Search "tim bernardes" 3491 Items

12" | 2023 | Original (Mute)

Release: 2024 / US – Original

Genre: Rock & Indie

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In Spring 2022 and with a new record from his band More Kicks in the can, James found himself waiting. Release dates scheduled for nine months in the future, nothing much could happen beyond tour planning for the following year. “To be honest, I was scared” says James. “I’d been writing and recording like a man possessed for the past 18 months, writing the More Kicks album ‘Punch Drunk’ and my first solo record ‘Light Years’. I was worried what would happen if I stopped. So I headed back to my cupboard-sized ‘studio’ and plugged in my halfbroken tape machine.” ‘Vital Signs’ was written and recorded over the next couple of months, dragging a handful of friends into that cupboard studio for a lending hand here and there. Written, recorded, mixed, mastered and then back to the ‘day job’ of More Kicks touring across Europe, USA and UK. Stuff. To. Do. But something wasn’t quite right. “It took me a long time to realise that I didn’t want to make another record with More Kicks. I was obsessed with making us as good as we could be but suddenly I didn’t feel like writing new More Kicks songs and I had this finished record sitting there doing nothing.” ‘Vital Signs’ expands James’ musical palette to include blitzed-out fuzz (‘Dronify’) and chewed-up chamber quartets (‘La Rochelle’), while never entirely abandoning the more familiar turf of sneakily self-lacerating melodic nuggets (‘All I Wanna Do’, ‘Endless Summer’). Take the first track, ‘It’s Good To Be Wrong’, a Modern Lovers, Alex CHILTON-style stomp that blends heartbeat drum crashes with psychedelic organs and swooning Replacements guitars. “That song was a deliberate attempt to do as little as possible. My tendency is to overthink structure so I wanted to make a song that was essentially a mantra. Just hammer myself over and over with only two chords. It almost worked, there are three. “I recorded everything on an 8-track by myself and there are unhealthy amounts of tape hiss over everything. But for me, the whole point of these solo records is to get out of my head, don’t think twice, press record, keep going. It’s not that I don’t care, quite the opposite. But if I’ve learned nothing else from playing music, it’s that I should trust my instinct far more than my brain.” That brain almost left this record languishing on a tape before the instinct to put it out into the world took over. If what comes next isn’t immediately obvious, it’s certain that more music will continue to emerge from this innately restless writer. “I’ve accepted my fate that I’m a lifer.”

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Pole

Tempus Remixes

16,14 €* 18,99 € -15%

I Bet You've Got Some Good Stories

Release: 2023 / Original

Genre: Rock & Indie, Electronic & Dance

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Pole, aka innovative German electronic artist Stefan Betke, presents a limited edition 12" single with new exciting remixes of tracks from his latest album, Tempus.

This 12" sees the title track 'Tempus' remixed by long-time Nine Inch Nails contributor, label mate and "synth connoisseur" Alessandro Cortini. The vinyl also includes the track 'Stechmück' remixed by Californian interdisciplinary artist Rrose, reworked by UK's electro-punk duo Sleaford Mods and edited by Pole. The original song embraces the sound of Betke's dying Minimoog, which you can hear manipulated in different ways across the different versions.

Düsseldorf-native musician, producer and mastering engineer Pole is known for his unique musical language oscillating between melody and avant-garde in electronic music, with audible influences from Dub and Jazz music. Tempus contributed to his ongoing musical evolution, while retaining a relationship to previous work, with Pitchfork stating "It's the sound of an artist drawing from his repertoire while demonstrating that he is still looking to the future."

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The Lloyd Pack

LP | 2022 | UK | Original (Low Company)

16,19 €* 17,99 € -10%

7" | 2008 | US | Reissue (Purple Circle)

Release: 2022 / UK – Original

Genre: Rock & Indie

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Corrupt West loser Walker meets happiness undermine rock titan Melchior is useless album.

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"Television star Martin Shaw last night said justice had been done after seeing his stalker convicted of a 5-year campaign of harassment. The Judge John Deed actor looked relieved as he left King's Lynn Magistrates Court and said he hoped Sandra Price would find peace following yesterday's guilty verdict. Shopkeeper Price, 66, also from Hingham, began writing to Mr Shaw after his marriage to TV presenter Vicky Kimm broke up in 2005. But the letters became increasingly offensive and Price began appearing outside the homes of Mr Shaw and his partner Karen da Silva. And delivering his verdict, district judge Tim Daber praised his onscreen counterpart's 'meticulous' evidence. Of Price, he added: 'I am not convinced that all these explanations are wholly truthful.'

"Price, who originally came from Settle, North Yorks, moved to the village in August 2006 and opened a craft shop. She hand delivered a 45-minute tape to the actor's house and left him a 120-page dossier detailing his movements, explaining her behaviour and threatening to kill herself in his garden. Yesterday she told the court that she wanted to help Mr Shaw by giving him 'healing'. When the trial opened on Tuesday she denied harassment but admitted causing criminal damage by pouring petrol through Ms da Silva's front door. But under cross examination, she admitted collecting and keeping personal information about the couple, including the Land Registry deed to Ms da Silva's house. And in the 120-page document, which she called The Chronicle, Price admitted she 'wanted to get under his skin enough for him to be curious about her'.

"In another extract read out in court, a person referred to in the third person as The Woman said she would drive to Hingham, go to Martin Shaw's Garden, wrap herself in a sleeping bag and take an overdose of painkillers. Price agreed she was The Woman. Robert Warner, prosecuting, told her: 'I suggest you have developed an unhealthy interest in Martin Shaw and his personal life and also the personal life of Ms da Silva.'

"Price was warned to stop contacting Mr Shaw after the actor complained to the police in November 2005. Police arrested her after petrol was poured through Ms da Silva's letterbox last July. PC Mark Bandrowski said when he searched her home in Chapel Street, Price showed him bottles which had contained petrol, oilskin clothing and a lighter. Price admitted pouring the petrol through the door. She told the court: 'Someone told me that she had been calling me a stalker, Martin's stalker. I've always complied with whatever I've been told to do and I thought my name was blackened in the village. I was angry. It's not a good thing to do I will admit but I became enraged.'

"Extracts from letters Price sent Mr Shaw were read out in court. One said: 'Please don't regard this letter as an invasion of your privacy (although it is).' She signed another from Sandra The Crackpot. Price said she had not deliberately set out to pass Mr Shaw's house or Ms da Silva's property, but she loved to walk long distances around the village."

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Title Fight

Kingston

Tape | 2021 | US | Reissue (Sacred Bones)

Release: 2008 / US – Reissue

Genre: Rock & Indie

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Title Fight released Kingston, their debut 7", in February 2008 on Flight Plan and Attic Records. Shortly after its release, both labels went defunct and the three-song EP was re-released in 2009 on Six Feet Under Records with an updated layout. This was the first era in which Title Fight was leaving their hometown, traveling around the Mid Atlantic and New England on weekends and on breaks from high school. In summer of 2009, the band released another three-song 7", The Last Thing You Forget, in the middle of their first full-US tour and "Memorial Field," "Loud And Clear," and "Youreyeah" were then included on the CD and digital versions of that release. Since then, this EP has remained out of print in its original format. Purple Circle has now reissued Kingston on a 7" for the first time in 14 years, returning to the original 2008 layout and remastered by Will Yip at Studio 4.

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Molchat Doma

Etazhi

CD | 2024 | US | Original (Dead Oceans)

Release: 2021 / US – Reissue

Genre: Rock & Indie

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- Reissue of the breakthrough sophomore album by the rising Belarussian post-punk/synthpop band//The second LP by Belarussian trio Molchat Doma, Etazhi, meaning "Floors", was first released in 2018 on Berlin-based Detriti Records. It became a viral hit, garnering over one million views on YouTube and becoming a legitimate phenomenon on Bandcamp. The band may fly under the radar in their native Belarus, but they've reached huge audiences across Europe and beyond. Six separate vinyl pressings of the album have sold out in quick succession, and Sacred Bones Records is now thrilled to bring the record back in print for good. 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.RiYL: Depeche Mode, New Order, Drab Majesty, Black Marble

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Bright Eyes

Five Dice, All Threes

Release: 2024 / US – Original

Genre: Rock & Indie

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Tape | 2023 | US | Original (Trouble In Mind)

Hot Tubs Time Machine

Double Tubble

Release: 2023 / US – Original

Genre: Rock & Indie

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Tape | 2022 | EU | Original (Shimmy Disc)

I Killed The Monster

Tape | 2024 | US | Original (Ghostly International)

Release: 2022 / EU – Original

Genre: Rock & Indie

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"I Killed The Monster" is an 11-track compilationof songs written by celebrated American musiclegend Daniel Johnston, whose classic LPs '1990'and 'Artistic Vice' were produced by Kramer at hislegendary Noise New York recording studio andreleased on Shimmy-Disc in 1990 and 1991,respectively. All of the songs were Re-Masteredby Kramer in 2022 and will be available for thevery frst time on vinyl, and on a limited-edition cassette which will also feature the remaining 10tracks (for a total of 21) from the original 2006cd-only release."I Killed The Monster" features standout tracksand performances by some of Indie music'sgreatest talents, including Danielson & SufanStevens, Kimya Dawson, Dot Allison, Mike Watt,Jad Fair, and Jefrey Lewis. Kramer produced and mixed most of the songs on the LP, and he him- self delivers one of the most startling tracks onthis release; Daniel's great masterpiece, "BloodyRainbow".Few artists have been where Kramer has been, orworked with the variety of artists he has (Ween,Butthole Surfers, John Zorn, Half Japanese, TheFugs, and Bongwater, and Will Oldham, to namebut a few). This extraordinary LP showcasesKramer's unmistakable prowess as one of hisgeneration's most veresatile producers, and con- tinues the 21st century re-birth of his iconicShimmy-Disc label.

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Ginger Root

Shinbangumi

12" | 2024 | UK | Original (Melodic)

Release: 2024 / US – Original

Genre: Rock & Indie

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Step inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."

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Formal Sppeedwear

Formal Sppeedwear EP

Tape | 2024 | US | Original (Drag City)

Release: 2024 / UK – Original

Genre: Rock & Indie

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Preorder shipping from 2024-11-01

From the furnaces of Stoke-On-Trent comes the super-limited debut EP from Formal Sppeedwear, a wonky new wave teacup ready to be sipped.

Taking creative cues from Brian Eno’s Oblique Strategies and Conny Plank’s experimental recording techniques to flesh out synthpop-oriented melodies, the EP stomps along with Scary Monsters-era Bowie guitar lines, early 80s Numan basslines and surreal lyrics - “Ready, set on my mark: Tesco Extra, Marks and Sparks” cries Clewlow on 6 Lofty Ash. There’s a versatility to the tracks; with the jolting staccato of The Line counter punched by EP closer and highlight Dismount’s soaring synth slow burn.

Defying the seas of young musicians moving to London and Manchester to find their path, Beck Clewlow (Bass, Vocals, Synthesisers) Charlie Ball (Guitar, synthesisers), and Connor Wells (Drums, Guitar, Synthesisers) stuck it out in Stoke, using the city as a blank canvas - devoting their spare time to writing and experimenting, building their own studio out of charity shop finds and cash-converter synths and recording equipment.

Out in the creative wilderness of Staffordshire there’s a healthy DIY scene brewing with bands waiting to make their mark; fly posting their own shows, making one-off merch for each gig, sharing lineups with one another. “There is no sense of geographical confinement here, there’s a wealth of talent who act indifferently to their surroundings. It’s particularly nice that some of our friends from here are starting to receive attention from elsewhere” say the band. As fellow locals University and Christian Music start to garner attention from the rest of the UK, it’s time for Formal Sppeedwear to follow suit.

Stoke-on-Trent might not be the first place you’d look to find your favourite new band - The Bootleg Beatles are one of its finest exports if you ask Google - but Formal Sppeedwear are here to show you the kilns are alright.

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Bill MacKay

Locust Land

LP | 2024 | EU | Original (Casa Voyager)

Release: 2024 / US – Original

Genre: Rock & Indie

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Bill MacKay and Drag City are delirious with pride to announce the discovery of a new territory: Locust Land, a record which seeks to reflect the nerve-shredding consciousness run amok in our world today - and somehow allay it with sound. Bill"s music is a visceral crackling where it meets the air, and Locust Land can"t help but reflect its era more than any other in his discography.It"s been five years since the release of Fountain Fire - but in the interim, Bill has barely stopped moving, collaborating with artists across the spectrum, including cellist Katinka Kleijn, banjo player Nathan Bowles and keyboardist Cooper Crain. He"s also contributed to recordings by Steve Gunn, Ryley Walker, Bill Callahan & Bonnie Prince Billy (Blind Date Party), and Black Duck (on their self-titled record featuring Douglas McCombs and Charles Rumback). Forget five years - how"d he even get Locust Land squeezed out of his temporal lobes?Bill"s sense of music as art is constantly modulating - lifting off from where it is found and naturally migrating to some other place. Sometimes, that"s elsewhere - others, it"s simply to be found deeper inside the starting point. And so, the action of moving on informs the landscape of Locust Land. This manifests in several different ways.A restless energy and urgency is repeatedly felt - in the driving momentum of "Keeping in Time," "Glow Drift," and "When I Was Here" - while a dogged persistence radiates from the tone colors and percussion of "Oh, Pearl." Mating a dirge-like desolation with sparkling guitars, "Radiator" adds darkness and depth. The sense of searching, displacement and longing in vocal tracks "Keeping in Time," "Half of You," and "When I Was Here" speak literally to the tumult of current vibrations. Within the arrangements, there"s also departure from previous norms - in addition to the brilliant guitar work for which he is known, Bill plays a variety of keyboards, from piano to organ to synth, extending his music with the available voicings, while enri...

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Post Industrial Boys

1971

The Web You Spin: Live At Kroq Weenie Roast Irvine California 1996

Release: 2024 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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After 8 years Georgian pioneer George Dzodzuashvili is back as Post Industrial Boys with a new album. It's his most personal record to date and opens up its own world: a world full of memories of a bygone time and observations so precise you almost feel like you are living and capturing them yourself with a Super8 camera.

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No Doubt

LP | 2024 | EU (Mind Control)

LP | 2024 | EU (Cult Legends)

Release: 2024 / EU

Genre: Rock & Indie

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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.

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R.E.M.

Santa Monica 1991

Tape | 2024 | US | Original (Numero Group)

Release: 2024 / EU

Genre: Rock & Indie

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This is R.E.M. fresh after the release of their biggest album ever: “Out Of Time”. The band chose to unplug for a change and perform their songs in an acoustic setting. It makes Michael Stipe’s unusual lyrics and his distinctive vocals stand out even more. In a post-punk era, R.E.M. brought back guitar pop and pioneered the alternative rock genre, inspiring generations of new bands. R.E.M. disbanded amicably in 2011, but their rich musical legacy lives on and shines on this intimate recording featuring hit songs “Losing My Religion” and “Radio Song”.

