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X was formed in Sydney, Australia in 1977 by Ian Rilen (Rose Tattoo), Steve Lucas, Ian Krahe, and Steve Cafiero. After the sudden death of Ian Krahe in 1978, the band pushed on with a few other guitar players but struggled to find their footing. Then in late 1979, just a few months after singer Steve Lucas first picked up a guitar, the band recorded what would become X-Aspirations as a threepiece in 5 hours. Legend has it that the band went into the studio expecting to record a single. Once they loaded in, they decided to record every song they knew how to play and then pick a single from there. Most of the songs were first takes and they figured that the end result was good enough to release as an LP. In true DIY fashion, the band released the record on their own in early 1980. The album went on to be listed as one of the 200 Greatest Australian Records of All Time and called "one of the best punk records of all time" in Maximum Rock'n'roll. It's not often that those two publications agree, but it's hard to argue otherwise. After 10 years of being out of press in the United States, Dirt Cult Records and Green Noise Records will be releasing X-Aspirations with new cover art sanctioned by the band's only surviving member, Steve Lucas. Some praise for the record: "The bass lines are really good, the lyrics are really tight, the riffs are sick. (X-Aspirations) was an album I'd found after I heard The Ramones. Fell in love with it and it still gives me goosebumps" - Eamon from The Chats in Classic Rock Magazine "If you venture into The Tote in Melbourne on any given night, you're likely to hear a band that owes some semblance of influence to X - whether they know it or not. Such is the legacy of one of Australia's most well-loved underground classics (X-Aspirations).” -Rolling Stone "Fourteen vicious, out-for-blood punk tunes, all of which are steeped in some supremely heavy dark and daring shit. It's a legit classic and one of the best punk rock albums ever made." - Maximum Rock N Roll

Debut album from Italian sensation Whistling Head, quite a surprise in the british post-punk egemony. Teenage Cliché fast, fresh and edgy, brisk and dodgy, quivers like a carefree kid sneaking around responsibilities, just two minutes that stick like gum under the counter, as short and insatiable as the interval you wish would never end.... The graceful song form represents in a brio that pure sense of evaporating idealism, a track you could listen to the point of exasperation because of its potential structure and the leisurely moments it offers while never concealing that veil of restlessness, disorder and dissatisfaction. ‘Shoot Shoot. Work, eat, sleep, repeat.All work and no play, I'm a dull boy, I'm a dull boy.’ Shoot Shoot is a modern-day Greek tragedy, versifying their conception of the modern horror of routine, homologation and bewilderment, letting out, in a liberating spurt, all the accumulated irritation. The song's verse is held up by a crushing, gloomy and repetitive rhythm section accompanied by a guitar as distorted and sharp as a litany scratching at your brain. The track moves between more noise sounds close to the explosive emotionality of Unwound. A cathartic experience emerges from the sum of alienating, annihilating verses and explosive, angry refrains. Peaceful Warning shows the softer, more vulnerable, but still biting and dynamic side. Alternating between noisy phrasing and melodic refrains, Peaceful Warning sounds like a call to be oneself and to never change, despite the mutability of everything around us…

On their bold and brilliant debut album 'Unsoothing Interior', Stockholm's Vero reflect the nature of life itself. Their songs prioritise feeling over perfectionism - what feels, or sounds, best - creating a record that tumbles through its contents with a sense of unpredictability, excitement and curiosity. It's an album full of raw guitar riffs that spin and swirl and fizz, and evoke the spirit of artists like Sonic Youth, Garbage and Pixies. The record, out May 6th via Pnkslm Recordings (ShitKid, Les Big Byrd, Holy etc.), is a document of the three musicians' own experiences, injected with a natural urgency that comes from both the reality in the songs and writing and recording them in a studio paid for by the hour. For its listeners, it acts less as a roadmap through the turbulence and more as a confidante to share the highs and lows, drama and desire with, encompassing everything from sex, friendship and figuring out exactly who you are.

On their bold and brilliant debut album 'Unsoothing Interior', Stockholm's Vero reflect the nature of life itself. Their songs prioritise feeling over perfectionism ' what feels, or sounds, best ' creating a record that tumbles through its contents with a sense of unpredictability, excitement and curiosity. It's an album full of raw guitar riffs that spin and swirl and fizz, and evoke the spirit of artists like Sonic Youth, Garbage and Pixies. The record, out May 6th via Pnkslm Recordings (ShitKid, Les Big Byrd, Holy etc.), is a document of the three musicians' own experiences, injected with a natural urgency that comes from both the reality in the songs and writing and recording them in a studio paid for by the hour. For its listeners, it acts less as a roadmap through the turbulence and more as a confidante to share the highs and lows, drama and desire with, encompassing everything from sex, friendship and figuring out exactly who you are.

Following on from the Primal Scream frontman’s brilliantly-received previous release for Ace, ‘Sunday Mornin’ Comin’ Down’ (accolades included being short-listed for Rough Trade’s compilation of the year), Bobby Gillespie brings us another slice of the music that soundtracks his life. And in this case, it’s his touring life. Drawing on the experience of ‘the way that the noise and clamour of the road can tire you out, wear you down and frazzle your nerves to shattered fragments of jangled exhaustion’, these are the records Bobby turns to for solace, for comfort, for empathy and for resourcefulness.

The compilation features an introduction from the man himself, talking us through his personal choices as though he’s sitting cross-legged on the carpet going through records with you in his lounge. Also long-time cohort of the band, Kris Needs has written extensive liner-notes, serving up an intensive track by track insight and analysis.

Titled after and kicking off with the Willie Nelson track of the same name, ‘I Still Can’t Believe You’re Gone’ leads us through a darker and deeper exploration than its predecessor, featuring Nick Cave’s funereal version of ‘By The Time I Get To Phoenix’ and Ry Cooder’s sparse and beautiful reworking of ‘Dark End Of The Street’. And we get there via such greats as Bob Dylan, JJ Cale, Donnie Fritts, Crazy Horse, Lee Hazlewood, Al Green, Thin Lizzy and so many more.

In Bobby’s own words: ‘These songs are soul savers to soothe frayed and battered nerves and to ease and settle the heart. They work on me like medicine every time. I would like to share this wonderful music that has given me strength, joy and inspiration over the years with you the listener, so that you too might get the same feelings of protection and inspiration that I do whenever I listen to these songs. We're all travellers on some kind of road through this life, and we all need respite from time-to-time - the music on this compilation is soul food of the highest order - I hope you enjoy it.’.

On her sophomore album "Germ in a Population of Buildings", upsammy moves through her surroundings with thecuriosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments inconstant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-basedartist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopicand gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material intovibrating electro-acoustic rhythms and unstable, psychedelic textures.upsammy's debut album, 2020's critically-acclaimed "Zoom", was praised for its careful reimagining of IDM, evolvingvignettes that nodded towards the dancefloor without being shackled to its rigid set of rules. On "Germ in a Populationof Buildings" her process has evolved considerably; the skeletal trace of IDM is still present but it's been trapped inamber, allowing her unique sonic landscape to develop organically. 'Being is a Stone' is a proof of concept in manyways, layering upsammy's contorted voice in rickety patterns beneath a lattice of fragile rhythms and faintly melancholysynths. It's never immediately obvious where the sounds are coming from - a hiccuping beat might be glass crackingunderfoot, and larger pulses could be wet concrete, rusted iron or bent plastic. As the sounds develop they morph intoeach other, demolishing what came before and building on top of the ornamental wreckage.On the dynamic 'Constructing', upsammy's sound design fluxes through hyperactive bass music structures, abstractingexpectations at every turn. Often her sounds are whisper quiet, rattling and vibrating until heavier masonry drops anddisrupts the structure. And when discernible rhythms subside into the background, like on the album's eerie title track,they become almost illusory, morphing between the real world and the electronic. upsammy's processed voice works...

What. It’s almost 2020!? Face it, the last ten years or so have been a BLUR—so much shit going down, good and bad—and a lot of music too. It doesn’t look like its gonna get any easier for anybody to get their bearing, so TY SEGALL and Sea Note have gotten together a special box to help you reorient your head, no matter where you are. Yeah, this one’s for the freak, the fan, the head. Pig Man Lives is a stack of raw germs that were blown up in the world as Ty Segall releases over this last golden decade or so—specifically, the demos that bred Manipulator, Freedom’s Goblin, Emotional Mugger, Twins, Ty Segall, Slaughterhouse and Sleeper. Each finished record had its own unique aim and intention, but when you hear tracks from 2007 next to 2015, then 2012 cutting in after 2017, the splatter allows you to hear the continuum of a whole body of work exploding over and over again in the burst of freedom that comes with the initial sketch of a song. Non-linear reorientation, taking you back and forward over the course of eight sides and 47 songs. There’s even a few that haven’t seen the light of day before. You’re bound to feel different after you’ve spent any kind of quality time with Pig Man. Whether he’s recording alone at home or in a studio with the band, Ty’s goal in putting something on tape isn’t just to log the song, it’s to make a whole thing that’s rad. For some of these songs, further evolution brought even more out of them. And some are perfect this way, with rough edges and little details you’re not gonna believe you’ve lived without. As sure as Pig Man Lives, you won’t have to anymore.

Two acclaimed releases into their short career - a debut EP and a split 7" with Citizen - Virginia's Turnover had quickly grabbed the attention of a scene of angst filled teens and twenty-somethings who grew up on Drive-Thru records classics and 90's grunge radio. Turnover spent one November with producer Will Yip (Title Fight, Circa Survive) and emerged with Magnolia. Their debut LP fulfills the promise set forth in their prior releases - contemplative, brooding pop-punk songs written with a somber, yet undeniable catchiness.

Two acclaimed releases into their short career - a debut EP and a split 7" with Citizen - Virginia's Turnover have quickly grabbed the attention of a scene of angst filled teens and twenty-somethings who grew up on Drive-Thru records classics and 90's grunge radio. Turnover spent a month last November with producer Will Yip (Title Fight, Circa Survive) and emerged with Magnolia. Their debut LP fulfills the promise set forth in their prior releases - contemplative, brooding pop-punk songs written with a somber, yet undeniable catchiness.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Tiny Ruins, the project of New Zealand musician Hollie Fullbrook, are back with their fourth album, Ceremony, out on Ba Da Bing Records. The follow-up to 2019’s celebrated Olympic Girls, Ceremony goes deep into all the old and murky mysteries of what it means to be human—and sometimes it nearly goes under. Yet these songs also show how one can find the strength to swim from the shipwreck, push through the silt, surface into another new morning—another new chance. Ceremony washes in and takes one out like a strong tide, its songs “chapters” of a saga set on the shores of Tāmaki Makaurau’s (aka Auckland’s) Manukau Harbour. Known to locals as “Old Murky,” its western fringe of the Waitākere Ranges are home to Fullbrook. And while the harbour itself is a treacherous and oft-polluted body of water, move to one of its many peaceful inlets and it’s all tidal flats, shellfish and birdlife. “It’s beautiful but also muddy, dirty and neglected. It’s a real meeting of nature and humanity” says Hollie. The album’s songs took shape as she explored the turbulent landscape on foot with her two dogs. The things Fullbrook was struck by there are annotated across Ceremony (cover art by Christiane Shortal) as luminously as a naturalist’s scrapbook. After touring Olympic Girls both solo and with her long- term band line-up of Cass Basil (bass), Alex Freer (drums), and Tom Healy (electric guitar, producer) for eighteen months, Fullbrook returned home to the banks of Little Muddy Creek, exhausted and with the global pandemic looming. The songs that would become Ceremony existed as note files, “scrappy poems,” words written earlier during a profound period of personal loss, words from a “difficult place” that she’d become adept at avoiding. When lockdown started to ease, Fullbrook went to stay in an old train carriage in the town of Raglan and spent several days forging these hard lyrics into songs. The intuitive rapport of her bandmates steered these early demos in another direction, with inventive, often joyful arrangements that land Fullbrook’s hard songs into a blissfully warm bedrock of sound—steadied in a kind of musical trust fall.

