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Yann Tiersen presents his brand new album ‘11 5 18 2 5 18’ via Mute. Reprogrammed, resampled and reimagined, ‘11 5 18 2 5 18’ is a collection of 9 tracks that serve as a translation of Tiersen’s live show, taking songs from his 2021 release ‘Kerber’ plus additional tracks from his catalogue, completely restructured to present a brand new album.

It started in a cafe in Chico, California, with a flier, covered in glitter, wires, feathers, and assorted melted items, with a three-word advertisement: “Noise person wanted.” It wasn’t a sign. It was a sample. A tiny piece lifted from the visionary environment that the band XDS would continue building over the next couple of decades, hoarding an eclectic stockpile of collage materials/influences/approaches for assembling psychedelic dance-punk jams played with homemade instruments, blown-out samples, off-kilter drumming and dub baselines. Shoko Horikawa had come from Japan to (the small, music-crazy college town) Chico for school, and responded to Jesse Hall’s mysterious flier and a pitch to collaborate on making interesting sounds. The partnership would end up featuring her syncopated polyrhythmic drums alongside his vocals (through a duct tape-and-PVC-pipe mic) and custom-built Guitar-o-bass, plus synths/samplers and various noise-making devices. The two-piece Experimental Dental School eventually morphed into XDS as the duo moved the operation from Chico to Oakland to Portland and back to Chico, touring the world (playing alongside the likes of Deerhoof and other innovators) and releasing 11 recordings (on Cochon Records, German label Tcwga, etc.) as they went. On the new XDS album, Bicycle Ripper, the band’s genre-bending roots are as deep as ever, but the goal now is to be less “noise” people and more “fun” people. The songs are weird yet cohesive, with jittery grooves and inventive hooks. Throw a dart at the album and hit “Hot Panther, Cold Moon” for one random sample: an unrelenting fuzzed-out bass dances with a insistent drums; a sharp turn into sparse tin-can-guitar break; then a return to the dance floor with a bonus overdriven bass riff and full-throttle drums. The Panther stays hot whether she’s under the “hot hot sun” or the “cold cold moon.” It’s all very irresistible and, yes, really really fun.

Where I Started is the third studio album by Canadian rock band Wide Mouth Mason. The album produced four successful singles, "Why", "Companion (Lay Me Down)", "Sugarcane", and "Half A Chance". The album won the award for "Outstanding Rock Recording" at the 1999 Prairie Music Awards. The album was certified Gold in Canada in December 2002

Combining powerful and heartfelt vocals with thundering guitar riffs, Essex-based Blues Rock band When Rivers Meet offers originality with both talent and winning personalities. Grace Bond leads with her incredible vocals, as well as bringing ranched-up mandolin and violin instrumentals. Her husband Aaron Bond commands attention with his imaginative guitar and cigar box playing and complements with compelling vocal harmonies... a winning formula. Since bursting on to the UK music scene with their debut The Uprising EP in April 2019 followed by their second EP Innocence of Youth in May 2020, husband and wife Grace and Aaron Bond have released two critically acclaimed studio albums We Fly Free (2020), followed by their sophomore album Saving Grace (2021). When Rivers Meet were the first band to win four awards at the UK Blues Awards 2021 and another three awards in 2022, including "Blues Band of the Year" on both occasions. Last year WRM were voted Best New Band at Planet Rock's The Rocks Awards 2021, and in 2022 won the "Blues Power Award" and "Album of the Year" (Saving Grace), beating Iron Maiden who came second place. In 2021, the husband-and-wife duo show their chemistry on stage, performing 17 dates along with powerhouse bass and drums on their first UK Headline Tour to mostly sold-out crowds, receiving rave reviews for their captivating stage presence and blistering performances.