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Karate

Make It Fit

7" | 2021 | US | Reissue (Run For Cover)

Release: 2024 / US – Original

Genre: Rock & Indie

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The first new music from the postemotrio in two decades. Out of thebrain of Geoff Farina spills 10 newtales from their unlikely reunion,tracked with long-time Karatecollaborator Andy Hong. Make It Fitcrams 35 minutes of Wes Montgomeryhomage, Fugazi dub plate partyrocking, Lynott lyricism, and Clashcity crooning into a graceful seventhalbum.

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The Obsessives

Monastery

Tape | 2023 | US | Original (Trouble In Mind)

Release: 2021 / US – Reissue

Genre: Rock & Indie

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The Obsessives, above all else, write the music that they want to listen to. Comprised of founding members Nick Bairatchnyi (guitar, bass, vox) and Jackson Mansfield (drums, guitar, keys), their sound has spent the last decade evolving through elements of DIY, grunge, alternative, and math to shape into something that feels the most uniquely authentic to their version of exciting noise. Bairatchnyi's lyrics emphasize the importance of songwriting's storytelling aspect, and what pours out of him has a rough edge of urgent specificity. Paired with a soundscape that manages to both punch in its efficacy and shimmer in its intricacy, the sonic chemistry between these two high school friends delivers unmatched, easygoing musicality. Their arrival took shape through weekender basement shows in Bethesda and the labyrinthine DIY community in Arlington and D.C. before finally making their move to Philadelphia to hit with cornerstone groups like Modern Baseball, ultimately solidifying their place in the scene. Joined by Ben Kaunitz (guitar, bass) and Coby Haynes (drums, percussion) in 2018, the live lineup has evolved from a sonic rough-and-tumble to a fully collaborative space, encouraging a new era of thematic cohesion. After opening up the creative dialogue beyond just a duo, the band's sound has been able to make a mature tonal shift in style and form. Following the release of 2017's The Obsessives (Lame-O Records), the band has spent a lot of time compartmentalizing and re-shaping their projects. The difference between being 18 and 24 isn't the world, but at the same time _ it is. The Obsessives' sound has grown up with and around them, and is ultra-specific to what they feel are various catalytic experiences. The determinant factor that sets 2015's Heck No Nancy (Near Mint Records) apart from 2021's forthcoming release under producer Will Yip (Memory Music) is an entire set of lives that's been lived. The best part is _ they dig it as much as you will.

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Facs

Still Life In Decay

Tape | 2023 | US | Original (Trouble In Mind)

Release: 2023 / US – Original

Genre: Rock & Indie

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Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio Facs (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. Facs have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. Facs are a heavy band, but they don't necessarily Feel like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes Facs special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band Does lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

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Nightshift

Made Of The Earth

Tape | 2022 | EU | Original (Current Joys)

Release: 2023 / US – Original

Genre: Rock & Indie

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NIGHTSHIFT : a multi-directional audio ensemble from Glasgow formed in Summer 2019. Currently featuring artist Eothen Stearn, also of 2 Ply & Difficult, Chris White of Spinning Coin, Andrew Doig aka Robert Sotelo and of Order of the Toad and Georgia Harris of Slippy & Pelvis. They have been described as hypnotic punk and certainly employ repetition in their sound at times, as well as embracing a variety of other musical stylings be they hyper rhythmic, noise based, pop inclined or emotive. There is no preconceived idea to the band's identity. The band favours democracy and balance. Primarily dealing in humanist themes there is an optimistic, utopian slant to Nightshift's group persona. Never afraid to broach the absurdist strains of life that surrounds them, they revel in everyday confusion and find respite in the small wonders of the natural universe and beyond.Their recent 2021 album "Zoë" was released on Trouble in Mind from Chicago, the follow-up to a self-released cassette in 2019. "Made Of The Earth" represents the last document of the band's initial incarnation, with odds & sods as well as unreleased tracks combining to form a surprisingly cohesive whole. Surely a testament to the band's vision & execution.

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Current Joys

Live At Kilby Court

CD | 2023 | US | Original (Dead Oceans)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Hear Current Joys tear through a live set of fan favorites recorded last winter at Kilby Court in Salt Lake City, Utah. This 14 track set is the first time one of Current Joys' visceral live performances has been captured for vinyl and released digitally online. The four-piece plays full-band arrangements of Current Joys classics like "Blondie" "Kids" and "My Motorcycle" as well as a new unreleased track "Altered States."Recorded February 22, 2019, at Kilby Court in Salt Lake City, UtahGuitar & Vocals: Nick RattiganKeys & Vocals: Maddy BoydBass: Aaron JassenoffDrums: Jackson Katz"Current Joys (and its former incarnation TELE/VISIONS) is the quiet and affecting solo project of Nick Rattigan (...) You can affix it with any number of labels - minimalist bedroom pop, spare indie balladry - but whatever the assignation, the music is devastatingly pure. (...) Current Joys is the rare project that manages to transcend its simplistic trappings and achieve something like musical grace. " [Alex McLevy] - AV Club "Nick Rattigan sings and plays drums in the surf-rock band Surf Curse, but he's been doing more and more with the solo bedroom pop songs he writes under the name Current Joys. Propelled by sinewy guitar lines and sweeping synths, songs like "Fear" reflect on the underbelly of modern life without resorting to self-pity. " [Stephen Thomson] - NPR Music

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Shame

Food For Worms

Just A Sad Xmas B/W Can't Nobody Love Me Xmas Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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Food for Worms, their explosive third record, sees shame enter a new, surreal landscape, as reflected in the cover art designed by acclaimed artist Marcel Dzama. It's suggestive of what is left unsaid, what lies beneath the surface, the farcical and fantastical everyday that we are living in, in a society where both everything and nothing is possible. On the one hand, new album Food for Worms calls to mind a certain morbidity, but on the other, it's a celebration of life; the way that, in the end, we need each other. The album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share. For the first time, the band are not delving inwards, but seeking to capture the world around them. Now they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which singer Charlie Steen declares to be "the Lamborghini of shame records." The album crashed into life faster than anything they'd created before. The band recorded it while playing festivals all over Europe. That live energy, what it's like to witness shame in their element, is captured perfectly on record - like lightning in a bottle. The album marks a sonic departure: shame have abandoned their post-punk beginnings for far more eclectic influences, drawing from the sharp yet uncomplicated lyrical observations of Lou Reed and the more melodic works of 90s German band, Blumfeld. They called upon renowned producer Flood (Nick Cave, U2, PJ Harvey, Foals) to execute their vision. Recording each track live meant a kind of surrender: here, the rough edges give the album its texture; the mistakes are more interesting than perfection. In a way, it harks back to the title itself and the way that with this record, the band are embracing frailty and by doing so, are tapping into a new source of bravery.

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The Soul Duo

7" | 2022 | US | Original (Numero Group)

12" | 2022 | UK | Original (Deewee)

Release: 2022 / US – Original

Genre: Rock & Indie

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Almost an anti-Christmas song, the Soul Duo's "Just A Sad Xmas" doesn't exactly evoke the festive spirit of the season. Comprised of Tidewater's queen of soul Ida Sands and former Anglos tenor Joe Webster, the duo issues just two singles on Noah Bigg's Shiptown label. Just in time for the holidays, Numero has repressed this maudlin yuletide burner and packaged the red, white, and green splattered 45s in a rigid cardboard sleeve for easy wrapping.

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Movulango

Mirror In Man EP

7" | 2022 | EU | Original (Clue)

Release: 2022 / UK – Original

Genre: Rock & Indie, Pop

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One of Deewee’s newest family members, 25-year-old Belgian musician and producer, Mozes Mosuse aka Movulango shares news of his debut EP “Mirror In Man” - out 18th November.

“We’ve always called him the psychedelic romantic of the studio,” say David & Stephen Dewaele, founders of Deewee / Soulwax.

“Mirror in Man” is proof that you shouldn’t put a time limit on creativity. An utterly forward-thinking five-track musical adventure taking in psychedelic folk jams, woozy electronica and looped-up beats, it is the culmination of a five-year process for Movulango. A journey that has seen Mozes transform from dancefloor-slaying producer (his previous credits include being one-half of Ego Troopers and Future Sound of Antwerp) to a kind of West Coast pop art Balearic troubadour.

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The Wedding Present

Astronomic / Whoduunit

LP | 2020 | EU | Original (Listen)

Release: 2022 / EU – Original

Genre: Rock & Indie

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David Gedge says: "With its 1950s theremin and science-fiction sound effects, `Astronomic' sounds a bit like a cross between a psychedelic pop song and a television theme. It's also The Wedding Present's job to be educational as well as entertaining, of course, and who knew that `hypersonic speed' is actually defined as one that exceeds five times the speed of sound? Certainly not me. But I know now! Oh, and wait until the very end of the track to hear another of those occasional Wedding Present references to Status Quo, too. Meanwhile, `Whodunnit' [no question mark because it's referring to the literary genre rather than asking a question] is a much more melancholy affair, which is what we've come to expect from songs which are primarily Melanie Howard co-creations. It might win the prize for the most powerful chorus of the series, though" Tenth release in this monthly series, in 2022 The Wedding Present will be releasing a new 7" single every month, #9 is available for indie record stores only soonThis fascinating project - which goes under the name of 24 Songs - comes thirty years after the band's similar Hit Parade series of 7"s in 1992 and features two brandnew recordings of the current WP incarnation. Each of the records comes in a beautifully designed sleeve featuring brutalist photography by Jessica McMillan. Each single will be limited to 2,400 copies ww.

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Tom Gatza

16,99 €* 19,99 € -15%

Release: 2020 / EU – Original

Genre: Rock & Indie

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Tape | 2018 | US | Original (Needlejuice)

Lemon Demon

I Am Become Christmas EP

CD | 2018 | US | Original (Needlejuice)

Release: 2018 / US – Original

Genre: Rock & Indie

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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.

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Lemon Demon

I Am Become Christmas EP

Distorted Chants White Vinyl Edition

Release: 2018 / US – Original

Genre: Rock & Indie

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Pia Isa

LP | 2022 | EU | Original (Argonauta)

7" | 2022 | UK | Original (Detour)

Release: 2022 / EU – Original

Genre: Rock & Indie

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PIA ISA is the solo project of bassist/vocalist Pia Isaksen from Norwegian heavy psych/doom band Superlynx. She is now gearing up for the release of her debut solo album, Distorted Chants, which features Ole Teigen (Superlynx etc) on drums and a guest apperance by guitarist Gary Arce (Yawning Man, Big Scenic Nowhere etc.) on three of the songs. Having played and written music for most of her life a solo album has been brewing in Pia´s mind for a long time. Finally everything has aligned for her first one to materialize, and Distorted Chants was recorded early 2021. As much as she loves playing with Superlynx (formed 2013) and other people her ideas for this album seemed more right to work through on her own. Pia´s music is rooted in slow heavy drones but also has a lighter, dreamy and hopeful side. She is inspired by massive soundscapes, heavy psych, meditative moods, desert vibes and eastern scales as well as her nordic coastal surroundings. Superlynx listeners may recognize her slow, heavy, minimalistic riffs and haunting sometimes chanting voice. Pia has an open mind to a lot of different music. Not caring about fitting to any genres but channeling honest and heartfelt music in her own way. The lyrics on Distorted Chants are deeply personal and stretches from the very inner self and throughout nature.

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The Clerks

Dancing With My Girl

Waterslide, Diving Board, Ladder To The Sky

Release: 2022 / UK – Original

Genre: Rock & Indie

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In 1976 The Clerks were a four-piece group of schoolfriends living amidst the burgeoning punk rock scene in Birmingham. In October '76 two members of the band saw the notorious Sex Pistols gig at Bogarts, a small club in the city, and later the likes of Blondie, Buzzcocks, The Clash and Ramones at Barbarella's. Like many others, the guys were inspired by what they were hearing and before too long The Clerks would be playing these clubs themselves. From the start they wrote their own three-minute songs with a 60's pop sensibility and included in the set a couple of covers of The Beatles, 'I'm Down' and the Stones 'Paint It Black'. The guys didn't consider themselves to be Punks or Mods although they did share some of the same influences. Indeed, The Clerks name was taken from a line in a Velvet Underground song, 'Sweet Jane'. Throughout 1977 and '78 The Clerks gigged the pubs, clubs and halls of Birmingham, a demo was recorded in late '78 and the group decided, with a handful of friends and fans, to move en masse, to London. Starting to gig around London and with demo tape in hand the guys were picked up by ROK records for a single and compilation LP. 'No Good For Me' and the LP 'Odd Bods, Mods and Sods', were released in the spring of 1979. The single 'No Good For Me' was described by the music press at the time as 'Straight out of organised Sixties Pop'. Two of the group had become homesick by this time and moved back to Birmingham. However, the song writing team Paul Day and Martin Poole remained and recruited Londoner Paul Cuthbert on drums and another schoolfriend, now working as a photographer in London, Martin Booth on guitar and vocals. 1980 was a very busy year for the new line up. They gigged extensively in London and Birmingham and places in between, developed a new following, supported the likes of Athletico Spizz 80 and Tenpole Tudor and in the summer made another recording of four of their own songs. Dancing With My Girl, All I Want Is You, On The Telephone and Cold About Love. Things seemed to be going well enough and by now there was some record company interest but by the end of 1980 for reasons lost in the mists of time, the band had had enough and had gone their separate ways. A couple of years after their demise a limited-edition EP called Dancing With My Girl with three of the four 1980 studio recordings was released. This EP is now a collector's item and changes hands for up to £50 in mint condition to grateful fans as far away as Japan, Europe and USA. However, for some reason that no one can recall, one song 'Cold About Love' was not included and has never been released. Until now that is, on Detour Records! So, we have for you, three new 7" vinyl releases. For the first time Detour Records release from 1978 (dr124) 'No Good For Me' and 'When The Light Go Out' back-to-back and from 1980 the previously unreleased (dr128) 'Cold About Love' b/w 'On The Telephone' and last but not least, also from 1980 (dr129) 'Dancing With My Girl' b/w 'All I Want Is You'.

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Porridge Radio

CD | 2022 | US | Original (Secretly Canadian)

Procession Black Vinyl Edition

Release: 2022 / US – Original

Genre: Rock & Indie

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When Porridge Radio's Dana Margolin, one of the most vital new voices in rock, began to consider the themes of her new album, three vivid words began to emerge: joy, fear and endlessness. The artwork of the band's third full-length, Waterslide, Diving Board, Ladder To The Sky, is a surreal image that evokes the ducks and dives, slippery slopes and existential angst of life in recent times. "To me, the feelings of joy, fear and endlesses coexist together," says Dana. "You're never just happy or unhappy." Following Every Bad's release in 2020, Margolin was quickly becoming regarded as one of the most magnetic band leaders around. But if Every Bad established Dana's bravery in laying herself bare, her band's third record takes that to anthemic new heights. While there are moments of guttural release, she also finds soft power on songs. "I used to think I had to be loud to be heard," she admits, "but now I'm definitely less afraid of being gentle." The band's first new single, `Back To The Radio', sets out their stall, a lurching call to arms that contrasts Dana's lyrics of panic and closing herself off. This song is just one of example in Wdbltts that explores something that has long been an important part of Porridge Radio's process: playfulness. "I think the album needed to have that balance," Dana explains. Balance: that's the word the album seems to be eternally striving for - joy, fear and endlessness in harmony but also self-acceptance. Dana is more aware of how she's creating a persona as her star continues to rise, and how she's singing personal songs that now belong to other people which gives her purpose. She says, "I wrote these songs for myself, but I think everyone wants to feel like what they're doing is useful in some way. I'm ready to embrace it all now, whatever happens."