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.

The Silos, the still-kicking band Walter Salas-Humara co-founded in New York’s post-punk ‘80s scene played Alt-Rock, Alt-Country, and Americana before any critics coined those terms. They were named Best New Artist in the Rolling Stone magazine critics' poll in 1987 after the release of Cuba. The album has since been considered a stone-cold classic, being hugely influential in the so-called Americana or alternative country scene that followed in its wake. “Cuba is one of those albums that has become a kind of talisman among true music fans. Because you know that Cuba exists inside everyone, and this extraordinary album can take you there. It's a journey filled with longing and loss, warmth and wonder”. (Anthony DeCurtis) This gatefold double LP 35th anniversary special edition, includes the additional album The Bird Album Live On Kcrw. Recorded on April 18, 1990, shortly after the release of their self-titled third album for RCA Records, The Silos performed about 75 minutes of music for the Snap alternative music radio program. Broadcast on Kcrw in Santa Monica, California, near Los Angeles, it features versions of all but one song from that third album. Both of the singer-songwriter-guitarists from the band's early days, Walter Salas-Humara and Bob Rupe, were in the line-up for this broadcast which also included Graham Maby on bass, Brian Doherty on Drums, and Kenny Margolis on Keyboard. Salas-Humara’s legacy would seem secure; his name is on 24 albums, his Horse Paintings hang in homes and galleries around the world, and his WaltersDogs portraits even appeared in the film “Get Him to the Greek” (Nicholas Stoller, 20210). but he’s hardly ready to call it a day: The Silos have a new album out now called Family and are currently touring the world.

Shortly After The Hawkins Released Their Second Studio Album "Silence Is A Bomb" (2020, The Sign) During The Corona-Year 2020 The Band Went Out In The Wood To Record A Live Session. The Session Contained Of For Track From Their Newly Released Album And Was Filmed. A Vinyl Of The Music From The Live Session Is Now Released. Containing These Four Track But Also A Bunch Of Other Great Live Recordings From Earlier. This Vinyl Is A One Time Pressing Limited To 500 Copies On Green Vinyl. "Live In The Woods" Is Partly Recorded In The Deep Swedish Forests, Partly Recorded In An Abandoned Barn, And Partly Recorded At Brasstacks Brewing, Who Brewed The Hawkins Latest Craft Beer "Olsson Lager". All Together The Digital Ep Holds 7 Cuts, With One Bonus Track Exclusively Available On The Vinyl. The Tracks Shreds A New Light On The Hawkins Latest Material, Capturing The Intense And Explosive Live Sound That The Band Has Developed From Years Of Touring And Playing Shows. All Of The Tracks Are Beautifully Mixed And Mastered By The Band Themselves."It Was So Much Fun And Very Interesting To Record These Sessions. Not Just To Hear In Detail How We Actually Sound Live, But Also To Explore The Different Settings; The Sound Of Mikaels Amp Echoing Through A Tree Forrest, The Light Piercing Through The Slits In The Barn, The Smell Of Resin And Bark And The Coziness Of Playing A Brewery." -Johannes Carlsson

On July 3rd, Beggars Arkive is excited to reissue Between 10th and 11th, the second album by The Charlatans.Available on double clear vinyl and double CD, the reissue contains the original album plus remastered tracks from the often-bootlegged live show from Chicago in 1991, known as Isolation 21.2.91, a holy grail amongst fans.Between 10th and 11th was originally released in 1992 and contained the UK Top 20 hit (and biggest US single) "Weirdo", as well as singles "Tremolo Song" and "I Don't Want To See The Sights". Produced by Flood, you can hear the pure crispness in the audio.Entertainment Weekly said that "Between 10th and 11th consolidates the band's riveting, hypnotic attack, all musical tips o' the hat to the '60s and '70s, smeared over a smorgasbord of unrelenting dance beats and topped with hook ("I Don't Want to See the Sights") after hook ("Weirdo")." "A certifiable classic" - PopMatters

The Big Moon’s highly acclaimed debut album - shortlisted for the Mercury Music Prize and one of 2017’s albums of the year according to both NME and Rough Trade - has been pressed on mint green vinyl along with brand new artwork, exclusively for Record Store Day 2023.

The third release from Fred Laird was recorded during the period June 2020 and January 2021 on 24trk home studio recording. It is also the first album recorded purely as a solo artist with the occasional guest and draws more from a roots style music (trad it isn’t) than previous more psychedelic releases. ‘Inspiration for the album came from listening to the self-recorded primal music of Hasil Adkins and the first solo Link Wray album for Polydor. The idea of these guys just doing what they wanted back of beyond seemed more akin to me sat in a box room during lockdown feeding off a diet of Billy Chong Kung Fu horror flicks, David Lynch, Noir crime movies, Jean Cocteau and the works of Yukio Mishima. Musically the sound draws from early Bad Seeds or Crime and the City Solution, Gallon Drunk, Bohren and Der Club of Gore, The Cramps, Hasil Adkins and various other trash inspired twilight creatures. I also wanted to try and create that spooky organ sound that dominates the midnight movie classic ‘Carnival Of Souls’, so there’s quite a lot of organ and piano going on. I also got my hands on a baritone guitar to give the songs more of a deep growly twang! Vocals are provided by Daisy Atkinson for the Jean Cocteau dedication ‘Orphee’ which is the nearest thing to a pop song on the album and the echoey almost Sister Lover’s sound of the title track. I got sick of my own shit voice and I just thought a female voice would give it a more fragile ethereal vibe. Mike Blatchford provides formidable saxophone to the album’s last three tracks which were recorded on his mobile phone 300 miles away and synched into the music. The big blasted swing blues of ‘The Big Duvall’ is a dedication to Andy Duvall of Carlton Melton – a big guy who needed a big song. Who knows how big the song could have been in a proper studio. I could have dedicated it to John Wayne but Wayne couldn’t chop down trees with his bare hands like Andy can….’

Four 180g black vinyl LPs housed in two gatefold jackets in a Tip-on cardboard slipcase. The vinyl edition includes a 20-page collector's booklet of lyrics, photos, comics, posters, and other ephemera. Includes digital download card.Unravelled: 1981-2002 shines a loving light on lo-fi pioneers Tall Dwarfs, the prized New Zealand duo of Chris Knox and Alec Bathgate. The collection, available as a 4-LP box set, compiles songs from Tall Dwarfs' two decades of recordings. TThe songs on Unravelled: 1981-2002 were curated by Alec Bathgate, who also designed the box set packaging; Chris Knox suffered a debilitating stroke in 2009 just as they had started work on a new album. The collection captures the different sides of the Tall Dwarfs in 55 songs. Though the band was an excuse for two good friends who lived in different cities to get together, drink beer, watch shitty old movies, and do some recording and drawing, Tall Dwarfs created music unlike anyone else. Capturing the initial excitement of creation and taking pride in what they did, Knox and Bathgate showed a whole generation of musicians what could be done at home on a 4-track and what magic could be made if you mixed pop melodies and hooks galore with homemade sounds.

Like every record Superchunk has made over the last thirty-some years, Wild Loneliness is unskippably excellent and infectious. It's a blend of stripped-down and lush, electric and acoustic, highs and lows, and I love it all. On Wild Loneliness I hear echoes of Come Pick Me Up, Here's to Shutting Up, and Majesty Shredding. After the (ahem, completely justifiable) anger of What a Time to Be Alive, this new record is less about what we've lost in these harrowing times and more about what we have to be thankful for. (I know something about gratitude. I've been a huge Superchunk fan since the 1990s, around the same time I first found my way to poetry, so the fact that I'm writing these words feels like a minor miracle.) On Wild Loneliness, it feels like the band is refocusing on possibility, and possibility is built into the songs themselves, in the sweet surprises tucked inside them. I say all the time that what makes a good poem_the "secret ingredient"_is surprise. Perhaps the same is true of songs. Like when the sax comes in on the title track, played by Wye Oak's Andy Stack, adding a completely new texture to the song. Or when Owen Pallett's strings come in on "This Night." But my favorite surprise on Wild Loneliness is when the harmonies of Norman Blake and Raymond McGinley of Teenage Fanclub kick in on "Endless Summer." It's as perfect a pop song as you'll ever hear _ sweet, bright, flat-out gorgeous_and yet it grapples with the depressing reality of climate change: "Is this the year the leaves don't lose their color / and hummingbirds, they don't come back to hover / I don't mean to be a giant bummer but / I'm not ready / for an endless summer, no / I'm not ready for an endless summer." I love how the music acts as a kind of counterweight to the lyrics. Because of Covid, Mac, Laura, Jim, and Jon each recorded separately, but a silver lining is that this method made other long-distance contributions possible, from R.E.M.'s Mike Mills, Sharon Van Etten, Franklin Bruno, and Tracyanne Campbell of Camera Obscura, among others. Some of the songs for the record were written before the pandemic hit, but others, like "Wild Loneliness," were written from and about isolation. I've been thinking of songs as memory machines. Every time we play a record, we remember when we heard it before, and where we were, and who we were. Music crystallizes memories so well: listening to "Detroit Has a Skyline," suddenly I'm shoutsinging along with it at a show in Detroit twenty years ago; listening to "Overflows," I'm transported back to whisper-singing a slowed-down version of it to my young son, that year it was his most-requested lullaby. Wild Loneliness is becoming part of my life, part of my memories, too. And it will be part of yours. I can picture people in 20, 50, or 100 years listening to this record and marveling at what these artists created together_beauty, possibility, surprise_during this alarming (and alarmingly isolated) time. But why wait? Let's marvel now. - Maggie Smith

Cloudy Clear Green vinyl. Still in shrink, but opened, with hype sticker

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52’s. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece’s only full-length statement. Suburban Lawns’ asymmetrical aesthetic is personified by co-vocalist SuTissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group’s male vocals—courtesy of Frankie Ennui, Vex Billingsgate and John McBurney—maintain the satirical themes of Southern California’s postwar mirage of limitless sprawl. Suburban Lawns’ catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on “Anything,” which could have easily come out on any purely Punk label from LA at the time, while Tissue’s deadpan delivery on “Janitor” glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured “Boom, Boom, Boom, Boom.” From aWest Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns’ lone LP remains in a class with precious few. It’s not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

UK National Album Day Limited Release. The Cranberries’ debut album has sold over 5,000,000 in the US and over 600,000 in the UK. They were one of the biggest bands of the nineties and this album includes their global hits “Linger” and “Dreams”. This release comes as a limited edition 140-gram dark green vinyl.

Limited 'The Star's Sky' coloured LP.

Gatefold jacket with lyrics and inner sleeve with photos from the original recording session..

Bathed in a green haze, the crowd oozed to the mutant rock and roll roaring from the basement's dusty depths — everything and everyone was sweaty and sticky. But as Speedy Ortiz crammed into the back corner, their grins just inches away from ours, D.C.’s Dougout became a moshed-and-sloshed sauna of 20-somethings delirious on rock euphoria.