Like all the best stories in rock 'n' roll, the epic journey of When Rivers Meet has never been plain sailing. Right now, the acclaimed Essex-based blues-rock duo Aaron and Grace Bond stand on the brink of their latest career peak, releasing fearless third album, Aces Are High, shaking stages on their Breaker Of Chains headline tour, toasting a third consecutive victory as UK Blues Federation Band Of The Year and pulling an army of fans along in the current. Combining powerful and heartfelt vocals with thundering guitar riffs, Essex-based Rock band When Rivers Meet offers originality with both talent and authentic personalities. Grace Bond leads with her larger-than-life vocals, as well as bringing raunched-up mandolin and violin instrumentals, while Aaron paints with seismic grooves, hypnotic cigar box licks and harmonies that stop all the clocks. With the Aces Are High material now rattling speakers and shaking stages everywhere from the UK festival circuit to Joe Bonamassa's Keeping The Blues Alive Mediterranean III Cruise in August, everything is flowing the right way for When Rivers Meet. "Looking back to 2019, when we really started as a duo, it's so surreal to think that now we're on our third album," reflects Aaron. "And when you see people singing the words back to you - my God, that's so emotional

White vinyl. Cover closer to NM.

Violent Change is a San Francisco Bay Area act formed in 2012 as the recording project of Matt Bleyle (sopors / ABI Yoyos). The band has had a rotating cast of musicians (once including Tony Molina and Sterling Mackinnon of The False Berries). The current line up featuring, Stanley Martinez (rays, THE World) finds them straddling the boundaries, again, of all things questionably recorded. Their sound has been described as somewhere between GBV and a Killed By Death compilation or The Idle Race meets Vertical Slit.

Arriving with the latest Cindy collection from Sloth Mate comes this new long player from fellow San Fran mainstays, Violent Change. Headed up by Matt Bleyle, the force behind Sloth Mate and a former RAT Column no less, and completed by a rotating cast of other scene notables (you'll not be surprised to hear that Stanley Martinez [famous Mammals, Children Maybe Later, NON Plus Temps, et al] is also involved), Violent Change have been circling the Bay Area waters long before our current fascination with that part of the world. Their debut came out over a decade ago, but time seems an irrelevance when you're talking about these kinds of sounds, Starcastle feeling as if it could be a product from almost any era of San Fran over the past four decades. Garage rocking, DIY art bent melodicism that connects the dots between the Kinks, Swell Maps and TVP in ways we're familiar with yet somehow can never resist. The recent Now and Famous Mammals LPs are obvious points of comparison/connection, each pulling from that same electrically charged spirit that underpins those hilly streets and splashing it with the same pastel shades of its neighbourhood buildings. Maybe it's cliched to talk of such things, but this is music that feels like it could only be from that part of the world, a further expression of a lineage that no-one but the city can ever own. That makes Starcastle Environmental Music in its own kind of way, an expert divination of a very specific kind of San Fran folk song, bottled and shuck. Keep 'em coming forever more (i doubt we've any say in the matter."—Stephen (World of Echo)

Solo bedroom-pop project of Michael Ramos (Flowertown, April Magazine, Hectorine). Mostly recorded between last Christmas and New Year's during a window of isolation at home, Hey There Flower preserves Tony Jay’s prowess at making beautifully eerie lo-fi pop; like a hazy memory where your favorite Sixties girl-group melody is perpetually slowed down. Without a band to practice with, Tony Jay recorded the music alone, but recruited a slew of friends to remotely record backing vocals: Karina Gill (Cindy), Griffin Jones (Galore), Kati Mashikian (Mister Baby), Alexis Harper (Al Harper), & Hannah Lew (Cold Beat).

180g Vinyl!On 13 Blues For Thirteen Moons, Thee Silver Mt Zion Memorial Orchestra & Tra-La-La Band (two guitars, two violins, cello, contrebasse and drums) has grown louder, looser, full of spittle and tears and riffs are the backbone more than ever. Anchored by drummer Eric Craven (ex-Hangedup), the band works its slow build and burn with newfound patience, sinuousness and ferocity. Whether methodically framing walls of sound over the four-on-the-floor punk dirge of "1,000,000 Died To Make This Sound" or exploding in sheets of free noise and melody on "Black Waters Blowed", the band has never rocked harder and has never sounded more determined, desperate and driven. A stuttered blues riff is the foundation for the album's title track, making its appearance after a blisteringly minimalist intro. "Engine Broke Blues" features a gorgeous set of chords that build inexorably from multiple guitar, string and organ lines.

THEE OUTLETS, today's so-called Garage Punk Sensation from Hamburg St. Pauli with their second release, a HALLOWEEN smasher offering two A-sides: MY MONKEY MAN, a sexy Bo-Diddleyish fecundity ode, and VAMPIRE OF MINE which beams you back in the ol' spooky world of Screaming Lord Sutch. Both of these dancing tunes were written by Thee Outlets, recorded at the Yeah!Yeah!Yeah! studios in Hamburg and come in a beautiful sleeve created by star illustrator Jean-François Martin in person! Two soon to become party classics, so put on your gorilla costume, smash your pumpkins and party on!