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Josiah

LP | 2009 | EU | Reissue (Heavy Psych Sounds)

Into The Outside Black Vinyl Edition

Release: 2009 / EU – Reissue

Genre: Rock & Indie

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Repress of the Josiah fourth album in new coloured vinyls !!! "Those who’ve experienced Josiah’s groove-heavy swagger know that it’s the guitar of Mat Bethancourt in the starring role, but this trio relies almost as much on the backing rhythms on Procession. Blink and you’ll miss the first two tracks, “Procession” and “Broken Doll,” both of which are under two and a half minutes, but for the other three cuts of studio material (“Thirteen Scene,” highlight “Dying Day” and the more garage rock “Dead Forever”), it’s just as much Beacom and Beasley’s show as it is Bethancourt's. That would be the end if not for the five live tracks from Josiah’s Swedish run in 2007. Four out of the five — “Looking at the Mountain,” “Time to Kill,” “Silas Brainchild” and closer “I Can’t Seem to Find It” — come from the band’s final recorded full-length, No Time, and only “Malpaso,” reaches back further, having first appeared on the 2001 10” Out of the First Rays. Not that we needed it by this time, but these live versions are basically just further confirmation of what underground rock lost with Josiah. The crash-heavy shuffle blues of “Time to Kill” alone are worth whatever they’re asking for Procession." - The Obelisk

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Josiah

LP | 2004 | EU | Reissue (Heavy Psych Sounds)

LP | 2021 | EU | Original (Screaming Apple)

Release: 2004 / EU – Reissue

Genre: Rock & Indie

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Repress of the Josiah sophomore album in new coloured vinyls !!! Josiah melds the sounds of unheralded dropouts Blue Cheer with the nostalgic leanings of Monster Magnet and Kyuss. In fact the lead vocals echo that of Wyndorf, with some bluesy Ron Young moments thrown in. The first three songs show that the band is capable of some killer material – the hard-hitting future classic The Scarlatti Tilt, the backbeat of “Turn It On” and the Beefheart Esque tones to O.B.N. make for guaranteed foot-stompers. “Sweet Time” comes across like Ram Jam‘s “Black Betty” supercharged with simple yet effective song structure. The disc finishes with an appropriately named “Unwind Your Mind”, as I am sure the recording of this album was done in a cloud of smoke. This is a quality release. Heavy Psych and Stoner fans should be all over it. Retro rock with a touch of psychedelic blues, soul and more than enough rock to satisfy metal fans. - Sleaze Roxx

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The Margin Of Sanity

A Wound Up Wall Of Sound

Small World Black Vinyl Edition

Release: 2021 / EU – Original

Genre: Rock & Indie

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MONSTER TYME !!! Right before x-mas we offer you the holy grail of UK mid-eighties garage-punk!!! Blazing a brief trail through London's legendary lost music venues during the mid-80s, The Margin of Sanity were a tightly-wound coil of sexual frustration and pent-up rage. Sharing stages with soon-to-be-cult acts such as Spacemen 3, My Bloody Valentine and The Prisoners, they played at the speed of a runaway train on the brink of derailing, fuelled by youthful exuberance, adrenaline and cheap amphetamines.Taking influence from mid-60s Pretty Things and the angry young THEM, The Margin of Sanity quickly picked up a following of disenchanted youths who had turned their backs on the sterilemusic of the 80s and who were instead discovering comps like Chocolate Soup for Diabetics, Nuggets and Pebbles.Fronted by a lanky Keith Relf lookalike, propelled by a drummer raised on Keith Moon at his most frenzied, and backed by black-leather-clad, chelsea-booted guitar slingers, The Margin of Sanity certainly stuck out from the crowd.Their self-titled mini LP consisted of five original compositions and one cover, selling well enoughto warrant a second pressing. John Peel got behind it on his radio show and the UK nationalweekly music press started to take an interest. Headline slots followed but momentum got lost and after only eight months of activity and fewer than twenty gigs, The Margin of Sanity disbanded.This retrospective on Screaming Apple contains all known recordings, including the mini LP, early demos and a rehearsal recorded just before they split, which offers a fascinating insight into the direction they were taking. The recordings are (re)-mastered by none other than Mr. Tim "Back From The Grave" Warren.Perhaps a line from Robin Gibson's mini album review in Sounds, published in February 1987, is a fitting epitaph: "In 1963, The Margin of Sanity would've been creating the generation gap. In 1987 they are a generation gap".

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Metronomy

LP | 2022 | EU | Original (Because Music)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Tape | 2021 | US | Original (Drag City)

Ty Segall

Harmonizer

Release: 2021 / US – Original

Genre: Rock & Indie

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How Long Do You Think It´S Gonna Last?

Big Red Machine

Tape | 2021 | US | Original (Jagjaguwar)

Forever Isn't Long Enough

Release: 2021 / US – Original

Genre: Rock & Indie

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Ever since childhood, learning to play various instruments in a suburban Cincinnati basement alongside his brother Bryce, Aaron Dessner has consistently sought an emotional outlet and deep human connection through music _ be it as a primary songwriter in The National, a founder and architect of beloved collaboration-driven music festivals, or collaborator on two critically acclaimed and chart-topping Taylor Swift albums recorded in complete pandemic-era isolation at his Long Pond Studio in upstate New York, among many other projects. Through it all, Dessner has brought together an unlikely community of musicians that share his impulse to connect, celebrate and, most of all, process emotion and experience through music. This generous spirit and desire to push music forward has never been more deeply felt than on Big Red Machine's "How Long Do You Think It's Gonna Last?," the second album from Dessner's evermorphing project with Bon Iver's Justin Vernon. In 2008, while assembling material for the charitycompilation "Dark Was the Night," Dessner sent Vernon a song sketch titled "big red machine". Vernon interpreted "big red machine" as a beating heart and finished the song accordingly _ a metaphor Dessner says "still sticks with me today. This project goes to many places and is always on some level about experimentation, but it shines a light on why I make music in the first place, which is an emotional need. It's one of my therapies and one of the ways I interrogate the past." Released in 2018, Big Red Machine's self-titled debut album evolved from improvisation and what Dessner calls "structured experimentalism," with an ear toward building tracks that would work well in a live setting alongside visual elements. When Dessner and Vernon started the Eaux Claires Music Festival in 2015, they staged the original "Big Red Machine" as an improvisation-based performance piece. They later took that show to the People collective's Berlin residency and festival, and to Dessner's Haven Festival in Copenhagen. "Big Red Machine started as this thing we would do for fun, and we fell in love with the feeling of it," says Dessner." Vernon agrees: "I remember it feeling really easy, but we never knew what would happen. It was exciting. As time went on, we just kept doing things together. And our friendship has grown strong, alongside all the collaborative stuff." New Big Red Machine material began taking shape in spring 2019, when Vernon came to visit Dessner at Long Pond. The first week produced songs such as "Reese," "8:22am" and eventual album opener "Latter Days," a haunting number sung by Vernon and Anaïs Mitchell that set the emotional tenor for what was to come. "It was clear to her that the early sketch Justin and I made of Latter Days was about childhood, or loss of innocence and nostalgia for a time before you've grown into adulthood _ before you've hurt people or lost people and made mistakes. Anaïs defined the whole record When she sang that, as these same themes kept appearing again and again," Dessner says. In the ensuing months, Vernon and Dessner would meet up when they could, and in the meantime, Dessner developed the existing material and wrote new instrumental tracks which he sent Vernon, always eager to hear what he would receive back. "Justin is incredibly gifted, but he's also disruptive in the best way," says Dessner, pointing to the first note of the song "Birch" as a prime example. "It's absolutely brilliant, but it was very surprising when I heard it the first time. I can't tell you what that interval is. There are many moments working with him where your head hits the wall in amazement like that." In the early stages of the pandemic, Swift approached Dessner to work with her on what would become the sister albums "folklore" and "evermore." Dessner describes this period as a "creative blur," during which he'd be writing material for Swift and Big Red Machine simultaneously. "I think this was an intense growing period for me, I was learning so much from Taylor and the process. Along the way, I shared all of our unfinished Big Red Machine songs with her and she really found them inspiring and gave me so much positive feedback and encouragement," he says. "I think that helped me realize how connected this Big Red Machine music was to everything else I was doing and that I was always supposed to be chasing these ideas. I was finding new sounds and ways of working through these songs. I just hadn't been able to finish them. So, I did." Beyond Vernon and Swift's encouragement, many of Dessner's previous collaborators and friends show up for him here, continuing the reciprocal exchange of ideas that has come to define his creative community. Songs feature guest vocals and writing contributions from artist friends including Fleet Foxes' Robin Pecknold ("Phoenix"), Ben Howard and This Is The Kit ("June's a River"), Naeem ("Easy to Sabotage'), Sharon Van Etten, Lisa Hannigan and My Brightest Diamond's Shara Nova ("Hutch," a tune inspired by Dessner's late friend, Frightened Rabbit frontman Scott Hutchison) and Swift herself ("Birch" and "Renegade," the latter an instant-classic Taylor earworm summed up by the poignant lyric "Is it insensitive for me to say / get your shit together so I can love you." The song was recorded in Los Angeles at the Kitty Committee studio in March 2021, the same week when Swift and Dessner took home the Grammy for Album of the Year for "folklore.") "This is all music I generated, but it is interesting to hear how different people relate to it, or how different voices collide with it," Dessner says. "That's what makes it special. With everyone that's on this record, there's an openness, a creative generosity and an emotional quality that connects it all together." As he continued writing prolifically on his own, Dessner noticed a theme emerging -- the idea of sitting with the uncomfortability of personal and family darkness from his childhood and reflecting on how emotional issues he dealt with growing up have reverberated through his adult life. It became clear that some of these he'd need to sing himself; songs such as "The Ghost of Cincinnati" and "Magnolia" address the disintegration of marriage and family and mental health, asking pointed questions of himself and those closest to him. "Brycie" is an ode to his aforementioned twin and National bandmate, who picked up on the musical vibes immediately when Dessner played the song for him for the first time backstage at a National show in Washington D.C. "He picked along to it with me and it immediately sounded like Aaron and Bryce playing the guitar in the basement as kids, which was my intent," Dessner remembers. "The words mean a lot to me. It's about my childhood with Bryce, and how I had pretty severe depression in high school. He was the one who kept me going and took care of me until I was back on my feet. I've lost close friends to depression and this song is about how important it was that Bryce was there for me at that time and is still here." In addition to being one of the more lyrically significant tracks on the album, Dessner says singing it himself felt like an important act of self-acceptance. "I always sing under my breath when I write music, but I usually hand it off to [National vocalist] Matt [Berninger] or others" he says. "When you're in a band for so long and somebody else is that person, you come to rely on it and I've always loved Matt's voice and his words. But singing `Brycie' myself helped rewire my brain to realize that maybe Big Red Machine is the project that not only enables me to create songs with other people, but also sometimes finish songs on my own." Recalling sessions at Sonic Ranch in Texas when Dessner recorded his vocal takes, Vernon says, "Aaron showed me `Brycie' a couple years ago now. I was like, this is beautiful, and you should do more singing. Not only would it be good for the future of your songwriting, but your voice sounds really good to me. It was exciting to see him flourish in that way _ to now be a part of that process and realize the hardships in that and also the victories. On this record, he's leading the charge, wholly and completely." Musically, "How Long Do You Think It's Gonna Last?" features what Dessner calls maybe the "clearest distillation" of his varying songwriting and production styles. Songs like "Reese," the Dessner-sung "Magnolia" and the elegiac "Hutch" are built on the kinds of tear-jerking piano melodies millions of fans have come to love from The National, but then move at their own pace toward unusual sonic destinations. "Aaron's greatest gift as a collaborator is his ability to evolve and experiment with the emotional sound that is so natural to him," Vernon says of the material. Elsewhere, the dream-like "Hoping Then" sets layered vocals by Vernon, Dessner and Hannigan ("It's the on the edge of why I can't sleep soundly") atop chopped and phased violin lines, programmed drums and countermelodies played on a rubber bridge guitar. His brother Bryce's orchestration ebbs and flows throughout this song and many others. The main instrumental track of the chugging, groovy "Easy to Sabotage" was stitched together from two different live recordings and later enveloped in warm keyboard textures and the head-nodding vocals of Naeem. "It just feels alive and electric, and it just happened," Dessner says of the song. That sense of shared experience extended to the new album's title, which was coined by Swift after Dessner told her he wasn't sure what to call the new album. Intuitively summing up the themes, she suggested titling it "How Long Do You Think It's Gonna Last?," a question which she pointed out could refer to multiple subjects addressed therein: "childhood, family, marriages, a depression, a losing streak, a winning streak or a creative streak. Taylor saw it all so clearly," Dessner says. "A year ago, we'd never even worked together. It's so cool that this community keeps extending and that everyone who contributed to this album connected so naturally to the emotions at the heart of the music."

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Alfie Templeman

12" | 2021 | UK | Original (Chess Club)

Release: 2021 / UK – Original

Genre: Rock & Indie

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Tape | 2021 | US | Original (Joyful Noise)

Lou Barlow

Reason To Live

Tape | 2021 | US | Original (Dead Oceans)

Release: 2021 / US – Original

Genre: Rock & Indie

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After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. In 2021, the concept of balance feels particularly intimidating. Now more than ever, it's clear life isn't just leveling out a pair of responsibilities. Instead, we're chasing after a flock of different ideals with a butterfly net. On Barlow's new solo album, Reason to Live, he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. In recent years, he's moved from Los Angeles back to Massachusetts, where he lives with his wife and three kids. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. Reason to Live is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. "I had been struggling for a way to connect both my home life and my recorded life, but this record is the first time I've integrated that," Barlow says. By folding the many facets of his life into one package, Reason to Live radiates with a renewed balance and calm. That comfort in complexity shines through even in the recording process, with select songs having origins in decades past and others written in the early stages of 2020. The multitude of whirring messages of Reason to Live are united by Barlow's roiling multilayered arrangements and the understanding that change is inevitable - and that it can bring you a new reason to live in the darkest times. "This album is me really opening up, and the album follows that through its many different themes," he says. "Some of my other work could be almost claustrophobic in its insistence on being all tied together but there's space for people to live inside these songs." After albums with Sebadoh, Dinosaur Jr., Folk Implosion, and under his own name, listeners may have felt they knew the construction of a Barlow song, even that they knew Barlow himself. "People have this vision of me as this heartbroken, depressed guy, but this record feels so true to who I am, to this rich life I now have full of people I love," he says. "The songs culminated over the last five years to show that music has returned to its central comforting role in my life. Now I'm home."

