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‘Don’t Believe The Truth’ was released on May 30th 2005 and became the bands 6th number 1 album, selling 7 million copies around the world. The album includes Zak Starky on drums (Son of Beatle, Ringo Star) and song writing contributions from the whole band leading to a different style of album from the previous Noel written material. Produced by: Dave Sardy and Noel Gallagher

It's tough to keep up with garage rock's wunderkind Ty Segall. Between his steady release schedule of LPs, raucous side projects like Fuzz and Goggs, and collaborations with fellow songwriters Mikal Cronin and Tim Presley, it's as if a season can't pass without Segall dropping a new record. And that's not even taking his cassettes, splits, and EPs into consideration. Fortunately, Segall's bottomless well of creativity, production savvy, and boundless fascination with the various niches of the rock world makes every new release an occasion to celebrate. Suicide Squeeze Records is proud to offer the latest entry in Ty's impressive canon with the Sentimental Goblin 7". Side A features "Pan", a fuzz-soaked proto-metal jam that links Beatles' pioneering guitar dirge "I Want You (She's So Heavy)" to later lurch classics by Sir Lord Baltimore and Pentagram. In true Segall fashion, he switches gears on side B and conjures the erudite pop appeal of T. Rex and Bowie with the lush glam rocker "Black Magick".

One of those bands forever in between. Too pop for punks, too punk for pop. Too clean for garage nostalgia, and too weird for Americana. Hard to classify, their sound is a mixture of Sixties Beatles-esque melodies, sunshine-pop atmospheres, punk attitude, country, rhythm and blues, surrounded by dreamy landscapes, folk-revival lyricism and sometimes even bordering on psychedelia. All the records they grew up with, or bought during their travels, are in the cocktail. 'Storms', their brand new full-length record, is a step forward to this brave non-concept concept. A labor of DIY, recorded by their former drummer Brown Barcella and Alessio Lonati, produced and mastered by their best friend Riccardo Zamboni and released on their own Wild Honey Records.

Along with Speakers, Flipper's, Beatniks, Ampex and Streaks, The Silver Thunders were responsible for one of the most exciting chapters of the early rock years in Bogotá, Colombia.Eccentric and volcanic, the quartet recorded an album in 1968 which wasn't released at the time. Rescued from old cassette tapes, that recording finally comes out five decades later, displaying the rebel spirit of a group influenced by Mersey beat, surf and garage."Me gritan melenudo" contains 'Alma agobiada', their only original composition, plus raw covers of The Beatles, The Monkees, The Troggs, Lovin' Spoonful, Miriam Makeba and The Ventures. It also includes two more Beatles songs and a couple of covers from the Wild In The Street soundtrack recorded in 1970 by Los Yoguis, as the group was known at the end of their short-lived career. Plus many photos, a family tree and the detailed story of the band.More details?In 1968, The Silver Thunders enjoyed a good reputation within the Bogotá rock circuit. Whether it was for the crazy and insolent image they projected or for the flair they exuded on stage, the four young musicians were regulars on radio and television programs, at youth dances and legendary discos like La Fiebre, The Ship, La Caverna, La Jaula, La Bomba, Panauto and El Diábolo de Oro. All they needed was a record to consolidate their popularity.Today, none of the three living members of the band remembers where they got the money from to invest in the recording, but they got together three or four hours a week over several months in 1968 at the studio Suramericana de Grabaciones. The details of the sessions are hazy and nobody knows who sat behind the mixing desk. However, Jorge López (lead guitar) and Orlando Córdoba (bass guitar) both say that the studio was uncomfortable and precarious. This didn't undermine the group's upbeat spirit. That's how things were back then: no editing tricks and no option of doing several takes, as reels of tape were very expensive. The Silver Thunders, with Ed...

Los Saicos Created A Raw, Wild And Visceral Sound, The Southern Hemisphere Equivalent Of The Garage Rock That Was Coming Out Of The Us And Their Anthem 'Demolición' Is One Of The Most Insane '60s Punk Songs Of All Time. Unavailable On A 45 For Over A Decade, Here It Is Again! The Archaeology Of Rock'n'roll Is Much Like Any Other Form Of Digging. Significant Finds Demand The Re-Addressing Of Previously Considered Certainty. You Can Hear Direct Links To Both The Stooges And The Cramps Here And Several More Equally Enthralling Combos. The Latter Spawned Several Generations Of Individuals Who Would Dig Deep To Previously (Mostly) Unheard Seams Of Music And Other Forms Of Culture That Have Since Become Part Of The Mainstream Fabric. When Los Saicos' Front Man Erwin Flores Was Asked How Aware He And His Friends Were Of What Was Happening In Britain And The Us At The Time, Here's What He Had To Say: "We Knew The Beatles, They Were Our Idols. We Heard The Rolling Stones After Recording 'Demolición' And Also Bob Dylan And Others. The Primitive Nature Of Our Songs Is Something That Came Spontaneously Out Of My Head. The Band Had No Problem With Assimilating And Arranging It. We Thought Of Ourselves As Bad Boys And That Must Have Been A Driving Force." "Primitive To The Point Of Primordial, Los Saicos Are An Important Benchmark. Not Were. Who Ever Thought There Could Be A Combo Out There In Peru That Would Make The Sonics Sound Like Simon And Bloody Garfunkel? There Is Quite Possibly Some Other Music Out There, Someplace, That Could Well Make Us Re-Address This Consideration, But Until Then, Cherish This Short Course Of Saicotherapy."

Reissued - Father John Misty's First From 2012! Father John Misty Is The Nom-De-Plume Of Josh Tillman, Who Has Been Recording And Releasing Solo Albums Under His Own Name Since 2003, And Who Left Seattle's Fleet Foxes After Playing Drums With Them From 2008-2011. When Discussing Father John Misty, Tillman Paraphrases Philip Roth: "'It's All Of Me And None Of Me, If You Can't See That, You Won't Get It.'" Fear Fun, Father John Misty's Debut Album, Began Gestating During What Tillman Describe...

Zoom Breakup is the latest slab of zoomtastic Boss-sound garage pop mixed and mastered by the legendary Jim Diamond. "Muck & The Mires might be retro-rockers but they’re not specificists; they happily plunder the Monkees, Sixties garage, “Shake Some Action,” early Beatles, Them, and the Ramones." - The legendary Jim Testa Muck AND THE Mires, Boston's International ambassadors of garage rock 'n' roll, have been described as a blend of the 1964 Beatles and the 1977 Ramones. Their songs are reminiscent of the 1960's British Invasion, all two minutes long and ALL Potential Hits!

"I don't know what we was thinking, but the kids sure liked it." -Ringo Starr

The Beatles' classic single "It's Okay to Leave a Dog in a Hot Car" was the song of the summer of '66 and is now one of the greatest cases of lost media the world has ever seen. A multi-platinum monster when it was first released, a mix-up at the manufacturer caused the records to be pressed using an unstable experimental polymer that rendered them all into a volatile, toxic goo within months. Before the single could be repressed, the plates were destroyed for a tax write-off, and it is said that Paul McCartney burned the master tapes himself. We can't go back in time to bring you the Beatles' original, but we can give you the next-best thing: Joe Siris' wonderful recreation of the lost masterpiece.

"I don't know what we was thinking, but the kids sure liked it." -Ringo Starr

The Beatles' classic single "It's Okay to Leave a Dog in a Hot Car" was the song of the summer of '66 and is now one of the greatest cases of lost media the world has ever seen. A multi-platinum monster when it was first released, a mix-up at the manufacturer caused the records to be pressed using an unstable experimental polymer that rendered them all into a volatile, toxic goo within months. Before the single could be repressed, the plates were destroyed for a tax write-off, and it is said that Paul McCartney burned the master tapes himself. We can't go back in time to bring you the Beatles' original, but we can give you the next-best thing: Joe Siris' wonderful recreation of the lost masterpiece.