After spending much of the new millennium bored out of my skull by network soap indie, Speedy Ortiz — not to mention its pals in Pile, Ovlov, Grass is Green and the rest of New England’s burgeoning basement scene — was rock's wild howl. The songs were unpredictable, yet weirdly memorable, swaggering with a winky and wry sense of self. Riffs would twist with a topsy tenderness, then slam a ruptured discord. Sadie Dupuis' sphinxian-yet-sensitive lyrics were not only matched but accentuated by her coil-sprung vibrato. How could Speedy Ortiz not immediately become my new favorite band?

What began as a short-lived solo project recorded in Dupuis' off-hours as a rock camp counselor became a four-piece band in Northampton, Mass., by the end of 2011: Dupuis on guitar and vocals with drummer Mike Falcone, bassist Darl Ferm and guitarist Matt Robidoux. They made cool mixtapes, cracked inside jokes and gushed about teenagers that opened for them on tour. They freaked out (via LiveJournal) when they met the bassist from Polvo or Helium's Mary Timony, but also rolled their eyes at '90s indie-rock comparisons. The band's first single — the gender-bending got-laid grunge yowler "Taylor Swift'' — elicited that rare response of the simultaneous giggle and headbang. The Sports EP amped up the taut yet rubbery riffery.

Released July 9, 2013, Major Arcana is filled with wedding chapel exorcisms, oiled-down attractants and criminally twisted puny little villains — this is Dupuis' haunted lexicon as she scales the toxic Aggro Crag of a breakup. And while Dupuis wrote these songs, the band's convulsing arrangements and diverse influences sprawled the squigglier edges of feedbacked fuzz to mete out matters of the heart. Falcone — who, it's worth noting, has a knack for vocal harmony — swung as much as he smashed the drums. In easily tipoverable songs, Ferm's burly bass and percussive overdubs gave the unruly glee its momentum. Robidoux ripped skronky guitar solos and countered Dupuis' riffs with decorative splatter. Over a four-day marathon session at Sonelab in Easthampton, recording engineer Justin Pizzoferrato sparked the studio imagination of Speedy Ortiz — not only leaning into gritty tones but layer-caking dense dynamics that made these songs pop and pulverize.

For all her sweet-toothed seething, Dupuis was not easy on herself. Everyone's allowed the idiot growing pains of your 20s and the misery that follows, but I can only imagine the emotional exhaustion that playing these songs on the road, night after night, must have wrought. "But you left something on my lips: a mark so sick," she repeats over the doomy destruction that ends the album. Thinking back to the many Speedy Ortiz shows I caught in those early years, including an unofficial after-after party for my own wedding, "mkvi" often served as the noisy down-and-out closer — heads would bang in solidarity as the crowd became co-authors in the chaos, the biting phrase now a hex, Speedy Ortiz forever our coven. —Lars Gotrich

Shotmaker was formed in 1993 by three friends from the small towns of Tweed and Belleville in Ontario, Canada: Matt Deline (drums, vocals), Tim McKeough (guitar, vocals), and Nick Pye (bass, vocals). The band relocated to Ottawa in 1994 before ending its run in 1996. They are widely recognized for influencing the direction of emo and post-hardcore music.

During their relatively short time together Shotmaker harnessed the collective creativity of the Canadian DIY community to make something special happen. They wrote and recorded two 7”s, two LPs, a split LP (with Washington, D.C., based Maximillian Colby) and numerous songs for compilations and other split records. The band thrived on playing live shows and completed three coast-to-coast North American tours in addition to many smaller tours. They regularly shared the stage with bands like Policy of 3, Los Crudos, Unwound, Rorschach, Cap’n Jazz, Indian Summer, Rye Coalition, Modest Mouse, Propagandhi, Hoover, Clikatat Ikatowi, Blonde Redhead and Fugazi.

"A Moment in Time: 1993-1996" is a band-curated, 3xLP box set on colored vinyl. Also included is a 12 page booklet with never before seen images from Canadian photographer Shawn Scallen who chronicled much of the band's history. All the music has been mastered for vinyl by Brad Boatright at Audiosiege in Portland, OR.

Satomimagae Is A Songwriter, Singer, Producer And Composer Residing In The Environs Of Tokyo, Japan. Hanazano Is Satomimagae's Fourth Album And First For Rvng Intl. Her Last Albums Kemri (2017), And Koko (2014), Were Released On Chihei Hatakeyama's White Paddy Mountain. A Tribute To Everyday Mysticism, Hanazono (Translated As "Flower Garden") Is An Ecology Of Simple, Cyclical Refrains And Elegiac Entreaties Cross-Pollinating With Ludic And Layered Folk Vibrations.Each Song On Hanazono Is Dedicated To A Simple Theme, Object Or Image, Out Of Which Grows Uncomplicated Melodies Wrapped In Layers Of Textural Warmth, Like A Flower Subtly Moving In Sway With Its Environment. Accompaniments Of Avian Calls And Electric Guitar Strata, Added By Hideki Urawa, Who Also Mixed Hanazono, Suggest A Spacious Firmament Above This Burgeoning Bed Of Earth. An Ecology Of Simple, Cyclical Refrains Are Bathed In Humming Ethers, Elegiac Entreaties Cross-Pollinating With Ludic And Layered Folk Vibrations. These Are Songs, Lyrically Light Footed And Tunefully Mellow. Every Element Has Its Place, Blooming In Synchronicity With Its Sphere.Hanazono Realizes A Shift In The Artist's Habitually Intimate And Introspective Tendencies. Though There Are Perceptible Shades To This Space_suggestions Of Isolation And Vulnerability_there Is A Balance Of Light Which Resonates Outwards. There Is A Sense Of Seeing The World Around With Wide-Eyes, And Belonging To It. This Way Of Looking And Being Is Reflected In The Folktale Relief Print Illustration Which Covers The Album, Setting A Scene Of Sanctuary And Insight For This Green, Growing Patch Of Sound.

Olive Green Vinyl.Intimacy is manifested in every moment of Radiator, the debut album from Philadelphia's Sadurn. This feeling of closeness, of being able to lend your every sense to one's confessions of internal conflict, is due in large part to the circumstances under which this album was created. Much of the world fell apart in 2020, but Sadurn tucked themselves away in a Pocono's cabin, creating and recording what would become their first full-length. Within the confines of their close quarters, passing animals as the only auditory witness to a makeshift recording studio created by moving furniture, Sadurn created an album that will break your heart and then slowly piece it back together.Sadurn started as the solo project of Genevieve ??DeGroot. Picking up guitar in 2015, DeGroot started writing songs, eventually playing DIY shows throughout the city of Philadelphia. With time, the direction, sound, and members of Sadurn changed. The beginning of 2020 was meant to serve as their debut as a four member band (Jon Cox on guitar/tenor guitar, Tabita Ahnert on bass, and Amelia Swan on drums), but the world had other plans and the group adapted.Taking influence from artists like Gillian Welch, Alex G, and Jason Molina, Sadurn's emotive indie rock explores the struggles and eventual beauty of grappling with multiple emotional realities, particularly when it comes to relationships. That conflict, the idea of being forced to choose, even when terrified, is present on singles like "Radiator" and "Golden Arm." The latter is an unhurried ballad that shows its truest colors with time, eventually blossoming with unexpected admissions of desire and uncertainty. Indecision, heartbreak, and attempting to live out your days against the actual backdrop of a gradually worsening hellscape is a shared commonality among us all, but on Radiator Sadurn breaks down walls that others so often put up. It's a fleeting, impactful glimpse at one's whole heart, and its sweeping, special nature is evident from the moment the a...

Our Fault, the sophomore album from Los Angeles’ Rubber Blanket, thoroughly trounces the laziness cabal. Its 10 tunes beckon listeners to embark on a preternatural sojourn under the collective Blanket of Brad Eberhard, Lars Finberg and JUN Ohnuki Eberhard, Lars (survivors all of Wounded Lion), three artists and composers, working together forever and then some. Before today, Rubber Blanket had never visited the racetrack in Santa Anita. They agreed to meet there for one specific reason: betting it all on a horse named Pepsi. They’re in queue at the ticket window wearing matching Wall Of Voodoo shirts, which even they think is absurd. It’s a $35 bet to show. They lose but vow to return. Unless there’s literal goo-goo-gah-gah, the notion that Rockish Musics with discernable peculiarities must possess childlike predilections is shite nouveau, serving only to signal that the experimental market is not blonde enough to churn hype butter. This kind of trash-think ignores the existence of real wonderment, as if the constant ingestion of multiverse stimuli couldn’t / wouldn’t / shouldn’t impact the capacity for marvel within the living human sponge. Our Fault is bright enough to recognize and even reproduce this strange ever-growing awe. Rubber Blanket eat Del Taco late-nite while cruising in a convertible yellow Miata, chit-chatting loudly over a skipping Shadow Ring compact disc playing out of the dash console. There’s lettuce everywhere, which is refreshing if you really think about it. They hit a red light, let it turn green, then yellow, then back to red again. They dig on the coolness of the pattern while fellow motorists repeatedly honk. Rubber Blanket proffers a distinct humor/horror collective consciousness, coaxed via a crate of oddball musical machinery and arranged in a matter that that bucks all subterranean boogie traditions. A tumultuous, somehow scientifically programed spontaneity, bottled on Our Fault. Different Rock’n’Roll, bright and strange.

As a photographer, visual artist and member of the cosmic brain-bending trio Devin Gary & Ross, Ross Goldstein has built a layered catalog of softly psychedelic artistic output, but none has been as personal as the sonic spiderweb of his second solo album Inverted Jenny. The last time Ross showed up solo was in 2007 on the quietly-released Trail Songs, a collection of more Americana-leaning songcraft. A decade later, he picks up on threads started on his debut, but continues in a far more inward direction, blurring deftly arranged instrumental backdrops with patient, bucolic songwriting for a discreetly epic modern classic in headphone music. Ross travels through a glowing internal world with these songs, observing moments of both stillness and the sublime from a distance. There's a sheen of loneliness that runs throughout, but never a bitterness. The record opens with a trifecta of Van Dyke Parks-tinged open road songs, but even in the joyful discovery of these songs there's the sense that they're viewed from a loner's perspective. This feeling only grows as things shift from roadside distractions to the plush instrumentals and gentle vibes that make up the record's second half. Gorgeous arrangements set up a playful conversation between warm synths, stoned guitar leads, meticulously placed touches of chamber pop orchestration, and even sounds of the natural world from Ross' own field recordings, always buzzing with life. By the end of the album we've walked alongside for a while, watching the songs navigate their lonesome internal landscape like a late night wearing blissfully into morning. At the end of this night (and every other night, really) there's no answer to be found, no great revelation besides wandering along into another beautiful morning.

Lp In Gateflod Sleeve.A Little More Time, Reigning Sound's Seventh Proper Full-Length, Is The Original Lineup's First In-Studio Collaboration Since 2005's Home For Orphans Lp, Which Merge Reissued Last Year. Ultimately, That 2020 Reissue Laid The Groundwork For The Outfit's Reunification. Cartwright Explains, "When Merge Reissued Home For Orphans, We Booked A Little String Of Shows With The Original Lineup. We Still Love To Get Together And Play Every Couple Years." The Short Reunion Tour Wrapped Just As Pandemic Hit The United States. Soon After,Cartwright Found Himself With A Batch Of New Songs. With Reigning Sound's Current Lineup Based In New York City, Then A Covid-19 Hotspot, Cartwright Made The Decision To Produce The New Record Back In Memphis_though He Did Regret Not Being Able To Work With The Players Behind 2014's Daptone-Recorded Shattered. "It Was...