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Japanese Breakfast

Jubilee

CD | 2021 | EU | Original (Morr Music)

Release: 2021 / US – Original

Genre: Rock & Indie

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From the moment she began writing her new album, Japanese Breakfast's Michelle Zauner knew that she wanted to call it Julibee, After all, a jubilee is a celebration of the passage of time-a festival to usher in the hope of a new era in brilliant technicolor. Zauner's first two albums garnered acclaim for the way they grappled with anguish; Psychopomp was written as her mother underwent cancer treatment, while Soft Sounds From Another Planet took the grief she held from her mother's death and used it as a conduit to explore the cosmos. Now, at the start of a new decade, Japanese Breakfast is ready to fight for happiness, an all-too-scarce resource in our seemingly crumbling world. How does she do it? With a joyful noise. Jubilee bursts with the most wide-ranging arrangements of Zauner's career. Each song unfurls a new aspect of her artistry. In the years leading up to Jubilee, Zauner also took theory lessons and studied piano in earnest for the first time, in an effort to improve her range as a songwriter: "I've never wanted to rest on any laurels. I wanted to push it as far as it could go, inviting more people in and pushing myself as a composer, a producer, an arranger." Jubilee is an album about processing life and love in the quest for happiness, and how that process sometimes requires us to step outside of ourselves. Throughout Jubilee, Zauner is hardly fictionalizing her lyrics, instead pouring her own life into the universe of each song to tell real stories, and allowing those universes, in turn, to fill in the details. Joy, change, evolution-these things take real time, and real effort. And Japanese Breakfast is here for it.

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The Notwist

Vertigo Days

I Will Survive / R.N.C 2020

Release: 2021 / EU – Original

Genre: Rock & Indie

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On Vertigo Days, the first album in seven years for The Notwist, one of Germany’s most iconic independent groups are alive to the possibilities of the moment. Their music has long been open-minded and exploratory, but from its engrossing structure, through its combination of melancholy pop, clangorous electronics, hypnotic Krautrock and driftwork ballads, to its international musical guests, Vertigo Days is both a new step for The Notwist, and a reminder of just how singular they’ve always been. Most importantly, the core trio of Markus and Micha Acher and Cico Beck are reaching out: as Markus reflects, “we wanted to question the concept of a band by adding other voices and ideas, other languages, and also question or blur the idea of national identity.” It’s been seven years since The Notwist’s last album, Close To The Glass, and in that time the various members of the group have been busy with side projects (Spirit Fest, Hochzeitskapelle, Alien Ensemble, Joasihno), guest appearances, a record label (Alien Transistor), movie scoring, helping organise the Minna Miteru compilation of Japanese indie pop & running a festival (Alien Disko). Those divergent paths feed back into Vertigo Days in surprising ways, from its structure, built from group improvisations, with songs flowing and melting into one another in a collective haze, to its spirit, which feels refreshed and alive. There’s something cinematic about Vertigo Days too, reflective of the group’s time working on soundtracks, and reflected in the rich, moody photographic artwork by Lieko Shiga that adorns the cover. The first sign of this newfound openness was the album’s lead single, “Ship”, where the group were joined by Saya of Japanese pop duo Tenniscoats, her disarmingly hymnal voice sighing over a propulsive, Krautrocking beat. Elsewhere, American multi-instrumentalist Ben LaMar Gay sings on “Oh Sweet Fire”, also contributing “a love lyric for these times, imagining two lovers in an uprising hand in hand.” American jazz clarinettist and composer Angel Bat Dawid adds clarinet to the spaced-out dream-pop of “Into The Ice Age”, while Argentinian electronica songwriter Juana Molina gifts some gorgeous singing and electronics to “Al Sur”. Saya also reappears as a member of Japanese brass band Zayaendo, who guest on the album. Throughout, The Notwist also capture the openness of their live performances, too, where they mix and link their songs in unexpected ways. Indeed, what’s most impressive about Vertigo Days is the way it sits together as one long, flowing suite, the album conceptualised as a whole entity – it’s perfect for the long-distance, dedicated listening experience. This is also captured by the album’s lyrics, which Markus states, “feel more like one long poem.” The dimensions of that poem are multi-faceted, something intensified by the geopolitical weirdness of its times: “As the situation changed so dramatically, while we were working on the record, the theme of ‘the impossible can happen anytime,’ more about personal relationships in the beginning, became a global and political story.” But it also works at a level of poetic abstraction, such that each song gestures in multiple directions – the deeply private pans out to the global. The one certainty is that there is no certainty. “It’s maybe mostly about learning and how you never arrive anywhere,” Markus concurs. To sit within uncertainty is brave, but it’s also where we feel most alive, and Vertigo Days is an album that is brimming with life, with enthusiasm and love for music and for community, all wide-eyed and dreaming.

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Anohni

7" | 2021 | US | Original (Secretly Canadian)

12" | 2020 | EU | Original (World Of Echo)

Release: 2021 / US – Original

Genre: Rock & Indie

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Anohni Has Shared An Emotive Cover Of Gloria Gaynor's 1978 Classic 'I Will Survive'. The Track Was A Staple Of Her Early Live Shows And Opens With A Graceful String Arrangement By Maxim Moston, Paired With Piano Performed By Anohni. Prior To The Track Being Widely Available On Streaming Platforms, Anohni Shared A Video Incorporating Live Footage Alongside Messages Dedicated To Groups And Causes That Anohni Has Long Been An Activist And Advocate For. During The Clip, Anohni Dedicates The Song To "The Sacred Gay People"; "All Endangered Black Trans Lives"; "Those In The Us Who Die From Medical Neglect"; "The Coral Reefs Of The World, Now Rotting"; "All Those Awaiting Execution In Us Death Chambers"; "Black Lives Tortured And Stolen By American Cops" And More. The Messages Reflect Anohni's Longer Values And Work As An Artist, Trans Activist, Environmentalist And Advocate For Social Justice. Alongside The Release Is A Statement From Anohni, On The Track Being The Subject Of A Licensing Offer She Turned Down Due To The Platform In Question Hosting Misleading Pro-Trump Ads. Further On The Track, Anohni Explains: "It Was The First Song I Ever Sang In Nightclubs In Nyc When I Was 20 Years Old. I Sang It Hundreds Of Times. In Those Days I Sang It Thinking Of Marsha P. Johnson And The Underground Queer Community Struggling To Survive In The Face Of Aids. Now It Seems To Me Like An Anthem For The Future Of Life On Earth." 'I Will Survive' Follows A Brace Of Releases From Anohni This Year: Most Recently 'R.N.C 2020', A Track Inspired By The Republican National Convention Which Took Place In August And The Dread Anohni Felt While Watching It. Prior To That, Anohni Released A 7" Consisting Of Two Covers, One Of Bob Dylan's 'It's All Over Now, Baby Blue' With A B-Side Of Nina Simone's 'Be My Husband'.

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Mutabor!

Two Wishes

LP | 2020 | UK | Original (Athens Of The North)

Release: 2020 / EU – Original

Genre: Rock & Indie

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East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes... Mutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session. Later that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint. It's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual & aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility. Recut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.

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Crisrail

The Game Of Music

Down In The Weeds, Where The World Once Was

Release: 2020 / UK – Original

Genre: Rock & Indie

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Something a little different from Athens of the North, Crisrail (Chris Rael) is an almost-LP of mad out there funky post punk from Silver Spring, Maryland, USA. Rated and played this out for some time but it has remained mostly under the radar due to scarcity. I could compare it to The Cure but it's so much more. 500 Only

"Playing instruments didn't come naturally to me, but I loved it so much I kept doing it and got better. When I started composing seriously in my early twenties, I didn't have much confidence in my voice or instrumental abilities, but my imagination was on fire and I was determined to create music that sounded like nothing else. I would find my place in the constellation of sound by carving a niche that was so unique, musical virtuosity wouldn't be a factor. I was inspired by Tom Scott of the Muffins, Maryland's legendary progressive jazz quartet, and owner of Black Pond Studios in Rockville, where Game of Music was recorded. It was my first solo release; I played everything except Tom's horn and flute parts. Lacking confidence to perform, I was very much a studio rat and became facile at overdubbing solo tracks. New music reviewers praised it at the time, but its distribution was limited and it's been out of print for decades. Listening now, it's more musically muscular than it felt to me at the time. It's incredibly gratifying that more people can hear it again, thanks to Athens of the North." - Chris Rael

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Bright Eyes

Tape | 2020 | US | Original (Dead Oceans)

Release: 2020 / US – Original

Genre: Rock & Indie

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A lone pair of footsteps meanders down a street in Omaha, into the neighborhood bar and then into a near-imperceptible tangle of conversations - about wars, sleepless nights - a surrealist din pushing against the sound of ragtime. Then, as the background quiets, a line rings out clearly: "I think about how much people need - what they need right now is to feel like there's something to look forward to. We have to hold on. We have to hold on." Thus we enter the fitting, cacophonic introduction to Bright Eyes' tenth studio album and first release since 2011. Down in the Weeds, Where the World Once Was is an enormous record caught in the profound in-between of grief and clarity - one arm wrestling its demons, the other gripping the hand of love, in spite of it. The end of Bright Eyes' unofficial hiatus came naturally. Conor Oberst pitched the idea of getting the band back together during a 2017 Christmas party at Bright Eyes bandmate Nathaniel Walcott's Los Angeles home. The two huddled in the bathroom and called Mike Mogis, who was Christmas shopping at an Omaha mall. Mogis immediately said yes. There was no specific catalyst for the trio, aside from finding comfort amidst a decade of brutal change. Sure, Why now? is the question, but for a project whose friendship is at the core, it was simply Why not? The resulting Bright Eyes album came together unlike any other of its predecessors. Down in the Weeds is Bright Eyes' most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott's Los Angeles home. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: "Our history and our friendship, and my trust level with them, is so complete and deep. And I wanted it to feel as much like a three-headed monster as possible." As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one's memories, trying to find the preciousness that's overgrown and unrecognizable. For Oberst, coming back to Bright Eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn't actually possible to go back to the way things were, even though there wasn't an easy happy ending, there was a new reality left to work with. And here, there is a bleary-eyed hopefulness - earnest, emotive recommitments to love appear on "Dance and Sing" and "Just Once in the World." And throughout, Down in the Weeds features snippets of Oberst's loved ones speaking, in late-night conversations. The fleeting loveliness of intimate moments punctuates the bleakness of the record's existential crisis, crackling like lightning bugs illuminating the long night. Down in the Weeds is a distillation of a prolific, enduring canon. It's immediate and urgent, the product of its creators' growth across a decade apart, as well as the need to make a record together to find solace from loss. Through deliberate, fearless experimentation in process, the trio made the truest Bright Eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like Bright Eyes never went away. It's the impossible, sprawling mess of human experience that Bright Eyes has always sought to put to tape, since the beginning - the sound of holding on. Why now? Why not?

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Rockgarage Compilation Volumes 1-2-3-4

2LP | 2020 | EU | Original (Spittle)

Full Hand Black Vinyl Edition

Release: 2020 / EU – Original

Genre: Rock & Indie

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Here is the unmissable sound document from one of Italy's earliest Eighties underground fanzines! Back in the day, Rockgarage was the fruit of the work of a bunch of young music enthusiasts from the Venice area. All already active in the local free radios scene, tired of life's monotony and willing to put all their energy and creativity into a different project. A new sound magazine based on quality content and high musical profile. A total of six issues were published between 1982 and 1984 along with three 7"s and one LP. A stunning work which after forty years still stands as one the best self-made productions on the Italian music scene of the time. All of the Rockgarage musical output is in this significant collection. A fat double album featuring famous, obscure and yet legendary "Italian Wave" bands such as Diaframma, Frigidaire Tango, Degada Saf, Plasticost, Death in Venice, Funkwagen, Detonazione, 2+2=5, Modern Model, Wops, Ruins, Premesuzette, Pyramids and Go Karts. A wide eclectic sound mosaic based on Electro-Post-Punk-Jazz-Funk elements. Experience this dynamic and passionate period through the energetic pulse of Italian New-Wave!!!

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Kevin Krauter

LP | 2020 | EU | Original (Bayonet)

Blood Orange (Dev Hynes aka Lightspeed Champion of Test Icicles)

Release: 2020 / EU – Original

Genre: Rock & Indie

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On his sophomore album, Full Hand, Indiana musician Kevin Krauter tackles complicated emotional states and ideas through elliptical songwriting that is at once poetic and truthful."A lot of the lyrics touch on how I was raised religiously, touch on me understanding my sexuality more and more in recent years," Krauter says, "just growing up and becoming more confident in myself...that process of looking inwardand taking stock of myself." It's not especially uncommon for artists to probe deep into their own psyche touncover what makes them tic, but Krauter's light touch feels like something all his own. On the album's first single, "Pretty Boy," he sings, "Look ahead, say I see me now / Smiling at what used to stress me out / Cause it won't be too long, but I'll take my time with it / It won't be too long till I come back home." There's a palpable sense of joy in Krauter's acceptance of dire, stressful moments, and a liberation that comes from hearing him realize that the present will eventually be the past, and he'll be able to look back and find peace.

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Angel's Pulse

CD | 2019 | UK | Original (Domino)

Release: 2019 / UK – Original

Genre: Rock & Indie

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Tape | 2019 | US | Original (Jagjaguwar)

Angel Olsen

All Mirrors

LP | 2018 | EU | Original (Born Bad)

Release: 2019 / US – Original

Genre: Rock & Indie

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The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown — each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen.

Olsen's artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, 'All Mirrors,' we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance.

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J.C. Satan

Centaur Desire

Live At Third Man Records

Release: 2018 / EU – Original

Genre: Rock & Indie

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As we know, first times are always the most powerful: the shattering rush of revelation can only be experienced once. After that it's all an inevitable, exhausting quest for repetition, a feverish search for the original shock, and pointless reiteration and accumulation poisoned by consciousness, analysis and age: and such a sensation keeps fading as we experience it. 2018's garage band #1001 will look and sound the same as the preceding one, and leave you wondering -half-sorry, half-dismayed- how on earth listening to the Sonics and the Standells could electrify you back in the days. Likewise, you can count on the fingers of one hand the bands you've loved up until their 5th album like J.C. Satàn - almost ten years after falling in love. We all already know dudes who have "seen them too much", heard them too much and stopped expecting anything from them anymore. Except that those folks are in for a big-time surprise, as the Satàn crew did not deliver a 5th album just for the hell of it, just to justify their next tour: they got together to seek the rare fuel, the miraculous current able to galvanize our sleeping senses, the electroshock forcing us to revive the urgent impression of being alive. 'Centaur Desire' has something of a new first-time record.

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ADULT.

LP | 2017 | US | Original (Third Man)

10" | 2017 | US | Original (Innovative Leisure)

Release: 2017 / US – Original

Genre: Rock & Indie

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ADULT. have been stalwarts of national independent music for almost two decades, releasing their perfectionist hybrid of darkwave and synth-pop with respected labels Thrill Jockey, Kill Rock Stars, Ghostly International and, most recently, Mute. The soundscapes this Detroit duo sculpts by synthesizer stabs and sparse drum machine rhythm are icy, dense and precise.