Reissue of this super hard to find self-released Brazilian garage-beat 7" from 1965. Still very unknown even among hardcore collectors of the genre, but surely an amazing example of genuine teenage garage rock from 60s Brazil reissued for the first time The band would later become Loyce e os Gnomos, a cult band featured on the compilation Brazilian Guitar Fuzz Bananas.The reissue includes an insert with liner notes and a previously unseen photo of the band. Unearthing a forgotten chapter in Brazil's musical scene, Gatos Malucos emerges as an enigmatic garage/psychedelic band from the small city of Limera, in the Sao Paulo countryside. Comprising friends aged 14 to 16, Gatos Malucos combined their admiration for iconic acts like the Beatles and Yardbirds with an unmistakable Brazilian essence. Years later, two band members went on to form the amazing proto-punk band Loyce e os Gnomos. "I literally went crazy. I became a fanatic for the Beatles and proceeded on collecting everything related to them. Records, clothes, newspaper clippings and magazines and song lyrics. Even the Gretsch guitar, similar to the model that George Harrison played, I had the opportunity to pick up in the US. Then when the movies came up, it was pure bliss. The mood was set and, to assemble our band, it was a no brainer. After all, the music flowed harmoniously through our veins."Raphael (Gatos Malucos Guitarrist)

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

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

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

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

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

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

"From Dimension 36D comes comedy music's most ambitious, most ill-advised, most charitable album Ever! Comprised of a collective of the most talented tribute-band artists in Texas and some of the most cacophonic creators of comedy music in the 21st century, "Boobey Road" is the crowning achievement BY boobs FOR boobs!

"Boobey Road" is: Irreverent. Reverent. Smart. Stupid. Funny. Serious. (No, not really... "Serious"... as if!)

The final double-album by The Fab Two-Pair is many things all squished together, bunched up, and cinched tight... and, in the end, it's up to you to decide where "Boobey Road" leads you! But one thing is for sure, we love boobs so much that we donate ALL profits to The Breast Cancer Research Foundation for a cure!

Love us or hate us, laugh or loathe, bounce along or want us bounced, "Boobey Road" is just what it is: an album of parody songs about boobs! No political or sociological agenda, no over-raunchiness to merely shock and offend, just 100% Beatles parody songs about boobs!

Don't take this seriously, because obviously we didn't... except for the excellent contributions by Many ridiculously talented people who also want to eradicate breast cancer once and for all!"

"From Dimension 36D comes comedy music's most ambitious, most ill-advised, most charitable album Ever! Comprised of a collective of the most talented tribute-band artists in Texas and some of the most cacophonic creators of comedy music in the 21st century, "Boobey Road" is the crowning achievement BY boobs FOR boobs!

"Boobey Road" is: Irreverent. Reverent. Smart. Stupid. Funny. Serious. (No, not really... "Serious"... as if!)

The final double-album by The Fab Two-Pair is many things all squished together, bunched up, and cinched tight... and, in the end, it's up to you to decide where "Boobey Road" leads you! But one thing is for sure, we love boobs so much that we donate ALL profits to The Breast Cancer Research Foundation for a cure!

Love us or hate us, laugh or loathe, bounce along or want us bounced, "Boobey Road" is just what it is: an album of parody songs about boobs! No political or sociological agenda, no over-raunchiness to merely shock and offend, just 100% Beatles parody songs about boobs!

Don't take this seriously, because obviously we didn't... except for the excellent contributions by Many ridiculously talented people who also want to eradicate breast cancer once and for all!"

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

Forget Haikara, Apollo, Kalevala, Elonkorjuu... Kalevi Falk's eponymous album from 1971 may be rarer than any of those. Kalevi Falk were on Blue Master, the label also responsible for Apollo, and nobody is sure how many copies of their only LP were eventually sold or printed. Kalevi Falk continued playing until 1975 but due to everchanging lineups they never did another record. Although Kalevi Falk at the time was mostly known as the backing band for schlager stars such as Carola, their own work is a different bag. Ranging from a Beatles cover to psychedelic songs about vampires, this retro oddity has it all. The Svart reissue comes with the original gatefold layout and adds a new interview with a few of the band members.

Limited to 150 copies. Only at HHV.

“It has not been definitively proved that the language of words is the best possible language” -
Antonin Artaud
If this is your first time to hear about Chuckamuck, there's a good reason for that: This is a reach-out project, beyond the personal and commercial barriers that exist for a European band that sings in their own mother tongue. Language is a tricky business in Rock and Roll, especially for a German band. To resign oneself to sing in English, and be open to the dominant Anglophone music market whilst hoping your tunes resonate with local scenes and fans, not only risks billing a band as less unique, but also denies them the right of native poetry by applying their best-known language to express themselves lyrically. In the greater music market, it has been acceptable to hear German in parodist stereotypes, such as the robotic nature of Kraftwerk or violent sexual imagery of Rammstein, which are consumable for international audiences. However, over the 14 year career of Chuckamuck, their expressions have varied from their teenage years as “punk rock Rimbauds” into teary-eyed mysticism, soulful desire, despotic vexation and much more. And as dedicated artists and lyricists, they have intimately touched their German speaking fans; however due to this language barrier, they have been frustrated to not share the full “Chuckamuck experience” with fans during their European tours with The Black Lips, King Khan and the Shrines, Beatsteaks, Demons Claws and The Strange Boys. As founding member and main crafter of the Chuckamuck world Oska Wald says, “You originally think 'its music, it's going to be understood in any language', but Chuckamuck is so much more than our songs, it's an enterprise of our art, animation, live shows, videos, comic books, an entire world we have produced”. Which brings us to the Language Barrier project: In essence, this extremely ambitious project is a Chuckamuck “Best Of”, with remakes of pearls from different periods of the band since their inception in 2006, translated into 8 languages (Italian, French, Spanish, Swedish, Polish, English, Hebrew and Japanese), recorded by bandmember and songwriter Lorenz with longtime Chuckamuck engineering pals Thomas Götz and Max Power at O'tool Studio. Each song is impressively presented in its own unique video clip, defining the images and moods of the band. The whole project was produced over three years with a great deal of patience and heart. Inspired by the efforts of the Beatles in the 60s, who saw it fit to record awkward versions of their early hits into French and German, as well as the wealth of worldwide 60s bands who recorded pop songs into a “third language” by naively and phonetically singing in English, Chuckamuck wanted to capture this excitement of reaching potential new audiences and actually being understood. Another big influence has been the flawless multilingualism of their Staatsakt labelmates, Stereo Total. A few elements make this project really special. Firstly, as a Berlin band, Chuckamuck employed the
help of their local international family to help with the translations. These world class artists worked together to recreate songs in their own languages, so that the deliveries maintained the life and ingenuity of the original works. These include the sensational Swiss folk musician Melissa Kassab,
renown Swedish comic artist Crippa Almqvist, and Japanese cartoonist and animator SHOXXX. Of particular interest over the record is the transformation of 'Eis Am Stiel', an older Chuckamuck classic, inspired by the joint Israeli-German cult film of the same name. Translated by the bands' newest member, Amit Alcalai of The Gondors, its transition into the original language of the film is notably cultural and impressive. Similarly, the hit "Sayonara" translated makes it sound like the 80s Japanese new wave song it always begged to be and is very addictive. Chuckamuck's anthem to their own ironic ennui of being German and desiring to sound like a 70's Nashville band, 20.000 km performed in French accentuates their honest desire and is incredibly effective. On top off all this, 11 complete music videos have been produced for each song off of this album, all including original hand-drawn animations by award-winning cartoonist Oska Wald. Three weeks after a particularly rough mushroom trip, Oska had a flashback to a moment of intensity and visual disturbance from the trip – and began drawing, plate by plate, the original animations which would continue for three gruelling years to complete these creative masterpieces. Each clip highlights in leitmotifs what each individual member of Chuckamuck brings to their sound and attitude, which is now available for you to explore, as Chuckamuck has so lovingly reached out to you, in your own
language. Do them the favour back of exploring the work of this diverse, energetic, and romantic punk band on the eve of their 14th anniversary!

Hot Apple Band’s long-awaited debut album, So Long, Noodle House is a collection of 11 tracks recorded between 2019-2022, mostly at Jack Kinder’s home studio in Strathfield, Sydney. Once the pandemic hit, Jack and Lewis Mosley had ample time to give birth to the songs, allowing for this body of work so it could become all that it deserved to be. The resulting album will no doubt please long-time fans, with a number of songs being staples from the band’s live repertoire. So Long, Noodle House is symbolic sign-off on the band’s past and an exciting peek into what’s to come. The record covers broad ground, from 70s imbued alt-country and catchy Beatles-era pop, through to emotive folk and soft rock. Coming-of-age themes run deep in the album, as Jack Kinder's lyrics touch on life changes, friendship, shitty jobs and of course, love. With Kinder's smooth vocals, clever arrangements and gorgeous vintage production, and Lewis Mosley’s unforgettable lead guitar, slide and keyboard performance, Hot Apple Band’s debut has the same charm of some of the best records from the early 1970s, radiating George Harrison, Crosby, Stills, Nash & Young, Harry Nilsson and Fanny in a similar style to modern counterparts such as Drugdealer, Weyes Blood, Daniel Romano and The Lemon Twigs.