The twelfth studio record by Refrigerator expands the line-up to five with the addition of Mark Givens from Wckr Spgt on second guitar. Along for the ride are guest appearances by legendary singer Claudia Lennear (vocals on the first single “Broken Glass Shore”), Shrimper Records stalwart Franklin Bruno, and the additional hand of Scott Solter, who mixed the record, which rests in a gorgeous sleeve with artwork by Jean Smith. The lovely live bleed of a band playing together in one room—guitars spilling onto the drum tracks, cymbals biting into the feedback from the amps—captures the live sound of Refrigerator as never before on record as caught by engineer Steve Folta. There are two physical versions of the record, one on black 160 gram vinyl, as well as a deluxe edition, available on green and white swirled vinyl that couples a bonus CD with six tracks to a fifty page Bamboo Dart Press chapbook that features drawings, short stories, photographs, lyrics and essays by the band, in an edition of 150 copies.

You’re Not a Bad Person, It’s Just A Bad World is the fourth studio album from the genre-bending Canadian punks, Rare Americans. Containing the massive singles, “Love Is All I Bring,” & “Lose My Cool,” (which seeks to raise awareness on bullying), the nine-track album expands on the wildly inventive world Rare Americans have created through their gripping stories and visuals. After ripping through America on their first ever US tour, of which all dates were sold out well in advance, the band’s next mission seems clear. Global domination.

Ltd edition box set, 4xLP + Poster & DL card.Rewriting the history of music, Pere Ubu continue to confound convention and shift personnel. The next box set in Fire Records' reissue series, 'Nuke The Whales' houses 4 LPs originally released between 2006 and 2014 - 'Why I LUV Women', 'Carnival Of Souls', 'Lady Of Shanghai' and 'Long Live Pere Ubu!'. 'Nuke The Whales,' is a nod of respect to a couple in Cleveland who would daub such messages over the big news stations' advertising boards. "Very few bands display such dedication to constant self-reinvention as Pere Ubu" The QuietusAll four albums have been remixed and remastered by original Pere Ubu member David Thomas. 'Why I LUV Women', originally released on Glitterhouse in 2006, gains its first vinyl release. "Spews 11 tunes of arcane lyrics and dense music" shrieked The Cleveland Gazaette.It's joined by 'Long Live Pere Ubu' a soundtrack to a musical adaptation of the play. "Skronking, squalling rhythms and melodic snippets undulating round a pulsating soundscape." Record CollectorAnd 'Lady From Shanghai', their debut for Fire in 2013. Originally released on the 35th anniversary of the group's debut, 'The Modern Dance', a latter day re-evaluation of the unprompted dance genre.And its follow up 'Carnival Of Souls', a haunting "underscore' to a tale of alienation, it "combines metallic percussion, spare guitars and David Thomas' muttered vocals into something rustic and rickety, yet threatening at a moment's notice." AllMusic

From 1984 until 1987, Greek artist Costis Drygianakis and a ramshackle assembly of friends and collaborators produced a slew of recordings under the name Optiki Mousiki, or Optical Musics. Their first full-length "Tomos 1" was released in 1987 and documented a prolific early period, combining grizzly industrial noise elements with dizzying electro-acoustic experiments and wild instrumental stings. "Tomos 2" is a collection of work taken from the band's second epoch after a brief hiatus; released in 1994, it arrived after a long period of self-reflection from Drygianakis about not only what his own music represented, but what avant-garde art might be useful for in general. A very different album from its predecessor, it attempts to question popular ideas of taste, folding together "non-serious" musical ideas with traditional elements while tentatively drawing from the spiritual world both near and far, from the lives of the Christian saints to tales of Tibetan Buddhism, Sufism and Hinduism. Drygianakis started the process by recording performances from his collaborators such as Sokratis Sinopoulos, Kostas Tsianos, Dimitris Yiagas, Ross Daly and Konstantinos Karagounis. He had been working as a studio engineer in Larissa but the work had been grueling and the financial side of the business was painful. In contrast, his work as Optical Musics became more passionate and deeply personal, and the creation of the album took on a life of its own as he channeled his melancholy and frustration into four long tracks that melted together his inspirations, impulses and desires. Since the project was primarily electronic, driven by Drygianakis's interest in synthesizers and computers, there needed to be a bridge between the acoustic world and the digital. That came from a revolutionary piece of gear: the legendary Akai S-1000 sampler. This tool allowed Drygianakis to pull sounds from across the musical spectrum and tailor it to his needs, fusing dreamy, far-off sounds with ideas recorded closer to home. The result is an album that neatly pulls creative air from its influences - Tangerine Dream's "Zeit" and Diamanda Galas' "The Divine Punishment", for example - and forms it into defiantly unique sonic clouds that signal towards the East without uprooting themselves from the West. The opening quarter layers ornate strings over a hiccuping electronic rhythm and submerged synthesizers, allowing hypnotic vocals - sung, chanted and spoken - to suggest the album's religious themes without overstating it. On the second segment, Drygianakis reduces his sounds to a whisper, with faint, minimal piano and gentle atmospheres that slowly shift from acoustic to electronic, touching the boundaries of new age music without crossing it. Dense instrumental drones characterize the epic, cinematic third chapter, while the fourth and final section offers us Drygianakis' most crushing treatment, burning religious vocal techniques and Balkan string flourishes into searing noise and dissonant electro-acoustic wails. Listening almost three decades later "Tomos 2" sounds almost prophetic, picking up on themes and concepts that have only become more relevant. By consciously questioning the logic of world music, new age and the avant-garde, Drygianakis managed to formulate a narrative that continues to draw breath with each passing day.

Hello and welcome to Cult Value, the new album from Manchester-based band Oort Clod, released by Safe Suburban Home in the UK and Repeating Cloud in the US this April. We are very excited to introduce this mercurial and unique collection of songs. The album includes garage stompers such as “#7”, off-kilter indie whining like the title track “Cult Value”, perfect indie pop songs like ‘Car Talk’ and much more. Featuring members of Unpaid Intern, the Hipshakes, Jeuce and the Early Mornings, Oort Clod was originally conceived by songwriter Patrick Glen as a fluid project with shifting members. Over the course of pandemic-era practices above the empty Peer Hat pub (the epicentre of DIY music making in Manchester) the current line-up solidified. In 2021 Oort Clod released a split E.P. with fellow Manchester band Priceless Bodies, pursuing a darker and more experimental sound. The EP received international airplay including Bbc6 Music and Ksfx. After playing gigs with bands like Porridge Radio, Jeffrey Lewis, and Garden Centre and even more practices above the Peer Hat, Oort Clod have mounted up once more to make Cult Value. The album’s sound is hard to pin down but it is Oort Clod’s most accessible and complete work so far. The band finds common ground in the alternative rock bands of the 1980s and 1990s, the post-punk and indie bands on Flying Nun Records and trashy compilations of post-British Invasion 60s garage gems like Nuggets. All of which come through, warped by Oort Clod’s particular sensibility, on this record made at Delicious Clam studios in Sheffield under the watchful eye of Ed Crisp. You’ll even get their cover of ? &the Mysterians “96 Tears”—rated the best ever cover of the song by the Blanketing Covers podcast, beating Jonathan Richman, Aretha Franklin, the Stranglers and Suicide (this actually exists, honestly). So there you have it the short and sweet lowdown on the new album Cult Value by Oort Clod. We hope you enjoy listening to it as much as they did making it and spread the good word as you see fit. Good luck in your endeavours and take care.

When Sydney's Oily Boys Dropped Their Long Awaited Debut Lp On Cool Death Over The Summer We Were Caught Unawares, And Quickly Fell In Love With It. Static Shock Is Now Very Pleased To Be Releasing This Across The Pond For The Uninitiated. Here's What The Cool Death Originally Said About This Record, As We Couldn't Agree More: "Chthonic, Catatonic, Chronic... Cro Memory Grin Is A Masterpiece. Thirteen Turbocharged Tracks Indebted To The Pleasures And Pitfalls Of Their Lives In The Modern City Of Sydney And To The The First And Second Waves Of International Extreme Music Freaks And Loonies: Pure Fucking Aggression. The Oily Boys Have Graced Us With A Beast Of An Album That Swells Between Direct, Gripping, Tangible Hardcore Punk And Near Nauseating Psychedelia And Throb Which At Moments Feels Like Either Ritual Trance Or A Nervous Breakdown. Cro Memory Grin Contains Near Equal Measures Of Tension And Release; An Exercise In High Catharsis. It's Rare That A Punk Record Can Give The Listener Anywhere Near The Same Intoxicating Feel Of An "Everything Louder Than Everything Else" Live Show, But That's What Oily Boys Have Done. That Lightning In A Bottle Feeling Of Excitement, Chaotic Energy, Delirium, Presence In A Moment And Frenzied Flight Into A Mind State Both Frightening And Ecstatic. The Stone Has Been Carved, The Fire Has Been Lit, And This Is It... Cro. Memory. Grin. The Lp Is Clear Vinyl And Comes Packaged In A Slightly Different Sleeve To The Cool Death Pressing. Features Members Of Low Life.

The roots of Naima Bock's music are far reaching. Born in Glastonbury to a Brazilian father and a Greek mother, Naima spent her early childhood in Brazil before eventually returning to England and various homes in South-East London. This heritage combines with more recent pursuits in Naima's music. From the Brazilian standards that the family listened to while driving to the beach, to the European folk traditions she tapped into on her own, and the pursuits that interest her today - studies in archaeology, work as a gardener, and walking the world's great trails - Naima's music draws from family, the earth and music handed down through generations. Naima's debut album Giant Palm is undoubtedly infused with the Brazilian music of her youth and regular family visits. She found inspiration in "the percussion, the melodies, chords - and particularly the poetic juxtaposition of tragedy and beauty held within the lyrics." By the age of 15 Naima was embedded in the music scene of South-East London, eventually forming Goat Girl with school friends and touring the world. After six years playing bass in Goat Girl, Naima left the band to try something new. She set up a gardening company and started a degree at University College London in archeology because, as she jokes, "I liked being near the ground." During this time she wrote music, played guitar, learned violin, worked with ever-shifting South-London collective Broadside Hacks, and met producer and arranger Joel Burton through Memorials of Distinction label head Josh Cohen. Joel's burgeoning interest in Western classical music, global folk music, experience in large scale arrangement and orchestration informed the collaborative process that eventually culminated in Giant Palm. Recorded with the help of over 30 musicians (including Josh Cohen on synth/electronics) by Dan Carey of Speedy Wunderground at his studio space in Streatham, South-East London, and engineered by Syd Kemp, the songs on Giant Palm represent a snapshot of a specific feeling, of brief moments in Naima's life that make up a larger whole. The expansive yet delicate arrangements highlight Naima's love for the collectivist values of traditional folk music, in which songs belong to everyone, and singing can take on countless forms without the need to exactly replicate something. "All the other representations that I'd had of singing felt so unattainable" she recalls. Giant Palm finds Naima bucking these expectations to let her unique voice and sense of communal creativity flourish.

Translucent White Vinyl.Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon. Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon's Tonie Joy had for Lyburnum failed to manifest in its finished product. An uphill battle that involved misplaced photos, misunderstood instructions and increasing apathy, Lyburnum ended up being an it-is-what-it-is situation. Despite these challenges and shortcomings, Lyburnum Wits End Liberation Fly was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at RTI.