THEE OUTLETS are today's Garage Punk and Beat sensation, straight from Hamburg's St. Pauli. Four original eclectic smashers in English and French by three cuties and one dude. This crew can definitely make songs and will surely electrify you as they did it to me. They offer candy for your ears, rage for your heart, and guaranteed stompers for your feet. Featuring a member of Curlee Wurlee! This is their first EP, so get it now before it's sold out!!!

Are you happy like this?” Purveyors of raw power pop and punk, THE Wind-ups may or may not be curious to know. Since the release of their 2021 debut, Try Not To Think, the Northern California bedroom-project-turned-touring outfit has gained the reputation of a lights-out live band, emulating the same breakneck pace of the record. And you are damn sure to find that same frenetic combustion on their second LP, Happy Like This. Produced in identical fashion to the first album, Happy Like This finds frontman Jake Sprecher once again in his comfort zone–writing, performing, recording and mixing the entire record himself from the backyard confines of his home in the college town of Chico. Still slamming ” tape into the red, you’ll hear many-a blistering hook in the form of tracks like “Oh I Know” and “Tell Me Again (How Pretty I Am)” and odd-measure pushers like “Nothing But Time” and “Starting To Lose

Cryptic fuzz punk meets 60s influenced garage weirdos: no clichés, just super original super raw garage tunes. THE SKEPTICS are a unique one-man creation interpreted live by a French-Belgian three-piece combo. Already well-known in the international garage scene: two 7" on Frantic City Records (B), another one on Cheap Pea Records (USA), various European tours, reviews in Bananas Magazine (USA), City Trash (NL), Rock Hardi (F), Lost in Tyme (GR), etc. This album is a must-have for all garage freaks interested in NOW! music, and will do pretty well too on any turntable. Extremely exciting. 14 killers on vinyl to be filed under Fuzz Punk!

10th year anniversary edition on 180 gr. black vinyl. Copy closer to NM. Cover with hype sticker

Record Store Day 2021 Release. A limited edition 10" 4 track EP on transparent 140g vinyl, featuring 'Cheree', 'I Remember', 'Cheree (Remix)' and 'Keep Your Dreams' (an early version of 'Dream Baby Dream'). Brand new artwork designed by Philip Marshall, including photography by Adrian Boot.

The '21 album by Sky Mata (Yūtai Bijin), a prodigious bedroom folk S.S.W. from Sapporo, is now on LP!

The latest work by the Sapporo-based home recording project Sky Mata is now available in analog form. Each side consists of seven or eight songs on this nostalgic, cinematic, and stunning lo-fi avant-pop suite.

Sky Mata has been releasing works since the mid-2010s, and their self-titled EP under the name Ghostly Beauty, which was released in analog form in 2021, has also made a big splash. It is now available in analog form. The album has a unique sound that combines the romanticism of folk music from half a century ago with an inorganic, futuristic world. The improvisational and flowing performance that intersects jazz, lounge music, and exotic, and the unique vocal style that spins pop melodies in a humorous way are also filled with a mysterious charm. If I had to name an artist of the same era, I would cite Sam Gendel as a great masterpiece.

First solo release from Melbourne pop-rock singer/songwriter Simon Juliff Produced by Joel Silbersher (god / Hoss) and released on the newly revived Australian label Dog Meat Records Much-loved Melbourne rock 'n' roll label Dog Meat Records returns with first solo release from former singer/guitarist/songwriter of The Roys and God / Hoss / Powder Monkeys associate, Simon Juliff The first new Dog Meat release in over a quarter of a century is the new single “Stars”, taken from the forthcoming album of the same name, from reticent Melbourne pop-rock singer/songwriter Simon Juliff. Juliff, who was singer/guitarist/songwriter for Melbourne band The Roys in the ‘00s, was a friend of many of the ‘90s Melbourne bands on Dog Meat and nearly a Dog Meat signing with his first band The Evil Dead. Produced by long-time friend Joel Silbersher (God, Hoss, Tendrils etc) and featuring backing from members of Hoss and Kim Salmon & the Surrealists, “Stars” – both the new single and the forthcoming album - combines brightly dappled glimmers of classic pop-rock melodicism with a darkened, frazzled vibe.