Green vinyl! Long awaited second album from UK indie rock band Don't Worry! Since their inception in 2014, Don't Worry have earned themselves a loyal following, releasing their debut album Who Cares Anyway? back in 2018. The band, helmed by co-lead singers Ronan Van Kehoe and Samuel Watson, write about everything from the mundanities of life to the relatively profound delivering a relatable commentary on modern day life. The band cite a diverse range of influences for their new record, combining the vocal harmonies of classic pop groups like The Beach Boys and The Beatles, the guitar stylings of US indie heroes Built To Spill and Pavement with the energy and quintessential 'Britishness' of acts like The Streets, The Cribs and Blur. Remorseless Swing was recorded in Spring 2021 at No Luck Audio, Exeter, a studio run by drummer Tom Gilbert. Now eight years into their journey together, Don't Worry are showing no signs of slowing down and are very much looking forward to taking their explosive new album on the road in Spring 2022.

The Daggermen all went to Rede Secondary School in Medway, Kent. It was a school for those that failed their 11 plus, or who passed it but decided to go there anyway (as Jon pretends). Being in some of the same classes we became friends and found we liked the same music; The Who, The Small Faces, The Kinks, The Beatles and The Jimi Hendrix Experience. We started going to Carnaby Street, wearing Beatle boots and generally being a bit Moddy. Dave's older brother, James Taylor, played organ in The Prisoners and we'd listen to cassette tapes of them along with other local band, The Milkshakes as we bounced on the trampoline during P.E. After watching both bands play live in local venues such as the M.I.C. club in Chatham we formed The Daggermen, working out who was going to play which instrument as we stood next to the now demolished school sports hall. No one can quite remember who thought of the name, The Daggermen (it was me) or how comes Jon was playing bass on a guitar in the band at the very start and then Terry took over when we started gigging (it was because he had a real bass guitar and a car). But the next thing was that we were supporting The Prisoners both in Medway and places such as the 100 Club in Oxford Street. Then, one sunny day at around the age of 17, I bumped into Billy Childish walking across a field. I formally introduced myself and told him that he should definitely come and see our band that night because we were "fucking brilliant". He did turn up and bought us a tray of whiskies whilst we were on stage, a sure sign that he had liked it. This led to him and Russ Wilkins, bass player in The Milkshakes alongside Billy, asking us if we wanted to record an E.P. for Russ's label, Empire Records. This was our first ever recording called Introducing The Daggerman which was made in a brick arch under Rochester bridge that we rented for £2 a week to rehearse in and lovingly referred to as 'The Hole'. We got ourselves a "manager" (our mate, Vic Templar) and started playing up and d...

Cool Rock&roll, Surf, Beat AND Garage-rock From Philippines IN THE 60s!! Led by teen guitar wizard Ramon “rj” Jacinto, RJ & THE Riots was one of the first rock&roll /beat bands from the Philippines and certainly the first to release original rock n’ roll songs with lyrics in their own country. This is the first ever reissue of their second album, originally released in 1964 and now impossible to find (four stars rating in Hans Pokora’s 1001 Record Collector Dreams book). Including original songs like the monster instrumental “Fuzzed”, the garage sounding “Advertising Man”, “Girl Nice”, the surf rock of “Trip To Manila” and more plus a few rad covers (Beach Boys, Buddy Holly…). The album was recorded at the home studio built by whizz kid Ramón Jacinto, who also operated his own record label (RJ Productions), magazine (Teenstone) and radio station (from his parent’s backyard!) RJ and the Riots started as a high school band of classmates composed of Ramon “rj” Jacinto (lead guitar), Alan Austria (bass guitar), Jimmy Colayco (rhythm guitar) and Bernie Evangelista (drums) with ages ranging from 15-17 years old. They were one of the first bands with electric instruments in the Philippines and this album marked the transition from instrumental rock to vocals. Today, RJ is a well-known businessman (founder of a TV and radio network), Pinoy rock&roll icon and continues his musical journey performing rock n’ roll hits of the 50’s – 80’s at his own Bistro “rj” music lounge, where the top of Philippine society, movers and shakers, go to dance and sing to RJ’s rock n’ roll classics. *Remastered sound and color insert with liner notes & rare photos. *Download card with the album plus one bonus track from a rare 45 Riyl: Ventures, Beach Boys, Buddy Holly, Stones, JAN & Dean, BeatLES…

Déjàvu' is the debut solo album from Matthew Tavares, aka Matty. Originally released in 2018 as a digital only release, it now sees the physical release it rightly deserves. Produced by his good friend, the acclaimed producer / songwriter Frank Dukes, ' Déjàvu' emerged during a period of rest for Matthew after heavy touring schedules with his former band Badbadnotgood. As with many of the most fertile creative minds, continual reinvention leads to exploration of new sounds and styles. ' Déjàvu' sees a departure from the jazz of Badbadnotgood and a move into a more song-based storybook, with Matthew stepping up to the plate as lead-vocalist. As Matthew explains "I’ve always worked on my own stuff outside of Badbad, and I’ve made music that sounds like this since I was 16. But when Badbad started taking off, it was like “Ok, I can’t really make rock-y songwriter music anymore”. The inspiration for the album came after revisiting old favourites and classics such as The Zombies, The Beatles, shoegaze, and Krautrock records. It was also made in a difficult and reflective period in Matthew's life, with each song being a vignette to an individual. "I wrote each song about someone specifically, but then I realised very quickly afterwards that every song is about myself". Even though on the surface the record could be loosely categorized in the rock / indie camp, its dreamy psych-pop vibe evokes much richer musical inspirations. Elements of jazz, AOR, and the compositions of 'golden-era' Brazilian arrangers such as Arthur Verocai enrich the songs. For the Mr Bongo release of ‘Déjàvu' we have included the beautiful bonus track 'Verocai Pt. II’ which was a product of the same recording sessions and rounds off the record. Though a 'solo’ release, with its songwriting, content, and themes being very personal to Matthew, the record is backed by a cast of friends, family, including Badbadnotgood members.

LP comes with download code. Initially released in 1979, ‘New Picnic Time’ is “weird, wonderful and so far beyond the expected that these deconstructions of popular music are as charmingly retro as the Beatles and as modern as today's blending’s of funk, hip-hop and alt-rock. Revolutionary and demented yet full of fun, Pere Ubu are indispensable to any collection of 20th century rock.” (Herald-American, Scott Laurence). The album features in new box set, ‘Architecture Of Language 1979-1982’, released in March. It gathers together ‘New Picnic Time’ with its companion releases, ‘The Art Of Walking’ and ‘Song Of The Bailing Man’ plus LP of extras, ‘Architectural Salvage’. Coed Jail! Spring dates mark the release of the box with a set list drawn exclusively from the recordings of 1975-1982. Tom Herman, guitarist from 1975 to 1979 and from 1997 to 2002, rejoins the band for the tour. The line-up is David Thomas, Tom Herman, Robert Wheeler, Michele Temple and Steve Mehlman. Wheeler and Temple have been in Pere Ubu since 1994, Mehlman since 1995.

The Morning Papers Have Given Us the Vapours was made with the black watch bandmates and producers/engineers Rob Campanella (Brian Jonestown Massacre, The Tyde, The Warlocks) and Andy Creighton (The World Record, Parson Red Heads). Ben Eshbach, formerly of The Sugarplastic, arranged the strings. Kesha Rose guests on lead vocals on the second single, Oh Do Shut Up. And the great Lindsay Murray once again lends her beautiful backing vox to a number of tracks.

the black watch songwriter/frontman John Andrew Fredrick wrote the ten songs on this, his Los Angeles-based band's latest album, entirely unselfconsciously, with no set goal in mind other than to revel in the joy of songwriting, and, eventually, the luxury of recording his music with his more-than-accomplished band. The Morning Papers Have Given Us the Vapours, produced separately and together by Rob Campanella and Andy Creighton evinces the black watch's often stunning ability to, as Andy Gill once observed in The Independent, "find chaos in the calm, melody in the miasma."

Fredrick, who has also published four comedic novels and a book on the early films of Wes Anderson, jovially describes himself as "a recovering Anglophile--one who'll never, one hopes, fully recover." From his home studio in the Angeleno Heights district of L.A., he waxes eloquent about how being branded, as it were, as a too-ardent lover of British music, film, and literature has left him as bemused as has the tag "prolific" that is often affixed to reviews of his work.