This release showcases the group in rare form, complete with the totally unexpected and kind of jarring sound of raucous audience laughter in place of typical applause as the intro as well as a light audible fuzz created by the third member of the group that night, their fog machine ;)

Best of all, two of the tracks, Misshaped and Does the Body Know?, make their premiere on this release. ADULT. have outlasted any number of micro-electronic music scenes with whom they could have been grouped and, with their live show down to a science, prove that they will be worth a damn for a long time coming.

Packaging: 12'' full-color die cut jacket, standard weight vinyl

TRACK LISTING
1. Blank Eyed, Nose Bleed
2. Pressure Suit
3. Today
4. Inclined to Vomit
5. Love Lies
6. Misshaped
7. Hand to Phone
8. Does the Body Know?
9. Plagued by Fear
10. Turn Your Back

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Holy Fuck

Bird Brains

Tape | 2016 | US | Original (Secretly Canadian)

Release: 2017 / US – Original

Genre: Rock & Indie, Electronic & Dance

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Bird Brains is a four song collection from Holy Fuck, recorded live at various studios over the past few years. They represent the ongoing creative process of a band whose members live in different cities (in both Canada and the US) yet insist their music should be a collaborative process. These four songs aim to capture the raw energy of four people, not apart as bedroom producers, but together as a spirited exchange of ideas, a dynamic interaction that comes from years of friendship. While Bird Brains was largely self-produced, a few very talented Engineers/Producers aided greatly in that process, including Shawn Everett (John Legend, Warpaint, Alabama Shakes), who recorded the song “Chains” at The Banff Centre for the Arts, and David Wrench (Caribou, FKA Twigs, The XX) who mixed the song “New Dang”. The cover image was designed by long time friend Seth Smith, visual artist, film maker, and musician from Nova Scotia. As the band describes, “the image is quite gross and beautiful, natural and artificial all at the same time, which we feel best represents how we hear our music.”

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Whitney

Light Upon The Lake

Tape | 2025 | US | Original (Trouble In Mind)

Release: 2016 / US – Original

Genre: Rock & Indie

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Featuring members of Smith Westerns & Unknown Mortal Orchestra, the ten songs on this record sound like they could have been written at any time in the last 50 years

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The Tubs

Cotton Crown

Tape | 2024 | US | Original (Bayonet)

Release: 2025 / US – Original

Genre: Rock & Indie

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The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personalterritor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album whichsees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything fromsoulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop(Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' andCotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in theprocess.This is in no small part down to Owen `O' Williams' vocal performance- often compared to a youngRichard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into hisfavourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being amusician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions.No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaningsocial interactions that took place in the period following the suicide of his mother (the folk singer CharlotteGreig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed eithermawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because itlooked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, actedafter the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greigin a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which wasfeatured in The Guardian in 2023.)The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blastsof pop perfection. This is largely down to th...

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Mei Semones

Tsukino

Tape | 2013 | US | Reissue (Captured Tracks)

Release: 2024 / US – Original

Genre: Rock & Indie

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'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is notonly a way for her to find solace in her favorite genres, but is an intuitive means ofcatharsis. "Blending everything that I like together and trying to make something new -that's what feels most natural to me," says the 23-year-old Brooklyn-based singersongwriter and guitarist. "It's what feels most true to who I am as an artist."`Tsukino', Mei's debut, self-released EP, is being released physically for the first timeever on Bayonet Records! The EP will be released by itself on CD & Tape formats, andwill be included in a vinyl pressing on the B-side of Semones' landmark EP,`Kebutomushi'!Plinking guitar tones and asymmetrical time signatures exemplify Semones' forays intoangular indie rock more now than ever before. Originally from Ann Arbor, Michigan,Semones began playing music at a young age, starting out on piano at age four beforemoving to electric guitar at age eleven. After playing jazz guitar in high school, she wenton to study guitar performance with a jazz focus at Berklee College of Music. College iswhere she met her current bandmates, including string players Noah Leong andClaudius Agrippa, whose respective viola and violin add softness andmultidimensionality to Mei's intricate guitar work. After releasing a slew of singles andan EP in 2022, coinciding with her move to New York City, Mei and her band have sincegone on to collaborate with post-bossa balladeer John Roseboro and embark on theirfirst-ever tour with the melodic rock outfit Raavi.Semones chronicles infatuation, devotion, and vulnerability in her songs, complete withsweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English andJapanese, that have all become part of her sonic trademark: ornately catchy, genrefusing compositions serving as the backdrop to tender lyrics touching on theuniversalities of human emotion.

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Mac DeMarco

2 Demos

Tape | 2017 | US | Reissue (Captured Tracks)

Release: 2013 / US – Reissue

Genre: Rock & Indie

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Mac DeMarco's debut full length, 2, released in 2012, cleaned up the songwriter's warped take on soft rock and brought it to a broader audience. Given DeMarco's affinity for keeping things lo-fi _ 2 was the first time he'd bothered to record demos _ it's revealing to hear thesesongs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like "Annie" and the Lennon-esque "Sherrill." Captured Tracks now brings this limited edition demos release back in print on green vinyl to celebrate the label's 10th Anniversary.

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Mac DeMarco

This Old Dog

No Mans Land HHV Exclusive Red Vinyl Edition

Release: 2017 / US – Reissue

Genre: Rock & Indie

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Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: Mac DeMarco has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip. This Old Dog makes for his fifth in just over half a decade_bringing the total to 3 LPs and 2 EPs. According to the DMV, DeMarco is 26. But in working-dog years, ol' Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks.It was a little space_in time, location, and method_that inspired DeMarco while making the record. Moving from his isolated Queens home to a house in Los Angeles helped give the somewhat transient Canada-native a base, and a few more months on his calendar to create did their job as well. Arriving in California with a grip of demos he'd written in New York, he realized after a few months of setting up his new shop_complete with a few new toys_that the gap was giving him perspective (insert tooth joke here).Right off the bat, from the pops and clicks of the CR-78 drum machine and acoustic strums on the album-opening "My Old Man," the synth-drenched beauty of the second track, "This Old Dog," it's clear that DeMarco's bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall "unplugged" mood of the work: "This is my acoustic album, but it's not really an acoustic album at all. That's just what it feels like, mostly," says DeMarco.Despite the changes considered during the creation of This Old Dog, Mac DeMarco's mid-twenties masterpiece, it's clear that the engine that motors him is in no danger of slowing down.

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Tommy Guerrero

LP | 2014 | EU | Reissue (Too Good)

LP | 2012 | US | Reissue (Temporary Residence)

Release: 2014 / EU – Reissue

Genre: Organic Grooves, Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG

Red Vinyl.

Record is close to NM.
Upper edge with beginning seamsplit, otherwise VG+.

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Sleeping People

Notruf

LP | 2012 | US | Reissue (Suicide Squeeze)

Release: 2012 / US – Reissue

Genre: Rock & Indie

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After a 3-year hiatus following the sprawling double-album, Growing - San Diego's Sleeping People return with this hypnotic fever-dream of a 12". Following the departure of guitarist Amber Coffman (who left to pursue her other group, The Dirty Projectors, full-time), SLEEPING PEOPLE's core group - guitarist Kasey Boekholt, bassist Kenseth Thibideau, and drummer Brandon Relf - reunited with original guitarist, the nimble-fingered Joileah Thalmann. THE SLEEPING PEOPLE trademarks are all here: angular, dissonant riffs, mind-bending counterpoint guitar interplay, and grooving, stop/start dynamics. The major evolution here is the hefty amount of patience and primal repetition; each song unfolds over many minutes, revealing something new with repeated listens. In other words, it sounds like what you would expect from a band that draws equal inspiration from Yes, Steve Reich, and Tool.

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Nu Sensae

Sundowning

Railroad Blues Anthology (Lp+Cd)

Release: 2012 / US – Reissue

Genre: Rock & Indie

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NÜ SENSAE has taken big risks with even bigger payoffs on this release. Proving just how unpredictable they can be, they abandoned their status as a duo - a favourite angle of both the media and fans - and recruited Vancouver noise rock great Brody McKnight as a full-time member. Previously working with the now-legendary group Mutators, McKnight has added another dimension of heaviness to the band's already mind-melting sludge attack. They've also embraced diversity in other ways, allowing more loud-quiet dynamics into their songwriting. From the creeping dirge of "Tea Swamp Park" to the vast expanse of "Say What You Are," the quiet sections offer brief moments of uneasy solace between the full out attack of songs like "100 Shades," "Tyjna" and "Eat Your Mind." Elsewhere, subtle but defined melodies surface amidst the fuzz of tracks like "Burnt Masks" and "Dust." Don't be mistaken, though: Sundowning is designed to bl...

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Menic

LP | 2012 | Reissue (Voodoo Rhythm)

LP | 2012 | US | Reissue (Sacred Bones)

Release: 2012 / Reissue

Genre: Rock & Indie

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MENIC DIGS A RIVER BETWEEN BOSTON, MASSACHUSETTS AND BERN. SWITZERLAND SAILS ON IT AND TELLS YOU STORYS ABOUT HIS CHILDHOOD AND THE DARK BLACK SIDE OF HIS HEART, A MODERN TRAVELING TROUBADOUR SINGER OF ITS TIME. MENIC grew up near BOSTON, MASSACHUSETTES and now lives in Switzerland. He is well known as singer, songwriter, guitarist and fiddle player of the "kick ass-blue grass" combo ZENO TORNADO & the Boney Google Brothers from BERN, SWITZERLAND. He played as a STREET MUSICIAN and in countless clubs around Switzerland, now finally the time has come to release his very first debut album on Voodoo Rhythm Records. RAILROAD BLUES ANTHOLOGY offers 12 original songs from a wide palette of moods and styles, played on acoustic instruments like guitar, banjo, mandolin, accordeon, double bass, violin and slide guitar. Menic's music is rooted in the musical traditions around the NORTHERN ATLANTIC and the DEEP BLUES, which you find up and down the Mississippi... he always performed and worked with many bands, friends and artists of various musical genres, like PUNK, CAJUN, STONER ROCK, IRISH FOLK and BLUEGRASS, e.g. ZENO TORNADO, THE DEAD BROTHERS, MAMA ROSIN, DELANEY DAVIDSON, THE TIGHT FINKS etc. All these influences shine through on this first full-length album wehre he invited also guest musicians like Magot and Satch from Zeno Tornado and the Bony Google Brothers, CHESSY WEAVER (PHON ROLL, ZÜRI WEST) on vocals, RESLI BURRI from Dead Brothers on Hammond, and Cyril Yeterian from MAMA ROSIN on accordion. He recorded at STAR TRACK STUDIOS with GUZ (Aeronauten) and Caliber Studios by ADI FLÜCK, mastering did ERIC MERZ . MENIC, a MODERN TROUBADOUR SINGER , only him and his guitar is already enough on stage. His songs put you into places that you've never been, but feel you've always known. He turns his story into fiction so you might remember your own, and shows the dark side of his heart so you might find some peace. He lets you forget your every day if it looks too bleak, and makes you feel at home, right there...

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Wymond Miles

Earth Has Doors EP

Learned Helplessness In Rats

Release: 2012 / US – Reissue

Genre: Rock & Indie

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Four years ago Wymond Miles, guitar player and chief songwriter in San Francisco's THE FRESH & ONLYS, began writing solo material thematically based on the concepts of eschatology, anthroposophy, and Gnostic and Hermetic symbolism. Drawing from a vast musical pool of inspiration, including Scott Walker, Robert Wyatt, Arvo Part, and Nikki Sudden amongst others, "Earth Has Doors" is Miles' first solo release. Since begin¬ning Miles had basically shelved these songs to attend school, focus on fatherhood, and commit to the demanding schedule of the F&O's. He earned a degree in humanities with an emphasis on the philosophical im¬plications of the ecological/economic crisis of our times, and that subject matter can be traced throughout his first EP. These songs concisely yet esoterically document the existential crisis of our curren...

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Man Forever

LP | 2011 | US | Reissue (St. Ives)

LP | 2001 | Reissue (Constellation)

Release: 2011 / US – Reissue

Genre: Rock & Indie

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Imagine 100,000 drummers taking a break from a wank to practice drums in the basement of their parents' house. Everybody hates a drummer. Drummers all feel it. But drummers seem to love each other. Nobody knows why - or nobody bothers to ask them. Man Forever decided to sally forth to unknown climes - be it a moon landing - in the lunar module or orbiting in the commandmodule- who the F cares. Kid Millions wrote and recorded a piece in February of 2010 with a little help from his friends.Then he got the stupidest idea in the world: play this stuff live; take this shit on tour. He was bewildered by the enthusiasm of his admired compatriots. The drummers all came from the country without borders - the land of the helpless rats crawling around desperately in search of a scrap of PASSION, INNOVATION, ROCK, ENERGY, ACTION. They found it themselves. People don't "found" movements for nothing anyway. They found themselves and decided to create this twisted gnarled mass of a cataract to play live. Cut to Bloomington: the heart of the rock science movement and the home of the patrons of this project. Those wise men and women hosted the performance you now hold in your hands. Man Forever was just arriving in the lunar orbit. The module's detached and descending to the surface. Some of them are out of contact with mission control. The rats are scurrying everywhere now. It's time to get your head right.

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Hangedup

Tape | 2024 | US | Original (Dear Life)

Release: 2001 / Reissue

Genre: Rock & Indie

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180g Vinyl!This self-titled debut album is another in a series of raw and intimate sessions recorded on the 8-track reel-to-reel deck at the original Hotel2Tango in 1999-2000. The powerful live sound of this unique duo is perfectly captured by Efrim (GYBE, SMZ), who engineered the record. Eric Craven's inimitable drumming invokes the polyrhythmic neo-tribalism of The Ex and Dog Faced Hermans while Genevieve Heistek uses a loop pedal to build real-time drones on her amped-up viola and saws away at double-stop madness over top. The pieces on Hangedup range from borderline musique concrete experimentation to 80s new wave pop extrapolations, bound by a minimalist but muscular agenda throughout. Cameo appearances by electric bass and overdubbed effects provide additional well-placed thrust, but this duo can rock as hard as anyone all on their own. A superb debut that set the stage for further unparalleled drum-n-string attacks on the albums that followed.

