Advision Studios with support from future 10cc colleagues Graham Gouldman and Eric Stewart. In mid-1969, legendary British R&B/psychedelic entrepreneur Giorgio Gomelsky signed two Manchester-based art students, renaming them Frabjoy And Runcible Spoon. Envisaging the pair as a British Simon And Garfunkel, Gomelsky recorded an LP with them for release on his Marmalade label. A pre-LP single appeared, but sadly the album’s release was aborted. 53 years later, Grapefruit Records released on CD this missing piece of the pre-10cc jigsaw puzzle. Now we’re lucky to present a vinyl version. *Insert with liner notes by David Wells and rare photos / memorabilia Recommended if you like Pete Dello, Graham Gouldman, Bee Gees, Simon & Garfunkel, Beatles, Rubble and Fading Yellow comps…

Giving the World Away, the sophomore album from Hatchie, is the truest introduction to the songwriter/bassist at the helm of the project, Harriette Pilbeam. Produced by Jorge Elbrecht, Giving the World Away is Hatchie's most thunderous, sprawling work yet. Featuring input from longtime Hatchie collaborator Joe Agius, it takes the celestial, shimmering shoegaze and pop sensibilities of her earlier releases, but with the volume knob cranked up tenfold. Built out with percussion from Beach House drummer James Barone, it's synthed-out, sonic opulence, a more structured and ornate musicality with traces of `90s trip-hop and acid house influences. Pilbeam initially intended for these songs to go in a higher-energy direction. She had the distinct vision of a Hatchie show turned dance party, inviting more movement and vibrancy into her live shows. But then, between Covid and the lockdowns in Australia, Pilbeam retreated more into herself, and that introspection and self-discovery served as the true inspiration for the record. Again and again across Giving the World Away, she returns to that same theme of dismantling internalized shame and finding gratitude and steadiness, and finally being able to trust herself. Giving the World Away is an album about self-confidence, about the strange time in young adulthood where you begin to finally be able to see yourself clearly. Incisive and probing, Giving the World Away is the clearest look at Pilbeam yet, and a relic of the power and bravery that spring forth from embracing vulnerability and putting your heart on the line.

Matt Loveridge is a prolific multi-instrumentalist condemned to Bristol, UK. He has over sixty solo records under various monikers, done before and after his time in Beak>, none of which appear on major streaming platforms, nor get much attention. His work as Mxlx is a miasmatic fog, and he tosses the listener deep into it. Kicking Away At The Decrepit Walls Til The Beautiful Sunshine Blisters Thru The Cracks is his most celebrated release (if one counts hate mail), and it appears here for the first time both on vinyl and somewhere not on his own site.

Songs swerve between ambient, electronic ambient noise, metal, and industrial. Vocal harmonies ride arpeggiated basslines and shimmering synth lines, ascending upwards before plummeting into distorted screams. And yet, Loveridge’s aggression does not overlook introspection. He faces one stripped of all pretense, creaking “I’ve got that dumb skull of yours locked in place,” apologizing, “I’m sorry for all that I’ve done in the name of myself” and laughing in one’s face, “Just kidding, I hope you rot in the ground.” Drawing from an obsession with literature, he’s converted a life stricken with bouts of depression and homelessness into febrile sonic turbulence. He channels the intensity of groups like Pharmakon and The Body, while embracing compositional noise like Colin Stetson. With droning organs, emotionless chanting, and fleeting walls of sound, his results have more to do with cosmic futility than petty score-settling.

Mxlx produces barren liturgies of raw emotion, like a fallen medieval monk given a synthesizer. He pulls the listener from comfort, spits in their eye, and abandons them as roadkill. An explosive catharsis not for faint hearts or distracted minds.

Matt Loveridge is a prolific multi-instrumentalist condemned to Bristol, UK. He has over sixty solo records under various monikers, done before and after his time in Beak>, none of which appear on major streaming platforms, nor get much attention. His work as Mxlx is a miasmatic fog, and he tosses the listener deep into it. Kicking Away At The Decrepit Walls Til The Beautiful Sunshine Blisters Thru The Cracks is his most celebrated release (if one counts hate mail), and it appears here for the first time both on vinyl and somewhere not on his own site.

Songs swerve between ambient, electronic ambient noise, metal, and industrial. Vocal harmonies ride arpeggiated basslines and shimmering synth lines, ascending upwards before plummeting into distorted screams. And yet, Loveridge’s aggression does not overlook introspection. He faces one stripped of all pretense, creaking “I’ve got that dumb skull of yours locked in place,” apologizing, “I’m sorry for all that I’ve done in the name of myself” and laughing in one’s face, “Just kidding, I hope you rot in the ground.” Drawing from an obsession with literature, he’s converted a life stricken with bouts of depression and homelessness into febrile sonic turbulence. He channels the intensity of groups like Pharmakon and The Body, while embracing compositional noise like Colin Stetson. With droning organs, emotionless chanting, and fleeting walls of sound, his results have more to do with cosmic futility than petty score-settling.

Mxlx produces barren liturgies of raw emotion, like a fallen medieval monk given a synthesizer. He pulls the listener from comfort, spits in their eye, and abandons them as roadkill. An explosive catharsis not for faint hearts or distracted minds.