Modern Baseball was formed in 2011 by friends and guitarists Jacob Ewald and Brendan Lukens, who were soon joined by Ian Farmer on bass and Sean Huber on drums. The band self-released their first EP The Nameless Ranger in 2011 while still in high school. Shortly after the members relocated to Philadelphia to attend college and quickly gained a strong following in the Philadelphia music community, teaming up with locals Marietta to release the Couples Therapy split in the spring of 2012. Modern Baseball released their debut full-length Sports later that year on Lame-O Records, which they self-recorded and produced. After spending the summer of 2013 touring heavily across the US, the band headed into Studio A in Philadelphia to self-record You're Going to Miss It All. Mixed by Jonathan Low at Minor Street Recordings and mastered by Will Yip, You're Going to Miss It All features 12 tracks that showcase the band's signature witty indie-pop.

Mathias Kom on Miller Time:"Many years ago I did a short tour with Toby through some small, strange places in Spain and southern France. Of course, it was a treat to hear Toby Goodshank songs every night, but he also occasionally covered songs like "My Uncle Used to Love Me But She Died" or "Tom Green County Fair," and as a fellow Roger Miller enthusiast I've been wanting to collaborate on a project like this with Toby for ages. I guess it took the pandemic to give us both the time. We did this all rather casually and slowly, sending bits of songs back and forth to each other down the special information superhighway that links NYC and Prince Edward Island. Gradua...

Raleigh, North Carolina's Lie Heavy is one of the few, true throwbacks to another era. They feature the vocals of Karl Agell, best known for Corrosion of Conformity's BLiND album and Leadfoot. Heavy, heavy-ass blues that would have fit on the Man's Ruin label back in the 90s, around the time that Orange Goblin was making waves. This is primal stuff: not quite Stoner, not quite Metal, and not quite giving a shit. Biography LIE Heavy brings together notable rockers, Karl Agell, JD Dennis, TR Gwynne and Graham Fry. You may know them from some of their musical forays with Corrosion of Conformity, Leadfoot,The Skull/Legions of Doom, Confessor, Patriarchs in Black, The Point, Deltoid and The Backsliders !!! LIE Heavy draws on the original hard 'n groovy jams of Sabbath, Mountain, Lizzy and Purple, fused with their own massive experience. So, it is not difficult to fathom why LIE Heavy sounds like a well-oiled, hard working band of 30 years rather than a new entity. Their pedigree does not belie their power. Collectively, they have spent tens of thousands of hours in practice spaces, studios and on stages around the world, honing their vast skills, to find one another in this moment being among the top guardian practitioners at the gates of transcendently Heavy music.

The name is a partial misnomer. Though the band hails from Los Angeles, they do not partake in any sort of witchcraft. Yet their ability to conjure a specific time and place through their sound does suggest a kind of magic. On their eponymous debut album, L.A. Witch's reverb-drenched guitar jangle and sultry vocals conjure the analog sound of a collector's prized 45 from some short-lived footnote cult band. The melodies forgo the bubblegum pop for a druggy haze that straddles the line between seedy glory and ominous balladry; the production can't afford Phil Spector's wall-of-sound, but the instruments' simple beauty provides an economic grace that renders studio trickery unnecessary; the lyrics seem more descendent of Johnny Cash's first-person morality tales than the vacuous empty gestures of pre-fab pop bands. This isn't music for the masses; it's music for miscreants, burnouts, down-and-out dreamers, and obsessive historians.Album opener "Kill My Baby Tonight" is the perfect introduction to the band's marriage of '60s girls-in-the-garage charm and David Lynch's surreal exposés of Southern California's underbelly. Sade Sanchez's black velvet vocals disguise the malicious intent of this murder ballad, with the thumping pulse of bassist Irita Pai, the slow-burn build of drummer Ellie English, and Sanchez's desert guitar twang helping beguile the listener into becoming a willing accomplice to the narrator's crimes. "Brian" follows the opening track with a similarly graceful, if not somewhat ominous, slow-mo take on a well-worn jukebox 7". It's a vibe that permeates the entire album, from the early psychedelic hue of 13th Floor Elevators on tracks like "You Love Nothing," through the motorik beat and fuzzed-out licks of "Drive Your Car," to the grittier permutation of Mazzy Star's sleepy beauty on "Baby In Blue Jeans."

LP1 – Stu’s vomit in the toilet. Swamp Green in Electric Blue with Swamp Green, Olive Green & Easter Yellow splatter
LP2 – The shit stain on Stu’s pants. Brown in Beer with Brown splatter
LP3 – The vomit and the shit all mixed together. Brown/Mustard/Swamp Green Tri Color with Swamp Green, Olive Green, Brown & Highlighter Yellow splatter
180 gram vinyl
Gatefold jacket

Are you a mannequin in the eyes of your beloved? Does your partner compare yourrelationship to a factory that emits plumes of smoke? Are you in love with aseductive and destructive Credit Default Swap? Someone who sucks you in withskyrocketing short term erotic returns - only to ghost you until you crash so hardthat you end up broke(n) in your own bed? Do you pay $300 an hour out of pocketto a psychiatrist who promises to help you strike a deal with a difcult parent - onethat will produce more stable long term returns on your psychic investments?If so, then you, my friend, may be drowning in the sea of Love in the Time of Capital.It's where everyone would love to drown. It's a new album from John Davis ofThe Folk Implosion that fnds him backed with confdence by Eli Moore and AndrewDorsett of the indie pop band Lake. It was recorded by Nich Wilbur at theUnknown, a cavernous recording studio in Anacortes, WA that has been a favoritedestination for indie rockers around the nation. Ben Brodin recorded Megan Siebeplaying strings on two tracks at his Hidden Branch studio in Omaha, and the albumwas mixed by Scott Solter in Durham NC.Arrangements are based on the classic power pop trio of drums, bass and electricguitar. Those elements are tastefully embellished with organs and pianos that callto mind records by classic rock bands like Tom Petty's Heartbreakers. That is, if theHeartbreakers were fltered through the Northwestern International PopUnderground tradition, and cast a critical eye on how commodity culture shapesthe way we think of ourselves and our intimate relationships. The album alsofeatures four ballads, three drum and electric guitar free, for all you late nightintrospective heads.

Jenny MAE made only two full length records, both released just two years apart in the hey-day of ‘90s indie-rock where small labels rose up like mushrooms in a tropical forest and like so much of the music from that time was easily overlooked and disappeared. Jenny’s music found a small, devoted audience and her music was covered not only by many fanzines but also by Rolling Stone, Spin, Interview, even Entertainment Weekly. She played shows and some tours with Guided by Voices, Magnetic Fields, Neko Case, Chris Knox and more but to see her live one never knew what one would see, perhaps on a good night, a deeply moving set sung in her sweet midwestern voice or maybe a woman who could barely stand, her keyboard falling off a bar table she set up on stage as she usually didn’t have a keyboard stand. "Jenny lived life how an engine swallows gasoline, hot and quickly except her gasoline was alcohol which she used to quiet her undiagnosed schizoaffective disorder and by the early 2000s she went from living in Coral Gables to living on the streets of Columbus, Ohio in a matter of weeks. She remained homeless for nearly three years in Columbus and Miami with various stints in jail or the many hospitals she would visit until her predictable death in 2017, which of course, was in a hospital surrounded by her family and friends. "Her music was sweet, catchy and at times bawdy—some songs as short as Bob Pollard‘s who championed her and others lush electronic that was closer to My Bloody Valentine or OMD. She was a fan of the Beach Boys and Beatles growing up in rural Ohio and started writing songs in high school. Eventually she started recording on a borrowed Tascam 4-track in the late '80s, songs as innocent as Daniel Johnston’s or the Marine Girls. Some of these earliest recordings are gathered here on this compilation that stretches from 1988 through 2016, where her last recording, the devastating ‘Not Another Bad Year’ was recorded months before her death. It includes many of the songs she made in the years before she died, including the ode to her good friend, Jim Shepard as well as songs she created as she pined for Ohio while going off the rails in Miami. Side two contains some of the singles she recorded for various indie-labels that have not been available since the mid-nineties and several unreleased songs from a never materialized third record. She was a force for everybody who knew her, and she was one who lacked ambition, or maybe the organization to do what folks around her thought was 'normal', she wasn’t made for a traditional life."—Bela Koe-Krompecher, 2022

Sometime in 2006 or 2007, Jason Molina moved from the midwest to London. Separated from his bandmates and friends and never one for idleness, Molina explored his new home with fervor. Sometimes he'd head out on foot, often with no destination in mind. Other times, he'd pick a random tube stop and find his way back home. He'd pick up on arcane trivia about London's rich history, and if the historical factoids weren't available - or weren't quite to his liking - Molina was quite comfortable conjuring his own history. His adoration of The Great American Tall Tales like John Henry and Paul Bunyan's blue ox Babe stretched across the Atlantic, where he created his own personal Tall Tales. And when he learned of the London Wall's seven gates (itself a misconception), Molina went ahead and called it eight, carving out a gate just for himself. The eighth gate was Molina's way into London, a gate only passable in the mind. Fast forward to 2008, Molina set off on an experimental solo tour through Europe. While in Northern Italy, Molina claimed to have been bitten by a rare, poisonous spider. A debilitating bout of illness ensued. "I was in the hospital here in London," Molina wrote in a letter. "Saw six doctors and a Dr. House-type guy. They are all mystified by it, but I am allowed to be at home, where I am taking a dozen scary Hantavirus type pills a day that are all to supposedly help - but they make me feel like shit." There is no record of a single doctor visit, not any prescription record for these medications. It is entirely plausible there was no spider and that whatever was keeping him indoors during this time was entirely self-induced. While at home, he of course wrote songs. Molina also claimed that during this time, he fed several bright green parrots that would gather in his yard. While often associated with a greyscale sensibility, Molina was oft-clad in a Hawaiian shirt and had, at least in part, selected the name Songs: Ohia for his first project as a nod to Hawaii's 'Ohi'a lehua flower. Which is all to say, the tropical element the parakeets brought to those sick days delighted Molina. He made short, crude field recordings of them with his trusty four-track. Only once Molina was officially on the mend and re-exploring the streets of London would he learn that those parrots had their own fabled tale. Back in the 60s, Jimi Hendrix - in a moment of psychedelic clarity - released his pair of lime green ring-necked parakeets from their cage, setting them free into the London sky. Now, their decendents are spotted regularly around certain parts of the city. Or so we're told. Eight Gates is the last collection of solo studio recordings Molina made before he passed from complications related to alcoholism in 2013. Recorded in London around the time of the supposed spider bite and Jimi's supposed parakeets, some of the songs ("Whispered Away," "Thistle Blue") are fully-realized - dark, moody textures that call to mind his earlier work on The Lioness. Knowing what we know about those parakeets and their peppered presence on the recordings, one can't help but think of that colorful tree of birds on Talk Talk's classic Laughing Stock, certainly a spiritual guide for much of the set. Other songs ("She Says," "The Crossroads and The Emptiness") lay in a more unfinished states, acoustic takes that call to mind Molina's Let Me Go Let Me Go Let Me Go, and still tethered to Molina's humorous studio banter. You remember how young Molina was, and how weighty this art was for such a young man. On the closer, "The Crossroads and The Emptiness," Molina snaps at the engineer before tearing into a song in which he sings of his birthday (December 30), a palm reading and the great emptiness with which he always wrestled. It is a perfect closer and, in many ways, the eighth gate incarnate: mythical, passable only in the mind, built for himself and partway imaginary but shared, thankfully, with us.