"I just don't think it's all that interesting to note that we've made so many records. Looked at one way, it's a sort of deflection from talking about the timbre if not the quality of the individual songs. Though I know it can be intimidating for fans who've just discovered us--a sort of 'My goodness, where do I start with this band that has put out LPs since 1988?' I get it. I do. I picture someone standing at our slot at a bin at a record store becoming overwhelmed at the prospect of picking the 'wrong' title. And then walking away and not picking up anything from us!" Fredrick laughs. "What can you do indeed?"

He started his career as a songwriter as a result of an American Football injury that left him bedridden in the home he grew up in in Santa Barbara, California. The year The Beatles immortal double-album came out at Christmastime he broke his leg so badly that he had to be home-schooled for an entire year. His parents, ex-teachers themselves, refused to let him watch telly for more than an hour a day. He propped a Silvertone acoustic on top of the massive cast that screamed all the way up to his thigh from his toes, and began to write little melodies and lyrics that, doubtless, did not in the least mask his love for the Fabs, The White Album in especial.

And he read and read and read--histories of the American Revolution and Civil War, mostly, and as many Dickens novels as his mum and dad could bring him. "That year," Fredrick observes, "surely made me who I am today. Proof that intensely unfortunate-seeming events can prove most fortunate. As a sport-mad kid, it made me absolutely mental that I was exiled from the activities I loved most and the school teams I played on. What a blessing undisguised that injury was! Not that I'd like to experience anything like it ever again, mind you."

Fredrick can even recall a few of the melodies he wrote as boy ("Utterly trite, of course, completely jejune"); and in a way, The Morning Papers Have Given Us the Vapours showcases a kind of get-back-to-where-you-once-belonged sensibility. "I didn't intend, this time, to make an album per se. I write both songs and fiction in order to find out what happens, to find out what I might want to say," he notes. "Rob often asks me what a particular song is about; and I often reply that I either don't know, or would prefer that others say. Same thing goes for when people ask me where they should start with our discography. I never know what to say. Our LP from 2011, Led Zeppelin Five (remastered in 2021 for its tenth anniversary), has been our best seller, I think--but that may be because some stoned Zepheads thought their gods had perhaps put out a record they'd missed!"

Despite being deadly serious about music-making, TBW's been known to either whimsically or perversely title their albums. Examples: Jiggery-Pokery (an allusion to John Lennon assessing George Martin's productions), After the Gold Room (a pun on the Neil Young classic plus a local eastside L.A. watering hole), Sugarplum Fairy, Sugarplum Fairy (echoing Lennon's famous count-off to A Day in the Life), Fromthing Somethat (a garbled spoonerism/lyric while doing a vocal), Brilliant Failures (the 2020 release that, along with Fromthing Somethat, was named Album of the Year by venerable indie rock magazine The Big Takeover), and the aforementioned LZ5.

For the new LP, the band recruited longtime friends and allies Ben Eshbach (the Emmy-Award-winning frontman of The Sugarplastic) and Lindsay Murray (Gretchens Wheel) to compose and arrange strings and sing heaps of lovely backing vocals, respectively.

And the result? A collection of songs that Fredrick, in his quite-but-not-quite self-deprecatory way, might call another set of brilliant failures. "Every song, every LP we do, is a failure of sorts--no matter how powerful or beautiful or pleasing-to-us it turns out," John concludes. "I have often said that my aim is to write songs as good as anything on The Beatles... and I will never achieve my goal. And thus I'll have to keep at it, keep trying. And chin-chin to that!"

And now your attention's been brought to a band (or you've heard of them or heard a track or two down the years) that has been pegged by The L.A. Weekly as "a national treasure" as well as "the most criminally-neglected indie pop group imaginable."

So here's to the prospect of that ostensible neglect becoming as much of a thing of the past as John Andrew Fredrick's year-long stint in bed.

Summer Sun Vinyl. Following in the wake of baroque charttoppers by the Zombies, Beatles, andthe Left Banke, a dandier approach togarage rock flowered in the back half ofthe '60s. Awash in majestic harpsichords,lilting guitars, melancholic organs, andmiddle school orchestras, Soft SummerBreezes captures the decade's last gasps ofoptimism via 16 gentle moments of softpsychedelia.

The Jam’s debut album In The City was originally released in May 1977 and reached #20 in the UK album chart. It features the title track, the first of their 18 top 40 singles (UK #40 in April 1977) alongside 9 further originals which captured the mood of the times and in particular the energy and anger of the UK Punk movement. It also boasts two cover versions, ‘Slow Down’ and the theme to the 1960s TV show Batman which make no secret of the inspiration the band took from 60’s American R&B and UK groups like The Beatles and The Who, who also covered the Batman theme. The release comes in 140-gram limited edition white vinyl.

You've Changed Records Launches THE Archive Series, Offering Limited Edition Vinyl Pressings OF Daniel Romano's Renowned 2020 'bandcamp' Albums. In 2020, Daniel Romano and his increasingly exalted band 'The Outfit' were forced home, faced with the cancellation of tours and all live engagements at the beginning of the Covid-19 pandemic. Almost immediately, Daniel instigated a near legendary run of new albums, releasing 10 full-length albums in the span of nearly the same number of weeks. Genre-spanning, astoundingly distinct artist achievements of an unprecedented order, these albums were originally released exclusively in digital only formats on Bandcamp. They were direct and immediate missives from one of the most talented, prolific, ambitious, and exciting artists of his generation. We are thrilled to begin releasing these albums now in very special limited-edition vinyl pressings. 'Visions Of The Higher Dream' is an expression of rich, Beatles-esque (but so much more) psychaedelia, visionary, powerfully arranged and immaculately performed, and thoroughly beautiful in its scope and in its deails. It is as complete a statement, and as fully executed a vision as this famously restless artist has offered. Timeless and timely evocations of a higher dream.

The Buttertones’ Gravedigging is more a movie waiting to happen than an album—or a
soundtrack just waiting to inspire a movie, with scene after scene of action, tension and
release set to a sound that takes everything good and true about American music before
the Beatles prettied it up (surf, sweet soul, the boss saxophone-overdrive garage of the
Northwest wailers like the Sonics) and matches it to punk energy, post-punk precision and
the kind of personality that blows the circuit-breakers at a backyard party.
Recorded at Jazzcats studio in LongBeach—home-away-from-home to fellow Innovative
Leisure artists Hanni El Khatib, Tijuana Panthers, Wall of Death and more—in the spring of
2016, the sessions were supercharged with hard-won live experience from endless
street-level shows and relentless midnight-to-six rehearsals at the Buttertones lock-out.
Think of it this way: you might not yet know how the band that made Gravedigging is going
to land—but you know it’s going to hit hard.

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

With his surprising first solo album Edmund November, Edmund Lauret (Nordmann, Kosmo Sound, The Milk Factory) returns to his British roots and the music he grew up with. He also debuts as a singer. "I had been making solo songs for a while, but that process was accelerated during the corona period," he says. "I think there has always been a singer inside of me and now it has come out."

The idyllic setting of the southern English countryside where Edmund and his band recorded the album undoubtedly had an impact on the organic, vintage British character of the music.

The songs are open and expansive like the landscapes around the recording studio. The titles and lyrics also have an elusive character; Lauret prefers to leave them to the imagination of the listener.

What is also striking is that Edmund November is clearly influenced by music from the sixties and seventies, the songs Edmund grew up with. As a young guitarist, Edmund was enthralled by Jimi Hendrix, Donovan, early Pink Floyd and The Beatles.

His influences showed him how to master the balance between harmony and melody. This is how Lauret has always worked with his bands for the past fifteen years, and in that sense his solo work is no different.

Edmund November floats between psychedelic folk and melancholy pop. The songs were recorded live with minimal editing, which only adds to the liveliness of the record. Ten songs take the listener on a dreamy musical trip that showcases Edmund's singer-songwriter qualities.

