Buy it: HERE. The band fits the reigns of Oly pop perfectly, strapping on the tattered shirtsleeves of DIY and post-punk with a touch of the urgency that's fed out of the maniac boredom of so many of the Northwest's finest. Emily Beanblossom loses cool with the best of them, leaving only the shattered remains of composure on the stage in her wake.
The single is closely followed by a sister release that'll see light in August in a similar vein. Both are available at the Bandcamp page below. Erika and Matt delve into the ghost folk meditations that have made them longtime favorites of RSTB, channeling the soul of the very vacated stretches of desolate woods that the album was written in.
On the B-side the band is joined by Doc Dunn who's spent some time contributing to their fuller recordings in the past but this time ads a transient spirit charmers touch to the campfire recordings.
The duo has amassed a heap of releases but its always nice to hear them strip things back to their essence, eschewing any need to wrestle with people's expectations of them and instead wrestling with their own foggy demons and pinning them to tape.
Over the course of four long form tracks the band sift through their Japanese psych inflections, their Krautrock rhythm workouts and their noise floor mop ups; stewing them all into a flayed and frenzied slab of a record that's sure to please Monoshock devotees and newcomers alike.
Things take a decidedly spacey turn on the B-side, adding yet another layer of psychic goo to amplifier tortured from the first side. The band forms a six-armed fury that tears itself apart over and over like a human diorama of chaos theory in motion. Each time seems like it has to be the last, as if no more deconstruction can be handled before it all melts to the floor; and yet, each time it begins afresh ready to unhinge again.
Full of the same bouncy pep and shoestring Spector-vision that's made his releases so much fun in the past; Specks Ho! Still, once the funfetti settles, its clear that Scharf has songwriting skills that stretch far beyond the sparkly bells and elastic strums and each song gets itself ingrained deeper and deeper into your consciousness with additional listens.
News — Hot Off the Press The most striking aspect of News' tragically overlooked Hot Off the Press is the band's use of steel guitar as a force of West Coast psych rather than in its usual country connotations. The band wield it to add a woozy touch to their soulful, strident catalog; and much in the same way that Cold Sun effectively apply the Autoharp to Texas-fried psych, News bring the instrument into its own in the canon of melodic 60's tinged pop.
That last fact may have actually sunk the album more than the opening track featuring experiments in radio static, the album submerges itself in the eclectic mix and attitude that fueled the 60's but unfortunately News was treading these waters in Critical and commercial response aside; this reissue, that boasts two additional tracks, shows off News' honey-tinged harmonies and West Coast easiness, making it one of those great gems that roll out of the seemingly endless vaults.
Fungi Girls — Turquoise Hotel 7" For such young kids, the Fungi Girls seem to have their 60's inspired moves rather locked down. From the thick veneer of fuzz to the surf slide that yowls its way out of the title track of this disc, all the moves are in place and sounding pretty good. This one's a little tougher than the free album that made rounds late last year. As a band, it has appeared in several forms over the years, but always, to Hannah, Lomelda has been about discovering friendship and connection.
Close collaborators have become closer friends. And when you see Lomelda, when you hear it, it is apparent that Hannah cares deeply about the connection made with the people on stage, the connection with you.
Facebook here. The vocals are gentle, a little vulnerable perhaps and beautifully melodic, supported by some fresh, intricate and understated music. Joseph Childress - Virginia Bound. The tracks on this self-titled album are borne from Joseph's adventures throughout the West: working on a cattle ranch in Wyoming, riding trains and living out of his car. His poignant lyrics about loneliness and the western landscape are right at home with a stronger country sound that defines itself on the record's opening track "My Land.
His wanderings were punctuated only so he could play music, work ranch on the plains of Niobrara County, Wyoming, and rest his head in San Francisco, where he eventually settled down. Those recordings were re-mastered and released in on Empty Cellar Records. Bandcamp here , Facebook here. MARS marks a change in style and content and is concerned with the persistent topic of war.
Website here. Whatever the description this has hooks that dig deep, making a few more plays irresistible. Garbage - No Horses. Background - Garbage yesterday released their new single "No Horses".
All of the band's profits from sales and streaming of the single will be donated to the International Committee of the Red Cross through the end of A dark imagining of the future in which a presiding regime values only profit and success leaving no room for tiny beautiful things, small gestures and great beasts," shared Garbage singer Shirley Manson on the song.