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MJ Lenderman

Manning Fireworks

7" | 2009 | US | Reissue (Dead Oceans)

Release: 2024 / US – Original

Genre: Rock & Indie

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MJ Lenderman - the North Carolina-based singer, songwriter, and musician - announces his new album, Manning Fireworks, out September 6th via ANTI-, and releases the lead single/video, "She's Leaving You." Following last year's "triumphant live album" (Pitchfork), And the Wind (Live and Loose!), and 2022's surprise breakthrough Boat Songs, Manning Fireworks is an instant classic of an LP. M] lets us in on his frank observations on the intersection of wit and sadness. The punchlines from his previous albums are still here, as are the rusted-wire guitar solos that have made him a favorite for indie rock fans looking for an emerging guitar hero. But there's a new sincerity, too, as Lenderman lets listeners clearly see the world through his warped lens. Today's single, "She's Leaving You," is a half-sneering portrait of a middle-aged man cheating his way through a midlife crisis, at least until he gets caught and blasts Clapton in a rented Ferrari en route to Vegas. It also happens to be the perfect shout-along anthem for any kid who's ever felt shortchanged by their parents. The songs accompanying video, another instant classic, was directed by Whitmer Thomas and Clay Tatum. Per the directors, think 'Creed Thanksgiving Half-Time Show' mixed with "Smells Like Teen spirit" mixed with '"Drop Dead Gorgeous."If we flashback to 2021 , no one paid too much attention when Jake Lenderman recorded Boat Songs, his third album released under his initials, MJ Lenderman. Before he cut it, after all, he was a 20-yearold guitarist working at an ice cream shop in his mountain hometown of Asheville, North Carolina, getting away for self-booked tours of his own songs or with the band he'd recently joined, Wednesday, whenever possible.But as the pandemic took hold just as he turned 21 , Lenderman-then making more money through state unemployment than he had ever serving scoops-enjoyed the sudden luxury of free time. Every day, he would read, paint, and write; every night, he and his roommates, bandmates, and best friends woul...

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John Vanderslice

Too Much Time

LP | 2006 | Reissue (Voodoo Rhythm)

Release: 2009 / US – Reissue

Genre: Rock & Indie

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"Too Much Time" is a perfect pop song and the unquestioned centerpiece of John Vanderslice's finest record to date, Romanian Names. A true single, "Too Much Time" is now being released as a limited edition 7-inch. It was hailed as NPR's Song of the Day, whose critics called Romanian Names "his best record yet." The single features the infectious exclusive b-side "Moon Rocks," a song that fits neatly alongside the flawless Romanian Names.

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The Monsters

I See Dead People

John Schooley And His One Man Band

Release: 2006 / Reissue

Genre: Rock & Indie

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It's our 6th album now and the firs album with the Amazing Clone Drum Set !!!, we started in 1986 the recordings and the songs went trashier and more Fuzz and Feedback every year _.. for this record we bought our own home made studio with mixing desk and a 1 inch tape machine and microphones from the trashcan, Pumi our Live Mixer and Janosh recorded it in a week, for the first 1000 copies we did a 1000 pice puzzle and a pox as a sleeve_ but that item is sold out already now we present you the official version of this TRASH PICE, when we started making the songs for this record I had no lust to write any lyrics to that so we made up most songs free and I sung what I felt like to sing.. it's anyway all about killing killing some more the falling in love and get killed go to hell and having fun down there_THIS RECORD IS FULL TRASH, I DON'T THINK THAT ANY SERIOUS RADIO STATION GONNA PLAY THIS BUT IF SO_ THEN WE HAVE A CHOISE TO GIVE YOU ON YOUR WAY_ PLAY LOUD AS POSSIBLE_we recorded is loud as fuck, so the neighbours came over a view times while we recording that record..but even better is if you come to our shows and we blow your brain away in one second !!!

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One Man Band

LP | 2006 | Reissue (Voodoo Rhythm)

Tape | 2024 | US | Original (Winspear)

Release: 2006 / Reissue

Genre: Rock & Indie

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JOHN SCHOOLEY from Austin Texas, the driving force behind the hard feelings (Sympathy, Dropkick) and legendary Revelators (Crypt) comes around with his ONE MAN BAND !!! he is the blues trash man of the new century, plays all instruments the same time, Kick Snare, Hi Hat, Juce Harp , Guitar and Sings.One year ago voodoo rhythm released a 4 song vinyl single 'drive you faster' had fantastic air play and the Trash Blues Man sheared Fan base around him, this time we put out a full Length Album... don't be Scared, it's not only one song (like most of other one man band) that repeats over and over.. it's a fantastic view in the work and music of JOHN SCHOOLEY, definitely inspired by old Blues music such as Elmore James or Robert Johnson does Schooley uses all the new part of blues and minimal Blues Trash as well in his songs.. so it's a frenetic wild mix of music from Hasil Adkins over the White Stripes to Joe Hill Louis over the the Oblivians cover art by the one and only Rob Jones (white Stripes) and believe me, this boy has the Blues pretty bad and he's pissed off about it, and pissed off about Almost everything.. playing raw wild at the edge Rock'n'Roll and blues trash - a raging slab of venom topped only by ike turner and the bottlerockers in the anals of state rawk history (hitlist)

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Lutalo

The Academy

Tape | 2024 | US | Original (Trouble In Mind)

Release: 2024 / US – Original

Genre: Rock & Indie

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Lutalo's highly visceral folk goes electric on The Academy,the Vermont multi-instrumentalist, songwriter and producer'sdebut LP. Recorded in January 2024 at the storiedSonic Ranch and self-produced along with Jake Aron (SnailMail, Protomartyr, L'Rain), The Academy feels like watchingthe best underground film you've seen in years; establishingLutalo as a singular voice of this generation of indie rock.Lutalo describes The Academy as their "first chapter" - atime capsule of the lessons they've learned in their20-something years of life. "This record is exactly that: a`record' of my early life," they say of their debut album, outvia Winspear. "The experiences, thoughts and feelings I washolding at those times and am currently processing. To me,this is the first big stamp of my existence I'm sharing."While Lutalo's 2022 EP Once Now, Then Again introducedthem as a lo-fi acoustic guitar wunderkind, The Academy isbigger and bolder without compromising Lutalo's invitingsense of emotional intimacy, inspired by alt-rock veteranslike Thom Yorke and Rob Crow as well as electronic greatslike Aphex Twin and Bowery Electric. The Academy'sgrander arrangements are heard in the biting adrenalinerush of "Ocean Swallows Him Whole," or the anti-war jangleof album closer "The Bed." Their lyrics are often deeplyintuitive, flowing as a stream of consciousness, albeit withweighty meanings. With their unique baritone and finessefor lyrical world building, Lutalo cuts to the bone-while onlyjust beginning to reveal the depth of their artistry and vision.

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Dummy

Free Energy

Tape | 2024 | US | Original (Sacred Bones)

Release: 2024 / US – Original

Genre: Rock & Indie

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Dummy ist eine Rockband aus Los Angeles, bestehend aus Alex Ewell, Emma Maatman, Nathan O'Dell und Joe Trainor. Ihr Debütalbum "Mandatory Enjoyment" (Trouble in Mind) erschien Ende 2021 und erntete Lob von Pitchfork, Stereogum und vielen anderen. Die Band tourte zwei Jahre lang, um das Album zu unterstützen, und es ist diese transformative Erfahrung, die durch "Free Energy", den berauschenden Nachfolger von "Mandatory Enjoyment", pulsiert. Die kreativ rastlose Band Dummy (Ewell: Schlagzeug, Synthesizer, Bass; Maatman: Gesang, Synthesizer, Orgel; O'Dell: Gesang, Gitarre, Orgel; Trainor: Gitarre, Bass, Synthesizer) wollte für ihr nächstes Album härter, tanzbarer und psychedelischer werden. Das bedeutete, dass sie die experimentellen Möglichkeiten elektronischer Texturen auf die elementaren Qualitäten des Rocks anwenden wollten, d.h. mehr Gesangsschleifen, Sampling, verrücktere Rhythmen und verspielte Synthesizer - aber sie wollten die Samples von Trainors Gitarre einsetzen, Maatman mutiger singen lassen, mit kalten mechanischen Elementen auf warme und funkelnde Weise experimentieren und sich stärker an traditionelle, aber immer noch großartige Formen von Rockgitarrenexperimenten wie Feedback anlehnen. Das Ergebnis ist ein Album, das die Fähigkeit der Musik feiert, den Körper zu bewegen, sei es durch eine zähneknirschende Wand aus MBV-eskem Lärm, einen klebrigen Pop-Refrain oder eine fröhliche Drum-Machine - oder, wenn man Dummy ist, vielleicht alles im selben Song. Popmusik war schon immer ein wichtiger Bestandteil von Dummys Sound und manifestiert sich auf unterschiedliche Weise in "Free Energy“: Die sprudelnde Synthesizer-Sequenz, die mit einem Korg EM1 gemacht wurde und in "Nullspace" auftaucht, der aufgedrehte Drone-Pop, der von Dunedin Sound Bands der zweiten und dritten Welle wie Look Blue Go Purple und Dadamah inspiriert ist, und der motorische Beat, der "Nine Clean Nails" antreibt. „Nine Clean Nails" ist vielleicht der selbstbewussteste Popsong, den Dummy je aufgenommen hat, und ein Beispiel für das Gleichgewicht zwischen der Intensität der Live-Performance und den elektronischen Ergänzungen auf "Free Energy". Die tänzerischen rhythmischen Elemente wurden aus einem von Ewell aufgenommenen Drumloop erzeugt, während die Bridge mit den Call-and-Response-Gitarren von O'Dell und dem ausdrucksstarken Gesang von Maatman an die Feelies erinnert. "Free Energy" enthält außerdem Gastauftritte des Saxophonisten und elektroakustischen Künstlers Cole Pulice (Moon Glyph) aus Oakland, der Saxophon und Bläsersynthesizer beisteuert, sowie Jen Powers vom Powers / Rolin Duo (Astral Editions, Feeding Tube Records)

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Molchat Doma

Belaya Polosa

CD | 1996 | EU | Reissue (Yep Roc)

Release: 2024 / US – Original

Genre: Rock & Indie

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Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial_and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems.From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level.Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values.And while Molchat Doma's broadened aural spectrum adds a syne...

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Trailer Bride

Tape | 2024 | US | Original (Drag City)

Release: 1996 / EU – Reissue

Genre: Rock & Indie

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Trailer Bride's 1996 self-titled record is a long-lost relic of the blooming Chapel Hill, North Carolina music scene of the '90s. Superchunk, Polvo, Archers of Loaf and other indie rock darlings were leading the town's indie rock movement while Southern Culture on the Skids were pushing the alt-country genre forward. Then comes Trailer Bride who combined both of those worlds with a gothic, lo-fi sound that centers around Melissa Swingle's atmospheric vocals and cryptic lyrics. Swingle started Trailer Bride following the demise of her band Pussy Teeth and would later go on to form the indie rock duo The Moaners with Laura King (Bat Fangs, Speed Stick), but the dark, southern sound that defines Trailer Bride's debut record provides a mystifying listening experience a quarter-century later. No Depression said it best in their 1997 review: "They're impossible to describe, but whatever you wanna call it, they sound really good." The album is available for the first time ever on vinyl for Record Store Day Black Friday 2022. This 25th anniversary edition is pressed on cloudy orange vinyl and remastered for vinyl. Limited to 1,500 copies worldwide.

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Wand

Vertigo

Tales From The Desert, Tales From The Sea

Release: 2024 / US – Original

Genre: Rock & Indie

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Sliding between the bodies in the street, cutting across the contrails that bisect our sky, Wand find melody and the anxiety beats as they hum the soundtrack for a new gravitational center. Seeking connections against the plan of niche interest and anonymity, Vertigo is the sound of slippage, rocks of contradiction (in soft focus); feet lost, regained, lost again, a multi-chromatic swaying, more automatic, associative, directed, in time.Determining to work backwards (or at least insideout) this time, Wand recorded everything in their own studio; pieces cut from improvisations and reshaped, writing from within the performance, without the woodshed. Unconsciously, in the shadow of themselves, and turning round and round (and round), they kept finding that empty space and playing what it implied. Everybody took on a new position in addition to the old one. It was intuitive, strangely ego-less . . . going somewhere they"d never been and not knowing what they were doing, but committing and recommitting, unafraid to eject in a constant positive forward momentum.

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Cat&Mauss

LP | 2024 | EU | Original (Less)

Tape | 2024 | US | Original (K)

Release: 2024 / EU – Original

Genre: Rock & Indie

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Cats and mice seem to be real enemies in real life – one is chased and eaten by the other. With „Cat & Mauss“ (Maus is the German word for mouse), love is involved. Romana Lezaic and Torsten Mauss met 4 years ago, got married immediately and started their musical project during the disruptive time of the lockdown. In the meantime, they have found their sound: somewhere between old western movies, a David Lynch soundtrack, analog rhythm machines and psychedelic songwriting, their debut album „Tales from the desert, tales from the sea“ has now been created, which will be released digital and on vinyl in May 2024 on the German label _less records from Düsseldorf. On February 2, 2024, the two will release their first single and their video „Sinking deeper“, followed by a series of concerts in Germany and Denmark. Torsten G. Mauss, born in New York, has already released four solo albums under his solo project TG Mauss and previously had the electro-pop band „Tonetraeger“ together with Oscar winning composer Volker Bertelmann (Hauschka) and played and toured as a part of drummer Thomas Klein ́s Sølyst. (of the Düsseldorf avant-garde band Kreidler). Romana Lezaic-Mauss is a Croatian singer living in Germany. She started singing and dancing traditional Croatian „Folklore“ as a child. Now with her own music she sings in English and learns and plays Tabla and Theremin

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Lake

Let's Build A Roof

I Tried To Freeze Light, But Only Remember A Girl (Mc)

Release: 2024 / US – Original

Genre: Rock & Indie

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LAKE's 2009 album Let's Build A Roof [KLP213], produced by Northwest legend Karl Blau, is sweet, funky and nostalgic - a paragon of psychedelic pop. Originally, this landmark album had overlooked sonic anomalies now corrected by REMASTERING. Five bonus songs have been added to the DIGITAL ALBUM, creating a whole new Let's Build a Roof.Let's Build A Roof is LAKE's most popular album with many fan favorites, though every track is unique. After extensive touring in 2009, LAKE entered Dub Narcotic Studio (Olympia, Wash.) to record fresh with their live energy. In the studio they were able to fill out their jingly pop aesthetic, enhanced with the vintage sounds of instruments available at Dub Narcotic and the local community. Blazing synth solos, timpani, flutes, saxophones, cello, and marimba, are just some of the featured sounds on Let's Build a Roof.Some of the album's most requested songs: "Madagascar," a dubby, slow-groove track; "Christmas Island" a surfy Phil Spector-sounding song used as theme music for the television in show Adventure Time; and "Don't Give Up", an upbeat motivating dance song with Blau performing the hook on harmonized saxophones; "Gravel" is the first single and has that a driving intensity that we can all deeply relate to - trying to keep up.