A Haunted Tongue is the third album by Colossal Squid, the solo project of producer/virtuoso drummer Adam Betts (Goldie, Squarepusher, Melt Yourself Down, Jarvis Cocker). A Haunted Tongue moves things on one step further, letting the process and approach fade into the background, freeing Betts to balance a million inspirations (early 90s Warp, rave tapes, Nubian drumming, Indonesian gabba_) and filter them through an anything-goes punk aesthetic that results in a feeling of freedom that is both refreshing and rare. Betts has spoken of "a recurring dream of a stranger trying to get across an important message but not talking in any discernible language" that guided these recordings. This feels appropriate to the listener - the language of A Haunted Tongue isn't straightforward or easily classified but yet the message is clearly understood and embraced by the listener at a primal level. That message is one of hope - channelling the shared euphoria of communal musical experience and searching for an uncynical and personal expression of positive energy that can move people and resonate with them. "A while back we had a chat with JR Moores, he was doing a Bandcamp piece on the label. We mentioned we wished we did more rave-related releases. Within seconds we had the Johnny Broke album in our inbox. Johnny Broke is actually Wayne Adams. Wayne messaged and told us about Adam Betts (AKA Colossal Squid). And here we are, dealing with someone who drums for Squarepusher and Goldie. Both Chris and I have the biggest love for 90s rave music. For me (Joe) I'm listening to an alternative world that I was old enough for but missed out on. I knew the music but didn't have the knowledge to drive around the M25 looking for the fields. It's a history I don't quite have but feel like I do. It's like the Beatles: known all my life but no idea why. It's cut into our DNA. It was our punk rock but we missed it. This Colossal Squid album, no matter how many times I listen to it, brings something new every time. And it makes me...

Mike Etten is a songwriter, composer, and multi-instrumentalist based in New York City. One of the founders of the Brooklyn DIY venue and collective Le Wallet, Etten recorded and played in various experimental, chamber, punk and country projects throughout the last decade, including PC Worship, Ashcan Orchestra and Dougie Poole. Amidst extensive touring and performing, Etten started writing his long-awaited solo debut, Love Wash, a twisted slice of fringe Americana, composed of carefully crafted and self-recorded song experiments that are equally catchy and off-kilter… Love Wash has echoes of a post-Beatles solo record, recorded in the Northwest in the mid-90s; transient in its influences yet tied together with the aesthetic of its approach. Sequenced like the best, most damaged early K / Kill Rock Stars records and driven by fingerpicked acoustic guitar, sweeping drones, euphoric synths, lush vocals and soaring Dead Man leads, Love Wash is a beautifully rich pop record at its core and an ambitious journey of an album that started as bedroom demos and evolved into a layered studio exploration.”—Justin Frye (PC Worship)

Herself Is The Moniker Of Multi-Instrumentalist Gioele Valenti, Also Known As Juju In More Recent Years (Fuzz Club) Or As Part Of The Psych Project Lay Llama's. Herself's Work Was Described By Critics As The Harmonious Meeting Between Sparklehorse, Gravenhurst And Will Oldham. Valenti's Songwriting Takes Inspiration From Low-Fidelity Apocalyptic Folk, Crooning And Pop; Boasting A Rather Extensive Discography. Well Rooted In Tradition, His Music Often Ventures In The Realms Of Subtle Experimentation. His New Album "Rigel Playground" Prepares The Listener For A Journey Through Cosmic Folk, In Which Traditional Brit Pop Flirts With An Alt Vein, As If The Beatles And Sparklehorse Would Meet The Torments Of Nick Drake And The Intimacy Of A Mike Scott. Continuing A Long List Of Illustrious Collaborations (Amaury Cambuzat Of Ulan Bator, John Fallon Of The Steppes,Capra Informis Of Goat, Among Others), The Prestigious Guest On This Record Is Jonathan Donahue From Mercury Rev, A Group Of Absolute Prominence In The International Indie Panorama, Which In Addition To Having Lent His Voice To The Single "The Beast Of Love" - As Herself Says - Informs The Essence Of The Entire Record. Not Surprisingly Mercury Rev Chose Herself To Support Them During Their Italian Tour Last Year.

On third album Spills Out, Brooklyn noise-punk mischief-makers Pterodactyl have mutated from their abrasive loft-show roots into a glorious, broken-pop juggernaut. The band's squealing, sweat-soaked art-bustle had rapidly put them alongside contemporaries like Oneida, These Are Powers and Parts & Labor; but Spills Out gently leads the trio towards the uplifting, wistful harmonies of '60s rockers like The Zombies, CSNY and the pre-acid Beatles. Pterodactyl's onomatopoetic barks have been replaced by a luxurious three-part croon; their adenoidal squawk has been expanded to include Spectoria...

Even back in 1987, Guided By Voices was not content to release just one album in a year—Sandbox was released in the summer of that year following Devil Between My Toes’ appearance that February. Likewise, in similar GBV style, the sound and approach of the two albums could not be more different. Where Devil mostly mines a darker, lo-fi psychedia, along with several instrumental explorations, Sandbox is sunny, direct, has a bigger, crunchier sound, and zero instrumentals. Where Devil has a murky and impressionistic black and white photo of a rooster for a cover, Sandbox sports a full color photo of the band relaxing on a lawn on a sunny day. Let’s also recall that unlike today, in 1987 a full-color album jacket wasn’t just a little more expensive than a black and white one, it was way more expensive. Right up front, the band was communicating that this was a more commercially ambitious endeavor, while behind the scenes they rented better gear for a bigger sound, and tackled more sophisticated arrangements and honed in on the hooks and harmonies of the songs. Of all the band’s early self-released albums, Sandbox differs the most from the sound fans would later associate with the group, which is in itself a recommendation. Nowhere else will you hear the perfectly rendered three-part harmonies of “Long Distance Man,” direct Beatles quotes, or Robert Pollard reveling in his southern Ohio drawl. It’s also true that one of the more enjoyable aspects of the record is finding all the places where the band’s future is indeed foreshadowed. Simply put, Guided By Voices just can’t help but be a little weird, even when attempting something like a power pop album. At the close of the opening track, Pollard announces, “Ladies and gentlemen! Back by popular demand for your entertainment and spiritual enlightenment...Electric Jam Soul Aquarium!” a truly “wtf is happening here” moment. Or the stripped down gloom of “Trap Soul Door”—a track that could be right at home on nearly any later GBV album wherein Pollard intones, “Just one spark can start a hell of a fire.” Little did he know how true that statement would become.

Around the making of Mouthfuls, Fruit Bats had coalesced into a duo with Gillian Lisée and myself. It was sort of like our own mini cocaine-free version of Rumors. She wrote the bridge to 'Magic Hour,' which is totally about her. We also co-wrote 'Track Rabbits' together which is still one of my favorite things I've ever done and probably my favorite song on Mouthfuls.' 'I wrote 'When U Love Somebody' at the very last minute right before we started to record. It was kind of the throwaway track, which of course became by far the most popular song on the album and still probably the most popular Fruit Bats song, I was just trying to make something that sounded like Ray Davies, or even more specifically The Beatles' 'Two of Us.' Also, I spelled 'you' with a 'U' to reference Prince. People still like dancing to this one.

HIGHLIGHTS:First time vinyl reissue of the second album (originally released in 1973) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their seventies version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DETAILS:Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or...

With The best way to describe "There It Is, There You Are," is to call itPsyche Indie Pop that drips with positive vibes. Modern Nomad is for fansof Mac DeMarco, Tame Impala, and Revolver-era Beatles. The growth ofthis Indie-Pop master, Modern Nomad continues to evolve with each newrelease. The influences of Modern Nomad ooze out of these grooves andwill catch just about any ear. These songs were written and recordedwhile reflecting on his budding long-distance relationship. This record canmake you dance and move your feet while getting hit in the feels. Comediscover the beautiful soundscapes that Modern Nomad has created foryou to dig deep into on "There It Is, There You Are."

Get Rollin’ is the 10th studio album by iconic rock band NICKELBACK and their first in five years. Nickelback is the 11th best selling musical act of all time with over 50,000,000 units sold and the 2nd best selling “foreign” group in the U.S. of the 2000s, behind only The Beatles. Amongst all these accolades, they’ve also been named Billboard’s “Top Rock Group of the Decade”, and they have received a staggering nine Grammy Award nominations, three American Music Awards, a World Music Award, a People’s Choice Award, twelve JUNO Awards, seven MuchMusic Video Awards, and have been inducted into Canada’s Walk of Fame (2007).