The book includes never before seen photographs of the band as well as pieces written by each of the four band members. Throughout their upcoming tour, Garbage will be visiting a select number of indie record stores and bookstores across the country to sign copies of the book. A complete list of upcoming signings can be found below.
Both bands along with an opening slot from Sky Ferreira played to a crowd of 17, fans this month, selling out LA's Hollywood Bowl. A complete list of upcoming live dates can be found on Beehive Candy's tour news page. Band website here. Two side-long tracks. The album was re-released in the United States in November Starting with performance art in subways, they soon took their angst-ridden act to galleries and night clubs.
The Slacks drew their influences from contemporaries like Cabaret Voltaire and Tuxedomoon, but also from extremes like disco and dadaism. Tape Scissors Rock was made using the group's three 7" singles as a foundation. If it were it a building, it'd be brutalist and utilitarian. Inside, cryptic sci-fi, surf and road movies run on a loop, soundtracked by three strangely normal looking blokes wrestling mutant tunes from guitar, bass and drums.
Released on June 1, by Atlantic Records, It ultimately sold over two million copies in the United States alone, earning a Double Platinum certification. As of , it stands as the biggest selling disc of Aretha's entire fifty-plus year recording career. They changed their name to Sons Of Kyuss in and released a self-titled EP in the following year.
In the band shortened its name to Kyuss. Back in the glam punk game, this LP is full of screams, synths, and shredding solos. Everything you could want from the master of modern punk. What we have here is a fabulous collection of classic Melchior und das Menace.
We asked, he let us dig through the archive, and lo and behold: Hunger, a grip of unreleased Melchior gold. A collection of ultra rare Sufi recordings captured in Syria months before civil war erupted. Beautiful, sacred chanting and haunting melodies recorded in the courtyard of a year-old house in one of the world's oldest cities.
An ominous statement from one of the worlds most sacred and ancient vocal traditions. HQgm gram vinyl with bonus material and metallic gatefold jacket. In this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time. The package for this single is ultra-deluxe: gatefold jacket with reverse-side printing on the boards, direct-metal mastered full color picture-disc with custom shape and insert with recipe included.
Until Silence marks a monumental shift for Roll The Dice. The characteristic framework of piano and synthesizer is reinforced with a newly conscripted string section: dramatic arrangements grind against furnace blasts of static, and phases of unrelenting rhythmic intensity collapse into moments of frayed, fragile beauty.
Reviled in its day for its use of Moog synthesizer, but 25 years later, Royal Trux's catalog contains many perennial favorites and Neil and Jennifer are still going strong. Records Equal parts shamble-dance and noise-pop, Running drive relentlessly while shouting their hilarious lyrics with vigor from the bottom of a well of cheap reverb.
They began in Sydney in , and were an early outfit to incorporate elements of industrial noise-generation, tape-cutting and looping, and electronic sound synthesis. As the project developed, song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style.
Darkly shaded dream pop with a familiar sound - the dim crunch of Black Tambourine, the cool, textured vocals. Color vinyl with download. Limited copies pressed on orange vinyl. The five-song Subsequent Pleasures EP was released in and limited to vinyl copies, serving as a precursor to the dark wave sounds they would champion on their self-titled debut on 4AD the following year.
Fans of Erik Satie, JD Emmanuel, private-issue new age or the more placid side of minimal synth should take note of this one. The songs they play are music for an afternoon, an evening, and a night. King, David Newman, Richard Tee and a host of others. The album was written and produced by Antonoff, with co-producer John Hill and Vince Clarke helping with the project. Paul Butterfield set the standards in the s and s for kick-ass white electric blues. As the band gained momentum and a loyal fan base around the area, they took a huge step and moved to Austin, TX- the live music capital of the world- to continue pursuing their dream.
Larry is best known as one of the original jazz-fusion guitarists of the s. He has issued solo albums, along with collaborations with John McLaughlin and other jazz-fusion luminaries. It is a masterful collection of songs from an artist at the peak of his creative powers.
Over two hours of previously unreleased music mastered from original soundboard recordings. Deluxe adds a disc of bonus tracks. Half Japanese were formed in by brothers Jad and David Fair. Despite being lifelong music obsessives, their approach to the craft of writing and the art of performing was utterly unique. Heavily inspired by Jackson Pollock, Half Japanese were always more of an art project than a musical journey.