Sometime in 2006 or 2007, Jason Molina moved from the midwest to London. Separated from his bandmates and friends and never one for idleness, Molina explored his new home with fervor. Sometimes he'd head out on foot, often with no destination in mind. Other times, he'd pick a random tube stop and find his way back home. He'd pick up on arcane trivia about London's rich history, and if the historical factoids weren't available - or weren't quite to his liking - Molina was quite comfortable conjuring his own history. His adoration of The Great American Tall Tales like John Henry and Paul Bunyan's blue ox Babe stretched across the Atlantic, where he created his own personal Tall Tales. And when he learned of the London Wall's seven gates (itself a misconception), Molina went ahead and called it eight, carving out a gate just for himself. The eighth gate was Molina's way into London, a gate only passable in the mind. Fast forward to 2008, Molina set off on an experimental solo tour through Europe. While in Northern Italy, Molina claimed to have been bitten by a rare, poisonous spider. A debilitating bout of illness ensued. "I was in the hospital here in London," Molina wrote in a letter. "Saw six doctors and a Dr. House-type guy. They are all mystified by it, but I am allowed to be at home, where I am taking a dozen scary Hantavirus type pills a day that are all to supposedly help - but they make me feel like shit." There is no record of a single doctor visit, not any prescription record for these medications. It is entirely plausible there was no spider and that whatever was keeping him indoors during this time was entirely self-induced. While at home, he of course wrote songs. Molina also claimed that during this time, he fed several bright green parrots that would gather in his yard. While often associated with a greyscale sensibility, Molina was oft-clad in a Hawaiian shirt and had, at least in part, selected the name Songs: Ohia for his first project as a nod to Hawaii's 'Ohi'a lehua flower. Which is all to say, the tropical element the parakeets brought to those sick days delighted Molina. He made short, crude field recordings of them with his trusty four-track. Only once Molina was officially on the mend and re-exploring the streets of London would he learn that those parrots had their own fabled tale. Back in the 60s, Jimi Hendrix - in a moment of psychedelic clarity - released his pair of lime green ring-necked parakeets from their cage, setting them free into the London sky. Now, their decendents are spotted regularly around certain parts of the city. Or so we're told. Eight Gates is the last collection of solo studio recordings Molina made before he passed from complications related to alcoholism in 2013. Recorded in London around the time of the supposed spider bite and Jimi's supposed parakeets, some of the songs ("Whispered Away," "Thistle Blue") are fully-realized - dark, moody textures that call to mind his earlier work on The Lioness. Knowing what we know about those parakeets and their peppered presence on the recordings, one can't help but think of that colorful tree of birds on Talk Talk's classic Laughing Stock, certainly a spiritual guide for much of the set. Other songs ("She Says," "The Crossroads and The Emptiness") lay in a more unfinished states, acoustic takes that call to mind Molina's Let Me Go Let Me Go Let Me Go, and still tethered to Molina's humorous studio banter. You remember how young Molina was, and how weighty this art was for such a young man. On the closer, "The Crossroads and The Emptiness," Molina snaps at the engineer before tearing into a song in which he sings of his birthday (December 30), a palm reading and the great emptiness with which he always wrestled. It is a perfect closer and, in many ways, the eighth gate incarnate: mythical, passable only in the mind, built for himself and partway imaginary but shared, thankfully, with us.

Jack Waterson is the acid that Adrian never took as a kid. The result, as you’d expect, is both colorful and dark; full of sonic and musical surprises. The creative relationship they have questions the social order of the United States, yet theirs is a quintessentially American Story: Kindred spirits

Punk rock and hip hop came from the same place, fueled by identical sentiments: people taking the music back, reclaiming it, and finding a new audience. Waterson, primed from the mid-70s Punk scene, began his musical career in ’79 as a founding member of Green on Red. They inspired artists as diverse as My Bloody Valentine, Wilco and Mazzy Star with their records and psychedelic palette. Years later, Waterson continued his influential journey by opening the revered musical instrument store, Future Music, a Los Angeles staple.

In ’99, an 18 year-old Younge realized that he wanted to create music that sounded like the records he was sampling. Unbeknownst to him, he serendipitously wandered into Future Music. It’s there, he realized his dream was possible. Intrigued by the stores focus on pre ’83 equipment, Waterson soon became a mentor in developing Younge’s unique analog sound. They spoke heavily about the importance of vintage equipment and it’s use in creating revolutionary worlds.

During these years, Waterson schooled Younge on psych and art rock; Younge returned the favor by schooling him on Hip Hop, the origins of sampling, and its source music. Together this unlikely duo manifested new revolutionary worlds with Waterson appearing on every Younge album within the last decade.

Adrian Younge presents Jack Waterson is getting lost in the impressionistic and at times jarring world of psychedelia, questioning what is real and challenging to question the role you play in this world. These kindred spirits have created a cinematic psych album with no boundaries. Laced with hip hop breaks and acid rock, their intention is to subvert the designation of what is black vs. white music.

The inspiration for the ScorpKlub project was to create unique works, using the remarkable collection of Toulon Art Museum's as a palette, through a multidisciplinary exchange of sound and moving image. Hifiklub responded in music to the digital collages created by James Kerr, who mischievously altered twenty artworks ranging from the 15th to the beginning of the 20th century, from the museum's permanent collection. The work of assembling the visuals took place in James Kerr's studio in Montreal, whereas the musical component to the project was created in two stages: - The first recording session took place at the end of January 2021 at Coxinhell studio in Saint-Aygulf, with Iggor Cavalera (MixHell, Cavalera Conspiracy, Pet Brick, co-founder of Sepultura) recording remotely. This session resulted in ten original compositions, to which Kerr animated his videos to. - The second stage of Hifiklub took place in Toulon on July 2 and 3, 2021 during the Murex Festival, with the remote participation of Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven). This session of sound research and recording was done in front of a live audience, to which the music was created in response to ten premade animations created by Kerr. ScorpKlub I & II will be broadcasted in 2022 on the internet in the form of two seasons: one with Iggor Cavalera + one with Alain Johannes.

Across four LPs, Herbcraft’s trajectory has taken the form of an open-ended and perpetual trip, covering ground from the pining bedroom odes of Agartha to the psychedelic living room services of Ashram, to the full-band barn hoots of 2013’s The Astral Body Electric. On its fourth album, Wot Oz, the band undergoes another bold reinvention, shifting its locale to the Traummaschine A/B warehouse, where Matt Lajoie met with drummer Aaron Neveu and bassist / organist Joe Lindsey for the trio’s first-ever rehearsal in July 2013. The practice was intended simply as a warm-up for a live gig, but surveillance tape began rolling almost immediately, as the group’s chemistry imbued both abstract sound experiments and primitive rock- and blues-based numbers with the same heady waft of freewheeling possibility. The needle touches down on a slice of this initial meeting: “Fit Ür-Head” lands at the feral, pummeling nexus of proto- and post-punk; a live-to-tape two-chord gob of lung-tar spat inches from a flea market snakeskin, while voices howl and wah guitar razes every inch of green. From this auspicious birth the album moves through the afterhours narco-haze of “Au’s Nation” to the Zamrock-inspired groove of “Push Thru the Veil,” with Neveu rolling off an endless stream of future-classic break-beats throughout. On the flip, “No More Doors” finds a sunbaked cassette of tabla-and-bass loops melting as the band abandons Earth for hallucinogenic oblivion, and the album’s closing 12-bar blues deconsecration “Bread Don’t Rise” spins a circular framework into a sweaty Fillmore dancefloor-filler strictly for the heads. Fittingly, this trip ends only when the tape falls off the reel. Wot Oz was recorded and mixed on 1/4-inch tape and four-track cassette, mastered by Timothy Stollenwerk, and is presented in mono for optimal blare. Turn it up.

Heather Woods Broderick's new album Invitation is about rediscovering the everyday magic and healing potential found in nature. It's also about recognizing that even though it's not easy, we can shift our perspectives on our lives when our circumstances seem bleak. Ultimately it's about accepting the myriad little invitations the universe sends us to keep moving forward, and in so doing, redefining one's self-perception, in order to establish a new sense of equilibrium and inner peace. HWB's last album Glider was called "ethereal and perfect" by NPR, "exquisitely beautiful" by Mojo, and "Stunning" by The Sunday Times. Since its release she has toured with Alela Diane, and Lisa Hanigan, and has done one-off shows with The War on Drugs, Laura Gibson, and others, in addition to continuing her role in Sharon Van Etten's band.

Following Guided By Voice’s sprawling double-album Zeppelin Over China, Robert Pollard has written and recorded another full-length in record-breaking time. It’s Warp And Woof, exuberantly barreling through twenty-four songs in just thirty-seven minutes with a brevity similar to mid-90s GBV albums Alien Lanes and Vampire On Titus. GBV kicked this one out in a flash, recorded in studios, club soundchecks, hotel rooms and even in the tour van.

After completing Zeppelin, Pollard felt the itch to record a few EPs. Just as GBV had done back in 1994, he would use them to channel his everflowing ideas to an outlet. But when a magical boombox writing session produced six fully formed songs in under half an hour, Pollard realized he had an album on his hands. What to do?

With a band so formidable they’ve been dubbed the Golden Age of GBV, they completed much of the recording on the road. The 2018 Space Gun Tour provided impromptu recording venues. Pollard recorded vocals in hotel rooms, complimentary condominiums, and small studios. Doug Gillard cut guitar tracks for “End It With Light” through his Mesa Boogie rig at the soundcheck at the Ottobar in Baltimore. Bobby Bare Jr. recorded his spacey main rhythm guitars for album closer, “Time Remains in Central Position” at the same show, but in the backstage green room. Kevin March added drum tracks in a studio in his hometown Montclair, New Jersey. Gillard played guitar on “Bury the Mouse” in a van hurtling at 60-plus m.p.h., and Mark Shue laid bass on “Angelic Weirdness” as he balanced on the speeding van’s bench seat.

"João Almeida (trumpet) and Pedro Melo Alves (drums), two of the most creative and prolific Portuguese jazz musicians of their generation, are Mooris. Recorded in May 2021, right after the second lockdown in Portugal, “I” shows them freely exploring their instruments of choice but also finding and creating sound with “objects”, as they describe.

Both musicians leave behind familiar ground and use their instruments to create sounds that appear ceremonial or even manifest themselves as rituals. “+” sets the tone, dark, sparse and haunting, and the next four tracks (all on the "positive" side, with “+” added to each title) make use of the freedom proposed by this experiment with the uncanny. The “objects” start appearing, creating movement, confusion and dancing around different genres, from dark metal to industrial.

Flashes of jazz can be heard throughout, particularly on the B side (the "negative" side), with all tracks following the same conceptual logic as the A Side (“-”, “- -”, etc.). The atmosphere is clearer here. João’s trumpet ascends to a new level and creates new concepts in the fourth world realm. In a matter of seconds, it shifts naturally to somewhere else, the dense/dark atmosphere experienced on the A side becomes a distant memory and we are now flowing with the sounds, not trapped in them. A beautiful release after a tense/intense beginning.