Flutterama, the seventh album from Half-handed Cloud is a record of 18 jubilant indie-pop songs by John Ringhofer, investigating spiritual incompetence with lively arrangements and radiant melodies that skillfully dissolve into deterioration using herky-jerky tape manipulation, analog wow-and-flutter, and an animated orchestra of home-recorded sound effects. Ringhofer's work on Flutterama was mainly inspired by late '50s/early '60s pre-synthesizer academic tape music (Henk Badings, Tod Dockstader, Ilhan Mimaroglu, Malcolm Pointon), along with Frances Mary Hunter Gordon's adolescent liturgies (recorded at Abbey Road during The Beatles era), turbid sights and sounds in Guy Maddin films, R. Stevie Moore's home-taped pop universe, Alberto Burri's stitched wound burlap assemblages, Lou Barlow/Dinosaur Jr's lo-fi "Poledo" sound collage (which name-checks Jesus), Julie Canlis book A Theology of the Ordinary, Wallace Berman's visual collage, and The Raincoats' magnificently shaky D.I.Y. aesthetic.The tape machine itself plays a vital role in the album's drive, interrupting moments of ecstasy and revelation with varispeed pitch shifts and grainy decay. These tape-fiddled tunes - recorded on a 16-track reel-to-reel recorder - employ surprisingly little synthesizer ("it felt like cheating," says Ringhofer). He preferred to craft most of the album's effects the long way, frequently going behind the back of rock instrumentation by hand-feeding 1/2" magnetic open reel recordings of deflating balloons, chord organs, tablecloth swipes, piano (occasionally tracked with a baby on his lap), brass, some guitars, and a quickly-cranked half-speed music box. Ringhofer was assisted by long-time Half-handed Cloud contributor Brandon Buckner on drums, and single-song backing vocals from Anacortes, WA songsmith John Van Deusen.

Rock Eupora, the moniker for Mississippi-bred, Nashville-based artist Clayton Waller, has always been a heart-on-your-sleeve musical endeavor. From his earliest recordings, Waller has never been afraid to ask the big searching questions of life. Catchy, hooky pop sensibilities have similarly been a consistent through-line in Rock Eupora's catalogue. Featuring singable, fuzzed-out guitar hooks and stuck-in-your-head-all-afternoon choruses, the discography of Rock Eupora - including three full-length albums, two EPs, and a smattering of singles to date - brings to mind Blue Album-era Weezer or the high-energy, hard-charging, harmony-laden early Beatles singles.

Just a few months after releasing their acclaimed second album Still Life, Los Angeles indie-pop band Massage returns with Lane Lines a six-track EP out in early 2022 on Mt. St. Mtn. (Cindy, Flowertown, Blues Lawyer) that finds the quintet expanding on their Sarah-meets-Creation Records sound with new touches of soft psychedelia, Feelies-ish frenzy and Haçienda-era escapism. The band didn't plan to follow Still Lines so quickly. But after the pandemic further delayed that multi-year project, Alex Naidus (guitar, vocals, former Pains of Being Pure at Heart), Andrew Romano (guitar, vocals), Gabrielle Ferrer (keyboards, percussion, vocals), David Rager (bass) and Natalie de Almeida (drums) leapt at the chance to make music together again in real life and started gathering on random summer evenings in the tiny rehearsal-space studio of producer-composer Andrew Brassell (Susanna Hoffs) with no clear goal in mind. Lane Lines is the surprise product of those informal sessions - a flash of pent-up creative energy that serves as both a companion piece to Still Life and an exploration of textures and influences that didn't quite fit the full-length but have always been deeply embedded in the band's DNA, with new echoes of 1980s artists that sought to refract the 1960s through their own skewed prisms: Flying Nun, the Paisley Underground, The Feelies covering The Beatles, "Second Summer of Love" New Order. "The songs on Still Life and Lane Lines seem to straddle the line between indie and pop without exactly being 'indie pop,'" Romano says. "To me they feel more like descendents of 'college rock' a moment that lasted from about 1986 to 1991, right before the underground and the mainstream converged, when it seemed like any scrappy indie band might stumble across a hit." The EP begins with the new single version of Still Life standout "In Gray & Blue," which along with previous singles "Half a Feeling" and "Made of Moods" is part of a trio of songs written during the first days of lockdown and later added to the...

Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of Iosonouncane.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by Kexp Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

First Vinyl Reissue Of Martin Newell's Second Solo Album Limited To 1000 Copies On White Vinyl Released In Celebration Of The Upcoming Documentary "The Jangling Man: The Martin Newell Story" //A Cheeky Riff On The Beatles' White Album, Cleaners From Venus Frontman Martin Newell's Second Solo Album From 1995 Is A Sophisticated Follow-Up To The Critically-Acclaimed The Greatest Living Englishman. Produced By Él Records Fixture Louis Philippe And Featuring Xtc's Dave Gregory On Guitar, It's A Vivid Snapshot Of Newell's Life With A French Chanson-Inspired Ease.A Longtime Fan Of French Music, Newell Sought A Gallic Quality On This Record - With The Vocal Riding At The Top Of The Mix, Rather Than Blurred Under Indie Rock Guitars, As Was Common At The Time. Philippe Was Happy To Oblige. The Effect Is A Clarity Of Both Form And Content - On "Arcadian Boys," Newell's Impassioned Voice Careens Over A Heartbreaking String Quartet (Arranged By Philippe Himself) As He Wonders What's Become Of Those "Too Late For The Sun." It's A Much More Emotional Take On The Song Than The Guitar-Laden, Uptempo Version That Appears On The Cleaners From Venus' My Back Wages. But The Off White Album Doesn't Dwell Too Long In Solemnity - It's Still A Martin Newell Record, After All. His Classic Wit Is On Full Display, Whether He's Putting An Irreverent Spin On The Smiths ("Some Girls Are Bigger Than Others") Or Fondly Warning A Neighbor To "Watch Your Chemicals, Girl" ("The Girls In The Flat Upstairs").A Rich Cast Of Characters Make Up The Off White Album, Via Both The Process Of Its Recording And The Subjects Of Its Songs. It's A Record Born On The Road, Inspired By Newell's Experiences Travelling Through Europe And Asia The Year Of Its Inception. Perhaps The Clearest Portrait That Emerges As The Album Draws To A Close, However, Is One Of Newell Himself: As Poet, Coffee Shop Customer, Bandleader, Lover And Neighbor. By His Own Admission, The Off White Album Is "A More Intimate Portrait Of My Life At That Time Than I'd Intend...

Reissued - Father John Misty's First From 2012! Father John Misty Is The Nom-De-Plume Of Josh Tillman, Who Has Been Recording And Releasing Solo Albums Under His Own Name Since 2003, And Who Left Seattle's Fleet Foxes After Playing Drums With Them From 2008-2011. When Discussing Father John Misty, Tillman Paraphrases Philip Roth: "'It's All Of Me And None Of Me, If You Can't See That, You Won't Get It.'" Fear Fun, Father John Misty's Debut Album, Began Gestating During What Tillman Describe...

Steve Marion, the critically acclaimed-and completelywordless-songwriter and guitarist known as Delicate Steve, has unveiled a new album called Delicate Steve Sings. Is the album title a reference to the instantly recognizable "voice" of his guitar? Does he actually sing this time? Has he not been singing all along? That"s the crux of Sings-Marion is the rare guitarist where you can put on any of his records and know exactly who"s playing. In an indie rock landscape stuffedend-to-end with guitars and amplifiers, nobody else sounds like this. That unique voice has kept Steve busy in an unpredictable variety of settings. The sheer spread of his work outside his own records-collaborating with Miley Cyrus and Paul Simon, playing in Amen Dunes and the Black Keys, and being sampled by Kanye - doesn"t mean Steve"s a chameleon. It means he"s singular.Delicate Steve Sings is a record centered on channeling iconic voices with his guitar. In doing so, Marion is casting himself in the role of iconic singers like Willie who make standards their own. In the process, he reveals just how singular (dare we say iconic) that voice is. The guitar sings these songs-smoothly, sweetly, boldly, and on its own terms. Recorded with JonathanRado on bass, Kosta Galanopolous on drums, Renata Zeiguer providing strings, and co-writer Elliot Bergman, the album features both original songs with titles that suggest they might be new recordings of classics. "I"ll Be There" is smooth like a lost Bill Withers track; "Easy for You" isn"t the Elvis song of the same name, but there"s a hint of the king in there, in addition to Marion"s own takes onclassics such as the Emersons" "Baby,"The Beatles" "Yesterday" and Otis Redding"s "These Arms of Mine." "You"re tapping into something universal and in the consciousness of pop music," Steve says-tacit permission for his guitar to drift into vocal expressions he"s internalized through years of close, repeated listening. Just like all the great singers.