More important than technical ability, was enthusiasm and a thirst for creation. They eschewed traditional ways of playing to explore different tunings, allowing them to coax new sounds from their instruments. Vinyl version due July It was just halfway through the band's final SXSW performance at Hometapes' Friend Island and a spellbound and smiling crowd surrounded the stage. As the song kicked in, sounding like "the Band if they had Dirty Projectors' skewed sense of song structure" Pitchfork , one thing was refreshingly and crystal clear: big scissors or not, there was no wall between the audience and Landlady left to cut.
Band influences like Simon and Garfunkel and Gillian Welch and, of course, Nick Drake can be felt throughout Passerby , while the poignant restraint aligns them well with label mates Low. She is also known for her appearance at the original Woodstock festival in In she signed with Atlantic Records and issued the album Photograph.
For Yes! Mraz collaborated with Los Angeles-based folk-rock group Raining Jane. Ever since their humble beginnings in , the band has striven to create their own unique brand of dark, brooding and melancholic metal music.
Coming off a sold-out 25th anniversary tour featuring the classic lineup of Randy, Byron, Fletcher and Jim, the same lineup hit the studio to record Yesterdays , as both a tribute and fierce rebranding of their punk rock legacy. Hawtin was an influential part of Detroit's techno wave in the early s and continues to be a leading pioneer of minimal techno.
He is well known and regarded for his work under the alias, Plastikman under which he released a series of minimalist records during the s and early s that put him on the map as a leading electronic artist. Chris Yates. You might be dreaming. Men stare at their drinks. The sound of Thundercat carries through the air. The air is old and the sound is new.
Here, however, it is the virtuosic prowess of Bruner as both performer and composer that is at the frontline of the Thundercat sound. Through each tune, the listener turns a new page, discovers a fresh story and exposes inspiring light on the Thundercat name. Via HooooooO and then Daylight, The Golden Age… opens through a milky turn of synthesised funk dazzle featuring a transitory sample from the s animation of which the artist derives his name.
From the cool and jovial Fleer Ultra through For Love I Come and Boat Cruise, the sonic quips and intricacies within the narrative-laden tracks provide the weight and substance to this nu-jazz experience. The ambiguity in their intent or purpose serves as the perfect stimulant to trigger another spin — and an alternative interpretation to a vibrant record. Carlin Beattie. This catchy collection of party songs is hard-hitting and light-hearted in equal parts but also boasts a sense of rawness that commands respect from listeners from its opening lines.
The record opens with Fumes That Smell Like Doom, an upbeat introductory track that sets the bar high for what is to follow. The Quickening is self-assured, powerful and catchy as hell, not to mention that the production a result of collaboration with Large Professor is remarkable. The album also achieves a distinct rough-around-the-edges feel, in true Funkoars fashion, which certainly adds to its charm and is particularly poignant in Where I Am.
This album is delivered confidently and clearly consolidates the important position Funkoars have carved out for themselves in the world of Australian hip hop. For ballads paying homage to a life lived hazily, they are told with alarming clarity and commitment. Filled with all the harsh lyricism and truly unique beats we have come to expect from Funkoars, this record will certainly not disappoint. Lucia Osborne-Crowley. Ghost On The Canvas then is the full stop to what has been an evocative, illustrious career his role in True Grit notwithstanding , and as always Campbell does it all his own way, his heart on his sleeve.
Hold On Hope is beautifully constructed, but also becomes more affecting in knowing what the future years may hold for him. Ghost On The Canvas is a portrait of an esteemed performer giving it his all, with purpose, and in doing so has created one of the best albums of his career Brendan Telford. All of this could make it a little cold, a little artificial, however, the vocals really plug right into the emotions. Between the son-based electrics are these gentle acoustic moments with Taylor crooning on guitar or even piano.
A number of the tracks from their demos appear again here, though the extra tracking and mastering has given them new depth and added punch. Perhaps most impressive especially for those fortunate enough to have witnessed the aural carnage of Lo! Having never fronted a band before, he is an assured and charismatic frontman, but more importantly displays a great versatility despite his voice rarely straying from the heavier end of the spectrum.
Deluge Carnivorous Flux has him working between a sleazy low-range croon, a rumbling and doomy growl, a staunch bark and throat-tearing yell. In a way his vocal diversity represents Lo! Then they go and back up such statements with this confidently assaulting debut. Dave Drayton.