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Jahnah Camille

Tape | 2024 | EU | Original (Winspear)

CD | 2024 | US | Original (Dead Oceans)

Release: 2024 / EU – Original

Genre: Rock & Indie

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Introducing Jahnah Camille (pronounced Hannah), a young artistemerging from the DIY scene of Birmingham, Alabama. Camille'ssongs capture the rollercoaster of teenage angst, heartbreak andintrospection over a well-made bed of driving guitars and catchy,compact melodies. A five-track EP infused with anxiety and grit, i triedto freeze light, but only remember a girl, is a shining introductoryproject smoothed over by Camille's sugar-sweet voice and cuttinglyricism.Much of the EP's songs were written and recorded while Camille wasstill in high school, taking trips back and forth from Atlanta to record.In the time following, Camille dug into the local DIY scene, steadilygaining an impressive resume of opening slots as she cut her teethsupporting acts like Clairo, Soccer Mommy, Cryogeyser andWednesday as they came through town. Now 19 years old, Camilledelivers an excellent snapshot of those uncertain and wildly hopefullate teen years. i tried to freeze light captures Camille approachingheartbreak and self-perception from a variety of angles-each trackplaying slightly with genre and cadence and infused with influencefrom her musical heroes, like Liz Phair and Fiona Apple.The EP pulls at a range of alternative rock and pop threads, there'sthe 90s alternative rock opener "flesh" and the country-gaze-tinged"roadkill." Camille then softens on the swooning synth-layered ode tolove lost, "elliot," before relaxing into a folksy, acoustic "paper doll."Iwanna talk and not spill out carnival sounds" Camille confides oncloser "carnival sounds"--a track that illuminates the singer's art-popinfluences and knack for revealing tender and at times searing admissionsthrough her lyricism. While misunderstandings color theemotional sentiment of the EP, Camille's artistry and expressioncome through clear as day on i tried to freeze light, presenting her asa promising young voice with real talent and a hunger for musicalexperimentation.

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Aaron Frazer

Into The Blue

Tape | 2024 | US | Original (Sacred Bones)

Release: 2024 / US – Original

Genre: Rock & Indie

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"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.

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John Carpenter

Lost Themes IV: Noir

Tape | 2024 | US | Original (Drag City)

Release: 2024 / US – Original

Genre: Rock & Indie

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It's been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood's great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green's trilogy of Halloween reboots. With Lost Themes IV: Noir, they've struck gold again, this time mining the rich history of the film noir genre for inspiration.Since the first Lost Themes, John has referred to these compositions as "soundtracks for the movies in your mind." On the fourth installment in theseries, those movies are noirs. Like the film genre they were influenced by, what makes these songs "noirish" is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.The trio's free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine_the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John's own Christine. It's a chemistry that's helped power one of the most productive stretches of John's creative life, and Noir proves that it's nowhere near done yielding brilliant results.

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Jim White

All Hits: Memories

Tape | 2024 | US | Original (Captured Tracks)

Release: 2024 / US – Original

Genre: Rock & Indie

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This is long overdue. A solo album by Jim. The trap kit - so straightforward, so mysterious. What"s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn"s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP. Jim oversees it all, surveys from the lost place we"re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you"re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album. Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it"s happening but you"re back on your feet when it"s over. Memories refreshed. Did you really even listen to it? -Bill Callahan, November 2023

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The Lemon Twigs

A Dream Is All We Know

Tape | 2024 | US | Original (Topshelf)

Release: 2024 / US – Original

Genre: Rock & Indie

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Since the release of their debut studio album Do Hollywood (on 4AD) in 2016, The Lemon Twigs_the New York City rock band fronted by brothers Brian (27) and Michael D'Addario (25)_have waved the same revivalist torch as Alex Chilton and his Big Star crew, working to prove that archaic music from the `60s and `70s can still be relevant in digital world. Alongside peers like Foxygen and Drugdealer, The Lemon Twigs have explicitly documented a synchronistic blend of contemporary narrative motifs, old-school recording techniques, and flawless, consistent attitudes collaged from various crucial stages of rock 'n' roll. After a whirlwind 2023, the D'Addarios are continuing the momentum of their own evolving vision and voice, distilling a history lesson of baroque and power pop into A Dream Is All We Know (out May 3 on Captured Tracks).Garnering the top-to-bottom critical acclaim the brothers have long deserved, their 2023 LP Everything Harmony was spearheaded by an impressive string of singles, including "Corner Of My Eye" and "Any Time of Day." It was the kind of record that put all of Brian and Michael's talents on display, be it the former's multi-instrumentalist gifts or the latter's boyish, explosive pop-rock charisma and eye for engineering and vocal layering. But A Dream Is All We Know is not the acoustic, nylon string-based project that Everything Harmony was. Instead, it's a return to the form the Lemon Twigs first introduced on Do Hollywood_an electric guitar-centric, anthemic assemblage of, really, everything the band does great. These two companion records are an immediate example of a band capitalizing on their fire-in-the-belly appetite to make tunes that boast ubiquitous chemistry.A Dream Is All We Know is grandiose yet grounded; meticulous, yet wild and glowing. Made with analog precision, the album was finished in the immediate months after the band completed Everything Harmony during a vibrant, prolific period split between three studios on separate coasts. A Dream Is All We Know is a profoundly...

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Knifeplay

Pearlty

Bitter Melon Flexi Disc Single

Release: 2024 / US – Original

Genre: Rock & Indie

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Over atmospheric instrumentation expanded by cinematic structure and pacing, Pearlty presents Knifeplay somewhere between dream-pop influenced shoegaze and lofty slowcore, never fully committing to one or the other in its insistence on creating an immersive, organic world.

Originally released in 2019, Knifeplay’s vivid debut Pearlty documents songwriter Tj Strohmer’s expressions of early adulthood in what he describes as “the journey from innocence to experience.”

Written during a time of immense inspiration, Strohmer was able to peel himself away from detached nihilism, uncovering the physicality and therapeutic powers of songwriting. Newly emboldened by this discovery and the talented community surrounding him, Strohmer channeled this revelation into his work, taking Knifeplay from a bedroom experiment that merely wrote songs to a more substantial project with a purpose.

Pearlty’s various climactic passages, like those heard on the impressionist album opener “Tears”, envelop listeners in textured walls of distorted guitar and noisy breakdowns, a distinct hallmark of shoegaze – but Knifeplay’s compositions go far beyond such conventions.

Also featured are downtempo compositions – such as the tribute track “Angel” – that call on a range of influences, from grunge to lofi pop, all the way back to slowcore. Layers of Strohmer’s falsetto lilt adorn the songs with another dimension of sentimentality, while rounding out the sonic vastness of the group’s emotionally enrapturing style, lending impressive depth to the band’s debut full-length.

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Cola

7" | 2024 | US | Original (Fire Talk)

Tape | 2024 | US | Original (Winspear)

Release: 2024 / US – Original

Genre: Rock & Indie

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“Bitter Melon” is a new zine housing a flexi single of the same name by Fire Talk recording artist Cola. Flip the pages to reveal a new world, symbols both modern and ancient, just a taste of what’s to come. “Bitter Melon” creates a trance-like atmosphere of repetition and lingering, falling in and out of form. With roots in Montreal, Cola was formed by ex-Ought members Tim Darcy and Ben Stidworthy, and Evan Cartwright who had played with U.S. Girls and the Weather Station, among others. From their inception, they brought together the spartan d.i.y. ethic of Dischord or SST working punks with an ear toward the modern.

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Teethe

Tape | 2023 | US | Original (Winspear)

Release: 2024 / US – Original

Genre: Rock & Indie

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Teethe is a band from Texas. The members of Teethe met whileattending the University of North Texas in Denton, TX, a smallcollege town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under dierent pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born.Made over the course of 2020, Teethe's eponymous debut albumis a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Ini...

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Wishy

Paradise

Tape | 2024 | US | Original (Joyful Noise)

Release: 2023 / US – Original

Genre: Rock & Indie

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Introducing Wishy, a brand new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. Wishy came to life as a musical partnership between the two Indianapolis musicians when Pitchkites moved back home from Philadelphia in 2021. The two bonded over their love for 90s alternative bands like The Sundays and My Bloody Valentine and soon began crafting their own brand of swirling pop-rock with an introspective, grungy flair.By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. While Krauter spent the better part of the last decade cementing his place as a torchbearer of Midwestern dream pop with 2018's Toss Up and 2020's Full Hand, Pitchkites delved into her own indie electro-pop project Push Pop, writing songs like "Spinning" that would later be reworked for Wishy. To round out the live band, Pitchkites and Krauter enlisted guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host.Across two trips to Los Angeles in late 2022 and early 2023, Krauter and Pitchkites linked up with friend and producer Ben Lumsdaine, who had some spare time between Durand Jones tours to record the pair's newly written songs. The result of their fruitful time in sunny California is the aptly named Paradise, a breezy and melodic EP that puts on full display the songwriter's musical fluency. Tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze, Wishy delivers a strong 5-song introduction that's dense with melodic earworms and stirring sentiment.Wishy's debut single for new label home Winspear, the driving and distorted "Donut," showcases Pitchkites' hypnotic vocal and Krauter's melancholic wash of guitars. Written after a period when Pitchkites was driving on a spare, "Donut" laments the cynical capitalism of Midwest living and the reliance on a car to get around. Of the song Pitchkites says "When you've got the possibility of the open road plus the li...

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Daniel Johnston

Alive In New York City

Tape | 2023 | EU | Original (GOOD)

Release: 2024 / US – Original

Genre: Rock & Indie

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Daniel Johnston's `Alive in New York City': A full performancecaptured before a live audience in New York City, the city ofDaniel Johnston's dreams. Daniel is at the height of his performing powers, with his solo voice in full poignant bloom. A real time-capsule, each song is a gem rendered in full color by an artist dedicated to his craft. This LP captures him at an unusually happy point in his life, sharing the deepest parts of himself with his audience. We are given a rare glimpse into Daniel's heart, where the physical rendering he gives over to his lyrics transcends the music and works as a beacon into the tender mind of a genius - grappling with how to love himself and find his place in the world. This 2000 concert recorded and live-mixed by Kramer in NYC happened on a very special night and Shimmy-Disc is proud to present it to the world.As a bonus the free digital download card that accompanies each vinyl LP and the 56 minute Cassette release include "The Telephone Demos" - 18 minutes of bonus material comprised of some of the rarest audio treasures from the Daniel Johnston Archives - a series of "Telephone Demos" created by Daniel specifically for sending to friends over his phone. These little teleplays from Daniel's pre-"1990" days have never been heard before, so his fans will go wild with joy over this newly discovered and precious cargo from the mind of this one-of-a-kind and irreplaceable Artist.

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The Polyphonic Spree

Salvage Enterprise

That's What Friends Are For

Release: 2023 / EU – Original

Genre: Rock & Indie

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The phoenix symbolizes a new beginning. The fire burns off the lastvestiges of the past as the bird spreads its wings and takes flightinto the future. The Polyphonic Spree harness the flames of rebirthon their 2023 full-length offering, Salvage Enterprise. Led byfrontman, founder, producer, multi-instrumentalist, and visionaryTim DeLaughter, the group embark on their next season. They'rereverent of their history, yet they're also ready for an even brightertomorrow."Across all of the music I've done, lyrically there's a sense ofdesperation and a moment of convincing myself I'm going to makeit through regardless of how the music dresses up," notes Tim. "Onthis one, I struggled with the amount of vulnerability I wasexperiencing and was willing to share both musically and lyrically,but ultimately decided to let it play out. Now that it's done, I'mhappy with the dance between the two. It's a `rising-from-theashes'record."Salvage Enterprise beckons complete immersion. Opener "GallopingSeas (Section 44)" affixes softly strummed acoustic guitar to anorchestral hum as Tim urges, "Hold on through the galloping seas.""We're all galloping through rough waters," he says. "I tried todescribe the process as well as I could and encourage people tokeep their heads above the storm and the waves. Ride it out. It'sgoing to be okay. It starts off very calm and introspective, and youcan envision where it's going."Flute echoes over nimbly plucked guitar during "Shadows On TheHillside (Section 48)" as keys twinkle. A glorious harmony amplifiesthe nostalgia of "Hop Off The Fence (Section 49)." It concludes with"Morning Sun, I Built The Stairs (Section 52)." Optimism strainsthrough his hopeful intonation, "I learned to fly, the more that Ibecome a new reason, I want to try," uplifted by boisterous hornsand cinematic strings. It crashes into an Ennio Morricone-stylecrescendo bolstered even higher by operatic vocals."There is an arc of leaving the world behind, stripping you...

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Moondogs

LP | 2023 | EU (Survival Research)

Tape | 2023 | US | Original (Drag City)

Release: 2023 / EU

Genre: Rock & Indie

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Formed in 1978 in Derry, a Republican city in Northern Ireland, power-pop-punk trio the Moondogs mixed the energy of the Clash with the melodic bent of the Beatles. Gigs with the Undertones led to a 45 for Good Vibrations, plus a few more for Real Records, and by the time they cut debut LP That’s What Friends Are For in New York with Todd Rundgren for Sire, they were at their most accomplished; somehow, the band split mid-way through its creation, rendering the album a frozen moment in time, rather than a leg-up to world domination. A great listen and another missing piece of Northern Ireland’s punk puzzle.

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Bcmc

Foreign Smokes

Count The Stairs Metallic Silver Vinyl Ediiton

Release: 2023 / US – Original

Genre: Rock & Indie

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Moments of eternity: the first plucks at the strings, a bass note cementing the drift into place a little more than a minute in. The organ drones, iterating unrelivable ancient history, a chiming note of the church. Guitars strings, climbing that stairway to heaven. Gossamer-light when viewed from a distance; up close, the gears grind with a visceral physicality. With Bcmc, Cooper Crain and Bill MacKay unite to create Foreign Smokes: provocalogues, equal parts avant-garde noir and fire-and-icy jams to recall bright shades and warm stretches of infinity drawn through the buzzy overdrive of this side of life"s strange and sunny days. Cooper"s organ and synths and Bill"s guitar draw songs from spontaneous statements and elegiac scraps, floating closer, then farther, and closer again to the sounds of the other. Starting with a melody, as set of progressions or even as little as a scale or just a key, gives room for either one of "em to take the lead, depending on where they are or are going at any given time. The reigning motif most often seems to be, to melt and wind around each other"s sound, part of a singular undulation, handed back and forth, a slowly emerging trip up into and through an ideal of exuberance.

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Charlie Hickey

LP | 2021 | US | Original (Saddest Factory)

17,09 €* 18,99 € -10%

Lozells Drone Survey Orange Marbled Vinyl Edition

Release: 2021 / US – Original

Genre: Rock & Indie

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Born in 1999, Charlie Hickey grew up in South Pasadena, just minutes from Downtown Los Angeles. Raised by two singer-songwriter parents, Charlie's second language was music since day one. As early as grade school, he was making sense of the world through songwriting, and by middle school he was writing, recording and performing songs that attracted a community of collaborators and could silence a room. A turning point for Charlie came at around the age of thirteen, when he covered a song by then up-and-coming artist Phoebe Bridgers, who was still in high school herself. The two quickly became friends and collaborators, setting Charlie on an exciting new musical path. Years later, Bridgers introduced Charlie to songwriter, drummer, producer and her bandmate Marshall Vore, who noticed something special about Charlie. The two began writing and recording songs together, and soon Charlie dropped out of school to work on his music full-time. Charlie Hickey's first proper single, out now, is "No Good At Lying." The Marshall Voreproduced track introduces us to Charlie's evocative storytelling and features Phoebe Bridgers on backing vocals. "I'm no good at lying / on my back or through my teeth / but I'm good at dreaming / I can do it in my sleep," he sings over hushed guitars and a whimsical banjo, searching for truth as his unconscious mind runs wild and bleeds into reality. It's a slow, quiet, and understated peek to the world of Charlie Hickey, who is barely of legal drinking age, but taps into such universal themes that showcase a wisdom beyond his years and exudes promise for what's to come.