Many of us may have to remind ourselves that it's not 1967. This masterpiece is crafted from that same heart that folks like Brian Wilson, Neil Young, Robbie Robertson, John Lennon and Paul McCartney were masterfully culling from to create some of the most important songs ever recorded. Dr. Dog have written a classic that is not only timeless, but rich in soul, alive via rock and roll, at some times eerie with its familiarity, and wholly unique in sonic experimentation. The production on "We All Belong" lends as much to George Martin as it does to Jeff Mangum. The songs written by the young gentlemen in Dr. Dog could be considered a grand homage to the brilliance of an era long gone, or even a wake up call to a generation of equally uninspired and tiresome indie rock. This is where many will find a new appreciation for Dr. Dog which can easily last another...

Following in the wake of baroque chart toppers by the Zombies, Beatles, and the Left Banke, a dandier approach to garage rock flowered in the back half of the '60s. Awash in majestic harpsichords, lilting guitars, melancholic organs, andmiddle school orchestras, Soft Summer Breezes captures the decade's last gasps of optimism via 16 gentle moments of softpsychedelia.

The Lunar Effect, sonic architects known for their gravitational pull of fuzzy, snarling riffs and psychedelic visions, proudly announce the release of their latest album, "Sounds of Green & Blue," available to pre-order now through Svart Records. “Sounds of Green & Blue” is a galactic journey through sound that showcases The Lunar Effect’s evolution and marks a pivotal chapter in their musical odyssey.

Formed in 2016, The Lunar Effect burst onto the scene with a distinct blend of grunge and retro hard rock. With a flair for hair and a penchant for barbed and growling riff work, the London-based quartet quickly garnered attention for their dynamic sound and Blues rock reverence. In 2019, they crash-landed onto the Stoner Rock scene with their debut album, "Calm Before the Calm,” firmly establishing themselves as a force to be reckoned with.

"Sounds of Green & Blue" sees The Lunar Effect expanding their sonic scope and bending all the elements and eras of Classic Rock into their own unique mold. The album is a testament to their musical growth and willingness to explore new territories while maintaining the brooding vintage sound that defines them. Each track is propelled into orbit by the low-end buzz of distorted chords, powerful enough to blow the moon-dust off your amp.

The first single from the album, "Pulling Daisies," is a bristling sojourn that encapsulates the band's celestial rock influences. The track combines classic Blues tones, fuzzy guitars, swirling ethereal vocals, and a dusty, hypnotic rhythm that transports listeners from the past into a screaming, paisley, future wonderland. "Pulling Daisies" sets the controls for the heart of the moon, showcasing The Lunar Effect's ability to craft immersive and soul side musical experiences. From the heyday of The Beatles, Floyd, Zeppelin and Sabbath to newer artists like Graveyard, Radio Moscow and Red Fang, The Lunar Effect have created a masterclass in Psychedelic Rock that takes you firmly by the collar. With a palette that also includes shades of the 90s Grunge scene like Nirvana and Soundgarden into their heady mix, The Lunar Effect paint their own trippy world, where genres blur into their unique brew of heart-felt space rock.

"Sounds of Green & Blue" by The Lunar Effect is proudly released by Svart Records, a label known for its commitment to uncovering high-quality, diverse, and boundary-pushing music. Svart Records continues to be a platform for artists who defy conventions, push the boundaries of their respective genres, and break out of the underground.

A compilation to celebrate the release of the brand-new book - "To Ease My Troubled Mind: The Authorised Unauthorised History of Billy Childish" written by Ted Kessler. When the idea for the book was mooted Billy wanted to put a succinct double album compilation together to summarise his 47 years of making music. This is the result. My name is William Ivy Loveday, aka Steve Hamper, aka Guy Hamper, aka Jack Ketch, aka Billy Childish. I was born on the Medway, Kent, where I still live. I left school in 1976 when I was 16. Because I have no qualifications I was turned down by art school so went to work in Chatham dockyard as an apprentice stonemason. I later managed to get onto a painting course at St. Martin's School of Art on the basis of my paintings. Me, Bruce, big Russ, and little Russ formed The Pop Rivets in 1977 and made our first recordings. Our inspiration was punk rock, TV21 and The Swinging Blue Jeans. I learned to play guitar then in 1979 I worked for four weeks at Oakwood Mental Hospital as a ward porter, then me, Mick and Bertie formed The Milkshakes. Our inspiration was Link Wray, the Beatles Live at the Star Club LP, the track 'Gotta Get the First Plane Home' by The Kinks and our hatred of new romanticism. Then I was expelled from St. Martin's School of Art for writing what was described as "the worst type of toilet wall humour." I beat my father up on his release from prison for drug smuggling. We never paid ourselves in The Milkshakes and put all the money back into making our own records. I kept the money in a bank account under the name of Kurt Schwitters. I lived on the dole for 12 years. In 1985 we formed Thee Mighty Caesars. Our inspiration was Bo Diddley and The Troggs. I became a member of Greenpeace. In 1989 me and Bruce formed Thee Headcoats. Our inspiration being Son House and Downliners Sect. In 1999 me, Wolf and Johnny Barker formed The Buff Medways. Our inspiration was Jimi Hendrix in Beatle boots and The Who before Roger Daltry started wearing his nan's curtains. Ar...

Released in July 1968 on Reprise Records, “Vol.3: A Child’s Guide To Good & Evil” is considered to be the band’s most accomplished work and a masterpiece of the psychedelic genre. Released just nine months after vol. 2, the band explores their incredibly creative psychedelic pop song writing with an accomplished mastery of studio techniques. Featuring iconic original artwork by John Van Hamersveld (Beatles, Rolling Stones) A long awaited reissue from the master tapes.

Immerse yourself in the psychedelic and rock universe of Woodstock with this event double vinyl!Find the icons of the counter-culture of the end of the 60"s who marked their generation:Joan Baez, Bob Dylan, The Beatles, Donovan, The Turtles, The Zombies, Status Quo, The Pretty Things, The Foundations, Ravi Shankar

John Fred was a resident garage band leader in New Orleans throughout the 1960s and had a #1 bubblegum pop rock single.PURPLE VINYL. A native of Louisiana, John Fred was born in Baton Rogue and was a resident garage band leader in New Orleans throughout the 1960s. He and his Playboy Band are most well-known for his 1968 number 1 bubblegum pop rock single, "Judy In Disguise (With Glasses)."The band recorded 4 albums for Paula Records during the late '60s. None of the albums have ever been re-released. The album that's named after the hit single is an underground psychedelic bubblegum pop album that is highly sought out after record collectors all over. None of their albums have ever been re-released on vinyl.This former RSD 2022 release is pressed on Psychedelic Purple vinyl!This is the first time the vinyl has been re-issued since the original releaseJudy In Disguise (With Glasses) hit #1 in January, 1968 (knocking The Beatles "Hello, Goodbye" out of the top spot.The song was a parodic play on the Beatles "Lucy In the Sky With Diamonds"It's not a masterpiece but there are touches of true psychedelic weirdness dropped into each bubblegum pop tune, like the backwards tracked sounds on 'No Letter Today,' the acid rock guitar solo on 'Little Dum Dum' and the adorably wonky raga influence on 'Lonely Are The Lonely.' Not the most essential release for RSD but a worthwhile pickup for students of '60s pop. _Robert Ham, Paste

SEVENTH DREAM OF TEENAGE HEAVEN is an unashamedly psychedelic adventure, far removed from the dark, angular soundscapes of Bauhaus. Yet they had to fight hard to avoid being branded "goth", citing Syd Barrett, Marc Bolan and the later period Beatles as primary influences. The Quietus revisited the album on it"s 35th anniversary in 2015 and said "it"s its own thing, ruined elegance, sculpted beauty, sometimes sharp without being angry, often inspiring without being sappy, able to capture even slow dull moments in an attractive fashion."

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

Rain and experimental music have had an interesting connection for decades. Under the umbrella of American film music promotion, Hanns Eisler was already looking for "Vierzehn Arten, den Regen zu beschreiben" (fourteen ways to describe the rain) in 1941. A good 20 years later, The Cascades interpreted the periodicity of rain as a rhythm of mourning. For the Beatles ("If the rain falls, they run and hide their heads"), the precipitation inspired the band to use backward running tapes. However, it seems that there has always been a lot of rainfall in popular music. In the early seventies, David Toop and Paul Burwell even had a band project with the great name Rain In The Face...