L.A. Shit is the new LP from the punch-throwing, shit-kicking country outfit GracieHorse fronted by Fat Creeps founder Gracie Jackson, featuring contributions from King Tuff, Emmett Kelley (Cairo Gang, Bonnie "Prince" Billy, Ty Segall Band), and Bobbie Lovesong. GracieHorse weaves stories into her songs. On L.A. Shit, her first album with Wharl Cat, she takes us into the past half a decade of her life. We see her as a traveling nurse, living in big blue expanse of Wyoming, dancing with a man in a crisp white Stetson, eating chicken wings in a hazmat suit, commenting on how strange a place like Los Angeles can be, how loaded it is with wannabe cowboys and fast food restaurants. It's a record of immaculate country music, the kind of stuff you'd put on blast in your truck as you drive down empty stretches of highway. It's also a vulnerable record, full of lyrics about the intensity of being alive, all Old with a sense ol humor and self-awareness. A founding member of the grunge sun rock dream pop duo Fat Creeps in the early aughts, Gracie also released an album of "Bummer Jams' under GracieHorse in 2015 with Ghost Ramp. L.A. Shit marks Gracie's return to music after a several year hiatus. While taking time off between 2015 and 202O she kept busy with session work and singing live background vocals for Alex lzenberg, Meernaa, Color Green, Jonny Kosmo, Banny Grove, and The Lentils.In addition to being Gracie's own major artistic statement, L.A. Shit is a community efort. To make it, she enlisted countless friends in the Los Angeles Area, many of whom are touring and session musicians who were stuck at home during the pandemic. "I'm grateful," she says of the experience, "I'm proud that I get to show off my friends on this record." Indeed, L.A Shit is that kind of big family affair. Funny, heartbreaking, brutal - it's aS country as country can be.

L.A. Shit is the new LP from the punch-throwing, shit-kicking country outfit GracieHorse fronted by Fat Creeps founder Gracie Jackson, featuring contributions from King Tuff, Emmett Kelley (Cairo Gang, Bonnie "Prince" Billy, Ty Segall Band), and Bobbie Lovesong. GracieHorse weaves stories into her songs. On L.A. Shit, her first album with Wharl Cat, she takes us into the past half a decade of her life. We see her as a traveling nurse, living in big blue expanse of Wyoming, dancing with a man in a crisp white Stetson, eating chicken wings in a hazmat suit, commenting on how strange a place like Los Angeles can be, how loaded it is with wannabe cowboys and fast food restaurants. It's a record of immaculate country music, the kind of stuff you'd put on blast in your truck as you drive down empty stretches of highway. It's also a vulnerable record, full of lyrics about the intensity of being alive, all Old with a sense ol humor and self-awareness. A founding member of the grunge sun rock dream pop duo Fat Creeps in the early aughts, Gracie also released an album of "Bummer Jams' under GracieHorse in 2015 with Ghost Ramp. L.A. Shit marks Gracie's return to music after a several year hiatus. While taking time off between 2015 and 202O she kept busy with session work and singing live background vocals for Alex lzenberg, Meernaa, Color Green, Jonny Kosmo, Banny Grove, and The Lentils.In addition to being Gracie's own major artistic statement, L.A. Shit is a community efort. To make it, she enlisted countless friends in the Los Angeles Area, many of whom are touring and session musicians who were stuck at home during the pandemic. "I'm grateful," she says of the experience, "I'm proud that I get to show off my friends on this record." Indeed, L.A Shit is that kind of big family affair. Funny, heartbreaking, brutal - it's aS country as country can be.

Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She's lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she's funnier, which is a charm endemic to musicians. Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they'd continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta's songs changed and sculpted by their time together. While Kline's musical taste at the time was leaning toward aughts indie rock she'd loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite "droning, meditation, repetition, clarity and intentionality," as well as "'70s folk and pop" as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their "ambient" or "psych" album. Somewhere between those textural elements and Kline's penchant for concise pop, Inner World Peace finds its balance. The first order of business upon setting up camp in Brooklyn's Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC's aesthetic idiosyncrasies to shine. The mood board for "Magnetic Personality" has a neon green and black checkerboard, a screen capture of the game Street Fighter with "K.O." in fat red letters, and a cover of Mad Magazine that says "Spy Vs. Spy! The Top Secret Files." On tracks like "F.O.O.F." (Freak Out On Friday), "Fragments" and "Aftershook," the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don't miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they're coming deeper into their own. Inner World Peace excels in passing on the emotions it holds. When in the towering "Empty Head" Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline's point of view. Says Greta, "To me, the album is about perception. It's about the question of "who am I?" and whether or not the answer matters. It's about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don't leave the house, who are you to the world? Can you take the person you discover there out with you?" - Katie Von Schleicher

Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She's lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she's funnier, which is a charm endemic to musicians. Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they'd continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta's songs changed and sculpted by their time together. While Kline's musical taste at the time was leaning toward aughts indie rock she'd loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite "droning, meditation, repetition, clarity and intentionality," as well as "'70s folk and pop" as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their "ambient" or "psych" album. Somewhere between those textural elements and Kline's penchant for concise pop, Inner World Peace finds its balance. The first order of business upon setting up camp in Brooklyn's Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC's aesthetic idiosyncrasies to shine. The mood board for "Magnetic Personality" has a neon green and black checkerboard, a screen capture of the game Street Fighter with "K.O." in fat red letters, and a cover of Mad Magazine that says "Spy Vs. Spy! The Top Secret Files." On tracks like "F.O.O.F." (Freak Out On Friday), "Fragments" and "Aftershook," the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don't miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they're coming deeper into their own. Inner World Peace excels in passing on the emotions it holds. When in the towering "Empty Head" Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline's point of view. Says Greta, "To me, the album is about perception. It's about the question of "who am I?" and whether or not the answer matters. It's about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don't leave the house, who are you to the world? Can you take the person you discover there out with you?" - Katie Von Schleicher

Over the course of two wildly varied and acclaimed EPs, 2019's England and 2021's The Valley, shape-shifting London outfit Famous has forged its own inimitable sound. A sound that subverts pop's Gospels. A barrage of halcyon melodies, despondent electronics jutting against warming acoustics, and scintillating song structure, all this the singular creative vision of Jack Merrett - Famous' singer, lyricist, core songwriter and only consistent member - that finds convulsively spectacular expression in their forthcoming debut album, Party Album. Coming to prominence as a part of the cele...

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

London slowcore band deathcrash announce their new album Less, due in March via untitled (recs). Recorded at the UK's most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective. "The mission statement was to be super minimal," says deathcrash singer Tiernan Banks. "Just simple and beautiful guitar parts and to be really bare. To be_.less." Swiftly following Return, the band initially had no plans to make a full length. "The last thing we felt like doing was making another album," says bassist Patrick Fitzgerald. "It was like, 'let's do this little EP that's aesthetically quite different and pared down'." Less was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. "As time went on, we started putting much more emotional weight into it and it became more important to us," says Banks. The result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks' voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as 'Duffy's' before unleashing a doom metal growl in thundering unison with the band on 'Empty Heavy'. The record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud & Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single 'Duffy's' and we expect support from BBC 6 Music, Apple Music and other tastemaker stations.

Riyl: Felt, The Wake, The Servants, Sarah Records, Rat Columns, The Reds, Pinks and Purples. Jolly In The Bush is David West's fourth eponymous record, following Drop Out Of Collage (2014), Peace Or Love(2016) and Cherry On Willow (2017). David is an underground pop musician from Perth, Western Australia and has been in numerous interesting and more-or-less obscure acts over the decades - some include Rat Columns, Rank/Xerox, Total Control, Lace Curtain, Liberation, Burning Sensation and Scythe. His solo works allow him free reign to follow various classic and sideways pop rainbows to their illogical conclusions. On Jolly In The Bush, he is graced by the angelic presence of stellar musicians, such as Louis Hooper from Rat Columns, Bob Jones from Eaters/P.E, Mikey Young from Total Control/Green Child/Eddy Current Suppression Ring, and Richard Ingham from Taco Leg/Mink Mussel Creek. Jolly In The Bush is a homage to shaggy indie dorks, sub-tropical singer-songwriters, robotic melancholia and the pre-Cold War 'grown and sexy' aisle at the Marina Safeway. The first side of the record sees DW straddle the indie rock horse, indulging in lyrical detours into historical fiction ('1816'), naughty words ('The Poet Of My Dreams') and mumbling ('Sleeping Head'). 'Sleeping Head' features a startlingly egotistical self-sampling of David and compatriot Bob Jones' atmospheric electronics project, Scythe, and their tune of the same name. Idea glut, or deficit? DW and his team challenge the seemingly pervasive professional competence rife in today's indie rock world. 'Keep indie rock shambolic' seems to be a theme close to his heart. However, a disturbingly serious side emerges in the middle of the record with two minimal, acoustically-minded numbers, 'Not That Lonely Yet' and 'Letters From Home'; light in feel, depressing in subject matter. A pleasing but perhaps formulaic shift in atmosphere guides us into Side B. Keyboards are deployed, synthesizers twinkle, beats hit us at a steady, head-nodding pace. 'Prove Your Love' sentimentally shimmies in the light bouncing off the marina's placid waters, 'You Must Be My Friend' is a downtempo electronic paean to illusions lost. 'You Saved My Life' sees our weary traveler finding fleeting succor in jazzy changes and a stranger's touch. Lest it all get too much, 'So We Ran Away' dusts off the glam boots worn on the Cherry On Willow LP but takes them down to a sub-basement chintz floor for a prancing romp through romantic insanity. Please, join us and become Jolly In The Bush!

Elektro-Punk von Jan Müller (Tocotronic, Dirts Dishes), Rasmus Engler (Herrenmagazin, Dirty Dishes, u.a.), Thies Mynther (Stella, Superpunk), Julia Wilton (Pop Tarts) u.a.

Colleen Green always wears sunglasses onstage. Colleen Green is long hair and getting high. Her first full-length for Hardly Art, "Sock it to Me", is grounded in pure pop. The multi-tracked, emotive vocals take an enormous leap forward, evoking all-time heroes such as Rose Melberg and Tina Weymouth, with every drum-machine-tracked song awash in the dreamy slacker romanticism of California.The first pressing of LPs on opaque blue vinyl! All LPs include a download code.

"Jeff Goldblum takes a deep breath and initiates the teleportation sequence, unaware that lurking in the corner of the telepod are three greasy eighth grade boys quoting their favorite lines from Kids In The Hall sketches. The sequence initiates; a crack of static; a horrible flash of white hot light. Dramatically backlit and shrouded in fog, what emerges from the adjacent telepod is not so much man-child as teenage lobotomy. The camera jumps to a tight shot on the receding hairlines of three dumb assholes: “Look out world…” they whisper with an off-putting wink into the camera. “I’m eatin’ Arby’s.”

This is the Citric Dummies and that is a reference to their song lyrics! Yes, you do not have to ask: this shit is dumb. Lyrics like “I'm driving a piece of shit because I am a piece of shit” dumb. I hear fear in their voices: this is both a reference to Lee Ving’s phlegm and the fact this band is naked and lost in a parking garage, “A traffic cone used for modesty (It’s not a giant orange dick, you see)”. But unlike Fear, this band does not hate you, for they are too busy hating themselves. “Fuck you!” you yell at them, and they know why.

When you see these Citric Dummies (and oh, you simply must!), you will notice their jackets—matching in satin, unique in color. A bassist in green satin, like a lime, and bald (not unlike a lime…). Guitarist? In lemon yellow; he has a regular amount of hair. And that drummer on the drums, the one with the most hair of all? Orange! What we have here is a band who visually tastes like an orange 7Up if such a dumb thing were a thing.

And this band plays: fast! Fuck! Live, it’s fast-as-fuck-oh-fuck-this-is-fast. Dean Dirg is there playing fast, and The Hives, because we love the Hives and know their roots are of the same raw Swedish garage milieu as the Hellacopters and Henry Fiat's Open Sore. “It’s too rock ‘n roll for hardcore, too hardcore for rock ‘n roll,” you may say (because you yourself may be dumb). Is this what is called…punk? Yes! That’s it! Maybe this is punk, you dumbass.