Seablite is a four-piece pop band from San Francisco inspired by 80s/90s indie and shoegaze. Seablite was formed in 2016 when Lauren Matsui (vocals / guitar) and Galine Tumasyan (vocals / bass) bonded over a mutual appreciation of early 90s Britpop and UK underground music. The pair began writing songs and soon after Jen Mundy (ex-Wax Idols) joined on second guitar and Andy Pastalaniec (Chime School) would eventually join on drums. They have released an LP (2019’s Grass Stains and Novocaine) and 7" single (“Breadcrumbs” c/w “Ink Bleeds”) via Emotional Response Records and a 10" EP (High-Rise Mannequins —recorded and produced by Alicia Vanden Heuvel of the Aislers Set) in conjunction with Spain’s Meritorio Records. The band is among San Francisco’s current indie pop renaissance and have opened for the likes of Brian Jonestown Massacre, The Charlatans and Ladytron upon their recent Bay Area visits. Seablite has finished their sophomore album, Lemon Lights. Recorded over the summer of 2022, Lemon Lights contains 12 dreamy pop tracks showcasing the group’s continued growth and maturity and marks a strong progression from their debut album. After recording basic bed tracks with Robby Joseph, the band finished overdubs in their practice space and Lauren's apartment. The freedom of home recording allowed them to experiment, resulting in an organic and intuitive manifestation of the band's emotions and creativity - a sonic inkblot of unfiltered pop appreciation. One may hear Manchester undertones on "Hit the Wall" and “Melancholy Molly”, or the feminine noise-pop of Lush on "Pot of Boiling Water" but Seablite are not to be mistaken for anglophile copycats. Seablite incorporates the jangle of their San Francisco “Fog Pop” contemporaries on tracks like “Hold My Kite” and a relentless and driving guitar on “Blink Each Day”, while the wonderfully dark elements on “Monochrome Rainbow” and the wistful closer, “Orbiting My Sleep” give them a wide range of sounds and vibes.

Highlights:"La Revolución Y La Tierra" Is A Peruvian Documentary Film That Became An Unprecedented Success In Peru, After Its Premiere In 2019, Turning Into The Most-Watched Peruvian Documentary Of All Time.The Soundtrack Was Made By Santiago Pillado-Matheu, Who Develops A Musical Universe Based On The Use Of Andean Sounds, In Evocative Landscape Pieces Of Melodic And Ritualistic Ambient And Drone Music.Having Acclaimed Peruvian Soundtracks Such As "Cholo", By El Polen, Or "Venas De La Tierra" By Luis David Aguilar-Both Released By Buh Records-As A Precedent, Adds A New Item To A Series That Seeks To Disseminate Milestones Of Film Music Made In Peru.Description:"La Revolución Y La Tierra" Is A Peruvian Documentary Film That Became An Unprecedented Success In Peru, After Its Premiere In 2019, Turning Into The Most-Watched Peruvian Documentary Of All Time. Directed By Gonzalo Benavente Secco And Produced By Autocinema, The Film Offers A Vision Of One Of The Defining Chapters In Recent Peruvian History: The Agrarian Reform, A Law Enacted By The Government Of Juan Velasco Alvarado In 1969 (Within The Context Of The So-Called "Peruvian Revolution"), Which Marked A Before And After In A History Of Struggles For The Land And Citizenship In Peru. "La Revolución Y La Tierra" Is A Film About These Struggles And The Imageries Built By Peruvian Cinema Throughout Time.The Soundtrack Was Made By Santiago Pillado-Matheu, A Versatile Peruvian Musician And Sound Artist, Founder Of The Psychedelic Rock Group El Hombre Misterioso, And Creator Of Sound Installations Having Memory As Theme. In This Soundtrack, Pillado-Matheu Develops A Musical Universe Based On The Use Of Andean Sounds, In Evocative Landscape Pieces Of Melodic And Ritualistic Ambient And Drone Music, Which Progressively Incorporate Sound Collages, Using Samples Of Peasant Leaders' Voices And Footage From The Film.We Can Also Find Electronic Pieces That Make A Nod To The Synthesizer Music Of The 70s, As Well As Psychedelic Rock Di...

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.