Life is what happens between curtain rise and curtain fall. And when you’re in the middle of your performance, it can be tough to un-blur, categorize, and interpret the details buried within the perpetual collapsing rubble of past, present, and future. On January 26th, Chayse Porter will release his third studio album, Endless / Boundless via Earth Libraries, nine new musical excavations and epiphanies the Birmingham-based songwriter dug up from life’s bedrock and polished to a shine in his basement lair. How to describe Porter’s solo work...mischievous pop? Cotton candy spun with barbed wire? Beatle-esque, Burt Bacarach-inspired soft rock left to freeze in the warped confines of a funhouse mirror? Whatever your preferred descriptor, Endless / Boundless is a fresher, more direct record than the high-concept psyche excavations of Chay’s Palace, his 2022 sophomore album. Lyrically, Endless ruminates on unrequited love, toxic American exceptionalism, and, in one of the record’s lighter moments, unexpected kindness from strangers. There’s jubilant dream pop (opening stunner “Bleeding Hearts”), shoegaze with threats of violence (“Lead Pipe Cinch”), and a cinematic instrumental centerpiece best enjoyed with eyes closed (“Copter”). With the record on the way and a live band assembled and ready to go, Porter has left listeners a trail of breadcrumbs in anticipation.

White Vinyl Limited TO 110 Hand-numbered Copies

Cool Rock&roll, Surf, Beat AND Garage-rock From Philippines IN THE 60s!! Led by teen guitar wizard Ramon “rj” Jacinto, RJ & THE Riots was one of the first rock&roll /beat bands from the Philippines and certainly the first to release original rock n’ roll songs with lyrics in their own country. This is the first ever reissue of their second album, originally released in 1964 and now impossible to find (four stars rating in Hans Pokora’s 1001 Record Collector Dreams book). Including original songs like the monster instrumental “Fuzzed”, the garage sounding “Advertising Man”, “Girl Nice”, the surf rock of “Trip To Manila” and more plus a few rad covers (Beach Boys, Buddy Holly…). The album was recorded at the home studio built by whizz kid Ramón Jacinto, who also operated his own record label (RJ Productions), magazine (Teenstone) and radio station (from his parent’s backyard!) RJ and the Riots started as a high school band of classmates composed of Ramon “rj” Jacinto (lead guitar), Alan Austria (bass guitar), Jimmy Colayco (rhythm guitar) and Bernie Evangelista (drums) with ages ranging from 15-17 years old. They were one of the first bands with electric instruments in the Philippines and this album marked the transition from instrumental rock to vocals. Today, RJ is a well-known businessman (founder of a TV and radio network), Pinoy rock&roll icon and continues his musical journey performing rock n’ roll hits of the 50’s – 80’s at his own Bistro “rj” music lounge, where the top of Philippine society, movers and shakers, go to dance and sing to RJ’s rock n’ roll classics. *Remastered sound and color insert with liner notes & rare photos. *Download card with the album plus one bonus track from a rare 45 Riyl: Ventures, Beach Boys, Buddy Holly, Stones, JAN & Dean, BeatLES…

The Lunar Effect, sonic architects known for their gravitational pull of fuzzy, snarling riffs and psychedelic visions, proudly announce the release of their latest album, "Sounds of Green & Blue," available to pre-order now through Svart Records. “Sounds of Green & Blue” is a galactic journey through sound that showcases The Lunar Effect’s evolution and marks a pivotal chapter in their musical odyssey.

Formed in 2016, The Lunar Effect burst onto the scene with a distinct blend of grunge and retro hard rock. With a flair for hair and a penchant for barbed and growling riff work, the London-based quartet quickly garnered attention for their dynamic sound and Blues rock reverence. In 2019, they crash-landed onto the Stoner Rock scene with their debut album, "Calm Before the Calm,” firmly establishing themselves as a force to be reckoned with.

"Sounds of Green & Blue" sees The Lunar Effect expanding their sonic scope and bending all the elements and eras of Classic Rock into their own unique mold. The album is a testament to their musical growth and willingness to explore new territories while maintaining the brooding vintage sound that defines them. Each track is propelled into orbit by the low-end buzz of distorted chords, powerful enough to blow the moon-dust off your amp.

The first single from the album, "Pulling Daisies," is a bristling sojourn that encapsulates the band's celestial rock influences. The track combines classic Blues tones, fuzzy guitars, swirling ethereal vocals, and a dusty, hypnotic rhythm that transports listeners from the past into a screaming, paisley, future wonderland. "Pulling Daisies" sets the controls for the heart of the moon, showcasing The Lunar Effect's ability to craft immersive and soul side musical experiences. From the heyday of The Beatles, Floyd, Zeppelin and Sabbath to newer artists like Graveyard, Radio Moscow and Red Fang, The Lunar Effect have created a masterclass in Psychedelic Rock that takes you firmly by the collar. With a palette that also includes shades of the 90s Grunge scene like Nirvana and Soundgarden into their heady mix, The Lunar Effect paint their own trippy world, where genres blur into their unique brew of heart-felt space rock.

"Sounds of Green & Blue" by The Lunar Effect is proudly released by Svart Records, a label known for its commitment to uncovering high-quality, diverse, and boundary-pushing music. Svart Records continues to be a platform for artists who defy conventions, push the boundaries of their respective genres, and break out of the underground.

Lost in time yet always in season, here"s a blast of that ol" perennial, the punk rock, representative of the swiftly changing times around Bailey"s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in "82-"83, then broke up, leaving these songs to be released....maybe never?Though they didn"t release any records during their three years of existence, it"d be wrong to call Skam "never-was" - in addition to these recordings, there"s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O"Connell High, class of "83 or so.The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents" basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers. It wasn"t until they"d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.The Skam recordings from "82 have an undeniably Clash-like countenance that sets them definitively apart from the "First Four" of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the "90s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions. But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. But the rediscovered Skam tapes make for an incredible add...

Except for a very limited vinyl on demand series, this Steve Wynn solo album has never been available on LP before.Beneath still going strong with THE DREAM SYNDICATE, Steve Wynn has relased more than a dozen proper solo records since the early 90s.Steve Wynn went from the lower reaches of the Los Angeles underground music scene to major critical acclaim practically overnight with the release of the Dream Syndicate's debut album, The Days of Wine and Roses, in 1982. Being part of the Paisley Underground (the neo-'60s Southern California scene that included next to Dream Syndicate also The Bangles, Green on Red, Rain Parade) proved to be the first act in a long and fascinating career in which Wynn matured into one of the canniest songwriters in rock, penning smart, flinty lyrics that told perceptive tales of human behavior both noble and otherwise, married to tough, engaging melodies full of muscular guitar work. Wynn launched his solo career with 1990's Kerosene Man...Sweetness and Light blends the '60s psychedelic pop of The Beatles and The Byrds with the punk intensity of groups like The Velvet Underground and The Kinks. The album magically captures the furious intensity of Wynn's concert performances and blends it with the brilliant pop-oriented production of Wynn and John Agnello. Agnello has previously worked on albums by Dinosaur Jr. and Patti Smith. "I honestly think this is my best sounding record and a lot of the credit has to go to John Agnello," said Wynn. The album follows the same blueprint as 1996' Melting in the Dark, finding Steve Wynn exploring the feedback-drenched, psychedelicized rock that was/is his signature with the Dream Syndicate. While it's not as heavy as its predeccessor, the record has a grander array of sonic textures and a number of well-crafted songs that make it worthwhile for longtime fans.The album's kicks off with the adrenaline-pumping air travel nightmare of Silver Lining and never looks back. The title track pushes off Linda Pitmon's powerful cade...

As ever with our beloved Wouldn't Waste Records - this is a first time on vinyl release! Joy Zipper is an American indie pop duo from Long Island, New York, made up of Tabitha Tindale and Vincent Cafiso, who are also a married couple. The duo has been playing dream pop since the late 1990s. The band is named for Tindale's mother. Their songs are underpinned with darker scarred lyrics (suggested in interviews to have been inspired by the death of Cafiso's father) causing them to be famously compared to, 'a candy apple with a razor blade inside'. Musical influences of the band vary from 1960s rock outfits The Beatles, The Velvet Underground and most associated, The Beach Boys, to early 1990s noise rock pioneers My Bloody Valentine, The Breeders. "Joy Zipper's second album American Whip is as sun-kissed and blissful as their first. Which is to say very much so. Sort of like a sunny take on the Jesus and Mary Chain circa Darklands, the band works the same straightforward noise-dipped-in-honey-approach as the Jamc. Only instead of Jim and William Reid's sneers, we get Vincent Cafiso and Tabitha Tindale's sweet as sugar vocals and harmonies." * * * * - allmusic.com - Riyl Dreampop / Shoegaze / Independent, for fans of J&mc, Beach House, Mazzy Star, Wild Nothing, Ride, Stars, Dean & Britta/Luna/Galaxie 500, Throwing Muses, Blushing