Oh no! I’ve forgotten the best part of all! You don’t have to just read about the Citric Dummies, you can hear the Citric Dummies. You can even have the Citric Dummies!—on a new 4-song 7” out on Feel It! And I forgot the other best part of all! They are soon touring Europe with Erik Nervous! So rock over London, and rock on Chicago, because Citric Dummies are a band from Minneapolis, and I don’t care who knows it!"—Brendan Wells

Percolating in the same watery diner coffee that spawned American Football and Hum, C-Clamp shrugged on and off the '90s slowcore and emo scenes in a hurry. Compiled here are the band's two albums for the venerable Ohio Gold label - Longer Waves and Meander + Return, plus a third LP of singles andcompilation tracks, and a meticulously annotated book stuffed with lyrics, photos, flyers, and ephemera from their all-too-brief existence. This one's colder than a Chicago winter - better plug in that space heater.

Percolating in the same watery diner coffee that spawned American Football and Hum, C-Clamp shrugged on and off the '90s slowcore and emo scenes in a hurry. Compiled here are the band's two albums for the venerable Ohio Gold label - Longer Waves and Meander + Return, plus a third LP of singles andcompilation tracks, and a meticulously annotated book stuffed with lyrics, photos, flyers, and ephemera from their all-too-brief existence. This one's colder than a Chicago winter - better plug in that space heater.

Blacklab are back. The self-proclaimed 'Doom witch duo from Osaka' are set to drop their 3rd album 'In A Bizarre Dream' this summer.Their debut 'Under the Strawberry Moon 2.0' saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two 'Abyss' added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. -Blacklab are: Yuko Morino, guitar and vocals. Chia Shiraishi, drums and percussion. -So what of the 'difficult' third album? Not so difficult at all it seems. 'In A Bizarre Dream' ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the 'Doom Witch Duo '.The drums have a humungous 'Fugazi' like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko's throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on 'noise' and 'heavy' and with 'In A Bizarre Dream' Blacklab add their own spin to that tradition.Gone is the lo-fi approach, here is Blacklab in full effect. -Yuko has said before that the band's name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. Track 'Crows, Sparrows and Cats' actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab's Hawkwind meets krautrock sludge. It's a stoner groove with pop at its heart ...Sludge Pop even...

Black Marble Release Their Second Full-Length, It's Immaterial. Their First For Ghostly, It's Immaterial Follows Up Their Highly Acclaimed Debut Full-Length A Different Arrangement (Hardly Art/October 30, 2012). Still Featuring Stewart At The Helm Along With Select Collaborators As Supplementation, The Band's Recent Shift In Locale From East Coast To West Coast Lends A Great Deal To The Overall Feel Of The New Album.Pulling From The Pre - "Simply Irresistible" Days Of Early Robert Palmer And First Wave Pioneers Such As Silicon Teens, Iron Curtain, Lives Of Angels, And Solid Space, Black Marble Dialed In On A Clear Understanding Of Its Own Specific Sound, Showcased Most Clearly On This New Release With Stewart Becoming More Comfortable In Being Clear With What He's Trying To Say, Both Subjectively, In Terms Of The Stories He's Telling And The Things He's Willing To Talk About, And Object...

The 10th studio album by Bjork on limited lime green vinyl will be in stock again in a few months.

each album always starts with a feeling
that i try to shape into sound
the feeling was landing
( after my last album utopia which was all island in the clouds element air and no bass )
on the earth and digging my feet into the ground
it was also woven into how i experienced the "now"
this time around 7 billion of us did it together
nesting in our homes quarantining
being long enough in one place that we shot down roots
my new album "fossora" is about that
it is a word i made up
it is the feminine of fossore ( digger, delver, ditcher )
so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end ,
we have 6 bass clarinets and punchy sub
i would like to especially thank bergur þórisson and heba kadry
and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet
viibra and last but not least : sindri and dóa .
visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir
and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

More than 10 years ago, Vincent Dupas, Jean-Baptiste Geoffroy and Jérôme Vassereau created Binidu in parallel with their respective bands, Fordamage and Pneu, then very singular and of the most joyful french rock music. Their collaboration is a trek that started from green and sunny pastures to sink over time into mountains surrounded by storms. Binidu holds nothing back in composition, always ready to reinvent himself with each new album.

After "Yes", the first fresh and luminous one released in 2013, the second "Nouvel Ancient" in 2018, more adventurous and kind of lost in an apocalyptic world, the trio returns today just as adventurous but more in a peaceful way with "// ", a creation mostly focused on his appetite for the acoustics and electronics combination. A long-distance running music, which, from the top of the ridge lines, looks at the world with lucidity, embracing the entire landscape, valleys, towns, all the way to the sea.

It is their label, Kythibong, which, on the occasion of the festivities around his twentieth birthday, brings Binidu out of his brief hiatus. 2022 therefore sees the trio reunite and begin to compose a new repertoire with a strong desire to play at a low volume and thus be able to perform in a wide variety of locations. They then broached the composition of the third album changing their instrumentarium. The drums are now reduced to a split snare drum and a hi-hat, the modular synthesizers take an important place in the composition, Jérôme and Vincent play on small amps, the latter exchanges his electric guitar for an acoustic Parlor, and the sound of the voice is now devoid of any effect.

Over the course of rehearsals, Binidu starts to imagine “//” as an overall piece with five linked long compositions. Thirty-five minutes of music, alternating very acoustic phases and other electronic ones, creating supernatural spaces, moments of reflection, some pop, hypnotic and/or rhythmic bursts.

New Tradition Is The Debut Solo Album By Ben Edge, Who's Past Musical Projects Include Thee Spivs And Ben Edge And The Electric Pencils. Releasing On Vinyl To Coincide With The Exhibition Of Ben Edge's Paintings In June At The Crypt Gallery At The St Pancras New Church In London, In Collaboration With The Museum Of British Folklore.Ben Who Is A Painter And Visual Artist, Has Undertaken A Project Over The Past Four Years In Which He Has Obsessively Been Visiting, Filming And Painting The Folk Customs, Rituals And Ceremonies Of The British Isles And This Group Of Songs Was Inspired By The Sights, Sounds And Folkloric World In Which Edge Has Immersed Himself. The Cover Art Is One Of Edge's Paintings And Depicts The Garland King Of Castleton, Derbyshire. The Album Was Produced By Matthew Shaw (Shirley Collins, Tex La Homa, Spectral And The Pop Group) The Coming Year Will Be A Busy One For Ben Edge With The Launch Of His Documentary Film And Series Of Paintings 'Frontline Folklore' That Will Be Exhibited In Collaboration With The Museum Of British Folklore And Of Course When The World Permits Playing Live And Performing The Songs Of 'New Tradition'.

Since the inception of Anxious in 2016, the band has always acted with purpose. This may seem like a simple premise, but for five kids still in high school at the time, it's quite an accomplishment. Early songs were packaged in limited run demo tapes with accompanying zines and hand-dyed t-shirts. Weekends were filled with regional runs of shows outside of their Fairfield, Connecticut homebase. With this amount of effort it's no wonder that within a few years of graduation, Anxious has built a solid foundation for their debut album to flourish upon.On Little Green House, Anxious explores what it feels like to enter adulthood in unflinching detail. The Connecticut band unpacks struggles, joys, and hard-earned realizations in a way that makes them feel wise beyond their years. Anthemic songs like lead single "In April" and guaranteed sing-along "Growing Up Song" thread the often difficult melodic-hardcore needle in a way that feels both nostalgic for the emo renaissance of yesteryear and precisely built for the current moment of genre defiant pioneering.

Since the inception of Anxious in 2016, the band has always acted with purpose. This may seem like a simple premise, but for five kids still in high school at the time, it's quite an accomplishment. Early songs were packaged in limited run demo tapes with accompanying zines and hand-dyed t-shirts. Weekends were filled with regional runs of shows outside of their Fairfield, Connecticut homebase. With this amount of effort it's no wonder that within a few years of graduation, Anxious has built a solid foundation for their debut album to flourish upon.On Little Green House, Anxious explores what it feels like to enter adulthood in unflinching detail. The Connecticut band unpacks struggles, joys, and hard-earned realizations in a way that makes them feel wise beyond their years. Anthemic songs like lead single "In April" and guaranteed sing-along "Growing Up Song" thread the often difficult melodic-hardcore needle in a way that feels both nostalgic for the emo renaissance of yesteryear and precisely built for the current moment of genre defiant pioneering.

Few artists are storytellers as deft and disarmingly observational as Andy Shauf. The Toronto-based, Saskatchewan-raised musician's songs unfold like short fiction: they're densely layered with colorful characters and a rich emotional depth. Like he's done throughout his career, Shauf wrote, performed, arranged, and produced every song on his new album Wilds at his studio space in the west end of Toronto. Over the course of a year-and-a-half, Shauf had written more than 50 songs, and pared down this massive body of work, into a single album's worth of material, which became 2020's highly acclaimed The Neon Skyline album. These songs focused on a theme by intertwining the individual characters stories of a group of friends who gathered for one night at the same local bar. Wilds includes songs from those same writing sessions, that did not fit into the Skyline storyline and had their own singular iden?tity apart from that album, though he does revisit with his old friends Judy and Jeremy in this outing.

On 'Mirror, Reflect,' Amy O returns to form as she documents her transition into motherhood in the early days of the pandemic. Initially conceived as a lo-fi endeavor to record songs made with friends in those days of uncertainty, 'Mirror, Reflect' is an intimate and exploratory work that weaves collected home and field recordings with shimmering synths and Oelsner's playful lyricism.A stalwart presence in the indie-pop underground since 2012, Oelsner shifted her approach to record making on 'Mirror, Reflect' to emphasize process over product, with the resulting songs born out of a myriad of home sessions, song-a-day projects, songwriting workshops and online collaborations. This kind of patchwork, home-spun approach was familiar to Oelsner, who made her name with her sparkling, homemade pop songs before releasing three studio albums, including her most recent album, 2019's Shell.'Mirror, Reflect' gently shrugs off the sheen of those studio albums, as an early prenatal recording of Oelsner's daughter's heartbeat opens the record in the near-ambient instrumental prelude of "Honey" -- a wonderfully nuanced dispatch from the dog days of summer that's under-bellied by both the precarity and beauty of the early months of infancy and new motherhood. Oelsner's knack for finding magic in the mundane is also deeply apparent on "Dribble Dribble," where the stick-with-you nature of the playful rhyme schemes of the children's books that became a regular part of her literary intake are worked into a lilting reflection on resilience, destruction and loss.Oelsner's initiation into motherhood is inseparable from the poetic heart of 'Mirror, Reflect', but the album is also largely informed by the shifts in Oelsner's relationship to herself. Through playful and emotionally acute observations, Amy O turns the potentially contractive experiences of motherhood, isolation, family and aging into a freewheeling work where ephemerality and humor collide over her deft lyrical phrasing, musicality and her keen observations t...

New Algiers album Featuring Contributions From Zack DE LA Rocha, BIG Rube, Billy Woods, Backxwash, Mark Cisneros, Latoya Kent, Future Islands’ Samuel T. Herring, BOY Harsher’s JAE Matthews, Nadah EL Shazly, LEE Bains III, Deforrest Brown JR. & Patrick Shiroshi

New Algiers album Featuring Contributions From Zack DE LA Rocha, BIG Rube, Billy Woods, Backxwash, Mark Cisneros, Latoya Kent, Future Islands’ Samuel T. Herring, BOY Harsher’s JAE Matthews, Nadah EL Shazly, LEE Bains III, Deforrest Brown JR. & Patrick Shiroshi