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Self Modifier

LP | 2024 | UK | Original (Polytechnic Youth)

17,09 €* 18,99 € -10%

Stonewall Noise Orchestra

Release: 2024 / UK – Original

Genre: Rock & Indie, Electronic & Dance

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Well, after a nigh on three year sabbatical, North London’s Polytechnic Youth label returns to the fray with an absolute cracker. The label built up not only an esteemed back catalogue of releases (featuring the likes of Sonic Boom / Spectrum, Tim Gane’s Cavern of Anti-Matter, Pye Corner Audio, Polypores, Heartwood Instititute and so on) but was also constantly name dropped as a source of inspiration to a number of newer electronic labels such as Castles in Space, Woodford Halse and Library of the Occult . This new release is an absolute banger. ‘self Modifier’ is the new project from Peter Duggal, the current musical partner of ex-KRAFTWERK legend Wolfgang Flur. His work with Wolfgang has seen collaborations with Peter Hook, Juan Atkins, Midge Ure, Claudia Brücken, Carl Cox and many others for the critically acclaimed 2022 album ‘Magazine 1’ (which reached the top of the UK Electronic Album Charts). His background is particularly interesting, as he himself explains “growing up in Lozells and Handsworth in inner city Birmingham during the Thatcher years, technology and music were the ticket to escape out of the fear and oppression to somewhere unreal. On the TV were threats of impending nuclear war and out on the streets in Lozells (as in other deprived inner cities around England at this time), there were the well publicised riots - police banging on the door instructing us to turn the lights off and lock ourselves inside until further notice. Shops, houses and cars were ablaze, and some lost their lives - those who were in the wrong place at the wrong time. Computers were appearing everywhere… including the home. According to the older generation they were going to take over the world, destroy everybodys’ jobs and eventually start thinking for themselves at which point they would be out of control and destroy everything else too. I, like many of my friends, became totally fascinated to the point of obsession with these machines—these were ours, and the idea of creating a whole world in your bedroom by typing in obscure commands was something truly magical. Rooted in the memories and landscape of that time, this collection of pieces emerged from nostalgia of people and places, and a deep yearning to engage with all that is no longer real”. 4 intensely beautiful slow building pieces of electronica, rhythmic and richly melodic, it's a beautiful record and a fine addition to the PY canon. Pressed on lush marbled orange wax and with a sleeve continuing the labels’ tip of the hat theme to the 70s BBC sound effects series of library releases, this one is not be missed....

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Constants In An Ever Changing Universe Black Vinyl Edition

LP | 2008 | EU | Reissue (Heavy Psych Sounds)

17,24 €* 22,99 € -25%

Release: 2008 / EU – Reissue

Genre: Rock & Indie

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New reissue of the Stonewall Noise Orchestra legendary album Constants In An Ever Changing Universe with brand new Colored Vinyl by Heavy Psych Sounds. It was quite chaotic putting this album together. It’s recorded in 5 different locations. Rehearsal rooms, a living room, a super professional studio, high and low really. I guess it was quite a challenge for Robert Ekholm to do the mixing. It was also some personal challenges at the time which resulted in John Hermansen doing the vocals. John is an incredible singer and an awesome dude, we’re very thankful he helped us keeping the band rolling. The album was supposed to be released earlier than it was but due to all kinds of stuff out of our control it took some time. In the middle of this chaos was the music, the constant in an ever changing universe. It’s an album we’re proud of and we still play many songs from it live.

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Noho Ep: Turning The Crank

12" | 2024 | EU | Original (Holuzam)

17,24 €* 22,99 € -25%

LP | 2018 | EU | Reissue (Heavy Psych Sounds)

Release: 2024 / EU – Original

Genre: Organic Grooves, Rock & Indie, Electronic & Dance

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Very dope.

With this EP an attempt is made at documenting the vibrant action happening during the late 1970s and early 1980s in the Pioneer Valley area of Western Massachusetts, US. The story is richer than the snapshot we present here, and a more detailed account is to be found in the accompanying book that can be purchased separately.

The Five Colleges in Hampshire County congregated a vast student population that inevitably interacted with the towns in the area. Bars, music and record stores, live music and a lot of experimentation and free thinking. Hampshire College, especially, promoted new approaches to teaching, subjects that might be considered radical by some even today, although a more favourable context would now surely exist for openly debating such topics as American Indians, Kayak Design, Black Oral Tradition, Food Management, etc. And the music? The immediate "punk effect" motivated the creation of numerous bands, many short lived, others evolving into New Wave / Power Pop territory, eventually crossing into Post-Punk experimentation. What is captured in "Noho EP" is a more electronic disposition, favoured by the existence of EMS gear and other equipment at Hampshire College and University of Massachusetts. We chose to focus on a group of musicians who, for a time, played together in different combinations under the loose umbrella of the Tekno Tunes label and the structure around it.

These musicians come from very different backgrounds and the nucleus portrayed here consisted of Christopher Vine, Elliott Sharp, James Whittemore and Nicholas Brown.

Of the several line-up changes The Scientific Americans went through, it was actually only the duo of Chris Vine and Jim Whittemore who recorded "Among Bodge Watt". Never before released, it is a companion piece to their track "El Salvador" available on the 1981 Roir tape-album "Load & Go!". The Sci Ams were founders of the Tekno Tunes label and also created the Tekno Tours "concert promotion agency", under which name they exposed local audiences to bands such as The Stranglers, The Slits, Pylon, Pere Ubu, The Psychedelic Furs, The Bush Tetras, Steel Pulse, etc. Their own sound kept progressing but at its best there's a solid dub undercurrent, pretty obvious in "Among Bodge Watt".

Human Error was born out of a collective jam by Chris Vine, Elliott Sharp, Jim Whittemore and Nick Brown. Elliott Sharp had moved to Northampton in August of 1978 and naturally became involved in the local music scene, hooking up first with Whittemore at a hi-fi audio store where he worked at the time. Basement jams followed stimulating conversations, and other musicians joined the sessions. "Clandestinator" sounds gorgeously loose, an effortless groove coming from a quasi-dub set-up. Nothing here seems calculated, the music just flows, contagious and irregular as the handclaps in the mix.

The Higher Primates later evolved into a "proper" band but started as Nick Brown's solo project. The Primates only ever released a (now sought-after) 7" single in 1980 (on the Tekno Tunes label, precisely). Both tracks on "Noho EP" were recorded the following year and never released until now. "Auto Music in the Disco Dub Style" is self-explanatory, with a steady, mid-tempo Tr808 beat running through, supporting synth squelches, echoes and reverbs, a fat bassline, dissonant melodic lines and odd vocal snippets. Kind of a DJ tool when the concept was barely in place. The more uptempo "Teresa Variations" adds a Fender Jazz bass and Selmer sax to the electronics. It actually sounds more "Disco", even with the robotic, unintelligible vocals. On top of this, the vibe is sealed by the overall Radiophonic Workshop analogue strangeness applied to a dance beat.

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Child

Ep I Black Vinyl Edition

17,24 €* 22,99 € -25%

LP | 2022 | EU | Original (Playground Music)

Release: 2018 / EU – Reissue

Genre: Rock & Indie

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Repress of Child EP “I” in brand new Colored Vinyl and for the first time in digipak. “If you’re familiar with Child and are particularly a sucker for the keyboard, I’m afraid I’ve got some bad news: It’s mostly gone. Fear not, though, as their fuzz-infused blues is alive and kicking and is sure to continue to appeal to a lot of fans of different genres. The three songs follow as their lengths increase, starting with “Age Has Left Me Behind”, clocking in at 03:47 and ending with “Going Down Swinging”, a 10:20 jam which definitely raises the temperature and which I’m confident will be talked about for a long time. In-between, one can find “The Other Song”, which is not just another song, but a sublime cover of Spirit’s “The Other Song”, originally released as part of the album “Son of Spirit” in 1975. A great tune started only by Michael (drums) and Danny (bass), to whom Mathias and his guitar join after around 20 seconds, and later with a lovely vocal melody which stands throughout the whole song – the less fuzzy song of the EP but definitely a pure beauty (so is the original).” - More Fuzz

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Kristofer Greczula

Live And Let Live

17,39 €* 28,99 € -40%

In The Time Of The Sabre-Tooth Tiger

Release: 2022 / EU – Original

Genre: Rock & Indie

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White vinyl, limited to 300 copies.2020 was the year when everything fell into place for rising star Kristofer Greczula. After a time of feeling lost and battling mental health issues, the artist has now found a completely new sound, where magnetic pop meets grandiose rock echoing Prince and David Bowie. He shares this new sound on his emancipatory debut album Live and Let Live, an honest compilation of songs that let the listener truly get to know Kristofer. Kristofer Greczula has made an impressive personal journey in the past few years. He came to the realization that he needed to do things for himself rather than for others, which allowed him to blossom both as a person and as an artist. Today, he views this breakthrough as a revelation, a gift. That gift has been transformed into the music we get to hear on Live and Let Live, which takes the listener on a similar journey through the entire emotional spectrum.

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Power Supply

LP | 2021 | US | Original (Goner)

17,49 €* 24,99 € -30%

Release: 2021 / US – Original

Genre: Rock & Indie

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After the demise of the Ooga Boogas in the Before Time, the four band members went their very separate ways. Being in that band was such an intense high pressure experience, some chillax time was well-deserved. Leon Stackpole aka Stacky recorded under the name Leon, Per Byström joined Voice Imitator, Mikey Young recorded with The Green Child and Richard Stanley played in Drug Sweat. All quite deserving projects, but it was Stackpole’s solo outing that garnered the most interest from public and industry alike. The demand for live shows led him to recruit Byström from Ooga Boogas and a guy named Brad into his touring lineup. The trio was red hot, but inevitably the venues they filled required a fuller sound so Stackpole recruited Young as well on second guitar. The gruelling touring schedule became too much for family-man Brad, so Stanley jumped in to fill his size 11s and off they went for another lap of regional Victoria. Eventually the question presented itself to this freshly-minted foursome: should they continue as Stackpole’s backing band or strike out anew with a fresh identity? The answer came in a moniker too electrifying to resist; a name as clever, enigmatic and indeed, as powerful as the band itself: Power Supply. Back in the shed, jams became songs, jokes became lyrics and long afternoons spent together became this record—listen though, and one will hear life through the lens of Stackpole and the tactile tentacles of his pals. In The Time Of The Sabre-toothed Tiger contains ten songs that listen so easy, one will barely notice when they’re gone.

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Cottonopolis Chimney Grey Marbled Vinyl Edition

LP | 2024 | UK | Original (Vinyl Revival)

17,49 €* 24,99 € -30%

Suono In Un Tempo Trasfigurato

Release: 2024 / UK – Original

Genre: Rock & Indie

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A compilation of rare and previously unreleased tracks from Greater Manchester’s lesser well known bands from the last 30 years. Not household names but bands who all deserve a place in Manchester’s musical history. Less “Unknown Pleasures,” more “Unknown Treasures”.

Side 1: Proud Mary were the first band to sign to Noel Gallagher’s Sour Mash label. Autograph Hunter is an unreleased demo recorded with the bands’ early line up, featuring Craig Gill (Inspiral Carpets) on drums. The Delaplains made ripples on the live circuit, and you would often find Blossoms supporting them in various Northern Quarter venues. They split after the release of their second single. The Salford based band Death To The Strange released a handful of EPs before their demise; Peter Hook was known to sing their praises. The Children recorded demos at Paul Weller’s studio with no physical releases until they morphed into Twisted Wheel. Omerta released 2 independent singles before a line-up change and had further success as The Slow Readers Club.

Side 2: Rubber Orange were one of the many Oldham bands making a name for themselves on the Manchester gig circuit in the late 80’s/early90s and released one 12” EP. ‘Magnetized’ is by far their masterpiece and previously unreleased. The Broadcast were another short lived Manchester band featuring John Mackie on vocals, who went onto further success in acting. They recorded a handful of tracks but never released anything. Rambo and Leroy hailed from Macclesfield and after a New Order support slot, Jake Evans (vocals and guitar) was approached by Bernard Sumner and became a member of Bad Lieutenant. Their sole release, ‘Last One Standing’ was single of the week on XFM. The Fayre, another band from Oldham were a live favourite around the same time as Twisted Wheel but called it a day after a Glastonbury appearance. Asia Fields were ‘Funkier than a mosquito’s tweeter’. Think Haircut 100 on acid. They sold 5000 copies of their debut EP and refused numerous offers from major labels at the height of Madchester.

The sleeve shows a section of an iconic panoramic photograph taken by Squire Knott in 1876 during the Industrial Revolution. (Courtesy of Oldham Gallery)

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Bono / Burattini

LP | 2023 | EU | Original (Maple Death)

17,59 €* 21,99 € -20%

The Menace Of Mechanical Music

Release: 2023 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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Infinite reveries or translucent hallucinations, calm and steady pace, ghostly but undeniably present: this is ‘Suono In Un Tempo Trasfigurato’, Bono / Burattini’s debut for Maple Death.

Inspired by three movies of avantgarde cinematographer Maya Deren (At Land, Ritual in Transfigured Time and A study in Choreography for Camera), Francesca Bono (vocalist, performer, founder of Ofeliadorme and member of the Donnacirco collective) and Vittoria Burattini (percussionist, multi-faceted drummer and member of influential Italian avant-rock band Massimo Volume) created a dense hypnotic transfixing collection of songs based upon the sole use of the Juno 60 synthesizer and the organic linear pulsating sound of a drum kit.

These apparent limitations set the scene for an incredibly rich and rewarding voyage that immediately establishes a strong identity that oscillates between circular dream soundscapes and psychedelic rhythmic architectures. Bono / Burattini excels in threading magical images where objects transform without warning (Your House Is A Ghost) and collapse into kosmische grooves (La Trama Del Desiderio) or when humming electronics mold into temporal dimensions (Sogno Nel Vigneto). Burattini’s astonishing use of the drum kit and her mallet driven timbre produce space and tension (Dinner Illusion) perfectly complementing Bono’s synthesized realm made of nuance and reflection (Dancing Demons). One of the album’s key elements is the sparse use of Bono’s singing, an intricate mix of measured phrasing, breathing, spiral structures and extrasensorial-like choirs that seem to reference the rich Italian tradition of cosmic jazz, library music and the unmatched work of the RAI engineers in the 70s working with Gruppo Di Improvvisazione Nuova Consonanza, Morricone, Daniela Casa. The driving Can-like pulse of Le Ossa shows force and flow while Stella’s haunting piano recreates a futuristic horror-movie OST.

'Suono In Un Tempo Trasfigurato' is beautifully recorded and mixed by Italian composer Stefano Pilia, a perfect match for Bono / Burattini’s sonic explorations and for a record that intersects experimental wave, alien grooves, contemporary electronics and futuristic sci-fi. Their blend of analog electronics and organic pulses place them in a time out of joint where dancing remains the one constant ritual.

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Team Picture

LP | 2021 | EU | Original (Clue)

17,84 €* 20,99 € -15%