Economics inevitably saw the band release their debut album, Her Night, on CD. And this second album [Odds Or Evens] is going to come out as a longplayer in vinyl through Cobra Snake Necktie Records — two Melbourne guys, lovely gentlemen — which is great. And they catered for us, amazing food and beautiful wine from the vineyard.
I can certainly hear the good feelings that were created there that went down to tape so to speak, so I think it translates to the record. Also it was all about having a great time as well — and that was achieved as well. Plans are already underway to get back over there again. It was all up from there.
It was a very optimistic time and I really enjoyed that. But then Craig pointed out that the anniversary was coming up for the record, so he came up with this idea of approaching everybody.
I thought it was kind of hairbrained at the start, but it ended up being very exciting. It was such a fun thing to do. So, for me, that was a really great way of approaching the record. Personal dynamics aside, though, the ultimate question no doubt concerns the effect on the music, and this was obviously a huge success.
Pilkington puts this down to a kind of embarrassment of riches. It did allow us to look at the collective arsenal.
When it comes to the decision to re-release their debut, Pilkington admits that some of the motivation came from ego-Googling, but there were also a ton of emails, and Inpress suspects the real rationale was more egalitarian.
But we just had people constantly emailing us to the point where it became crazy not to have it back out there. Pilkington says it was mostly a very enjoyable experience. I guess it took me back to a time when we were working on it. Emotionally, it was good; because the memory of that time was that the. When it comes to reproducing Pearl live, Burley and Pilkington thought about installing a revolving door on stage for the launch at the Thornbury Theatre, but ended up going with a different strategy.
She was actually born a year before the band was formed, which is exciting. And Barb Waters, who also happens to be my wife, will be playing guitar as well. Six hands and lots of voices, so it really allows, you know, the whole back catalogue and lots of songs from the new record.
Burley agrees wholeheartedly. Album number four, Blue Sky Blue, while still very much a Pete Murray record, is also a staggering departure — no small achievement. So, how exactly did Murray manage the complex balancing act of change, keeping the fans happy and making the kind of music he felt he needed to?
Rather, it seems that his main desire was to make an album of material that would work well on stage. On the other ones, I think I listened to music to get influences. I found I really had no desire to do acoustic songs. These days, you really need to have a good live show. I met his mother when I was over in the states. We had dinner and I felt like asking her if her name was really Mrs Rothrock.
But a seemingly innocuous suggestion from Rothrock and a truly kick-arse drummer changed all that in a hurry. Tom suggested we start with it and use the bass and drums as well. It just sounded fantastic and I thought it became this really good representation of the album.
So there were about ten guys that we sent stuff out to and within 24 hours Tom had gotten back to us. That was comforting to know.
It was a storage room and they took all the gear out of it. I had to check it out, for sure. I was nervous. It was a little bit to do with the rhythm section I was playing with, because they were just so good, but it had a lot to do with the place as well. So, there was a bit of pressure, but it was good pressure, it made me really step up and play well. In discussing his process with a new band of session musos, Murray reveals the inner workings of songs very much growing in the process of being recorded.
To give you a gauge of the gravity of this stuff, their song lengths range from five Days Of Sin to 13 minutes Ritual Abuse yet neither of their albums stretch further than six songs.
This is heavy duty aural abuse on a mammoth scale, and it begs the question: where exactly was this shit was spawned? It kinda killed the house show scene here. Newfound popularity for bands such as The Sword have brought a heavier sound back into the consciousness of listeners. It sucks. Through more savage barking, Chandler maintains that something years on, the sludge metal stalwarts are as confronting as their reputation suggests.
Shut up Ash! It seems perfectly fitting to invite Jones to pick her favourite protest songs. Last year, all the songs were my choice, but this time I am choosing from a big list of songs. When the Wall came down in East Berlin, who could have imagined that would happen? But, in hindsight, it happened right after the student massacre in Tiananmen Square.
Revolution does not have to be a violent act; real revolution happens in quiet ways. However, her thoughts about protest embrace the pragmatic. In your town, if for five years, or ten years, people refuse to buy oil or gas, something like that, if it grows, can topple the oil industry and — suddenly — the world has changed.
I know sometimes people need to label me with something as it probably makes it easier for them to identify me. Ejimiwe drags an assortment of musical influences to make a track work. Be it indie, dub, hip hop or electro — his ethos of not generalising is working. The Londoner has a favoured. He says he starts with a beat or beats and gradually gets a sense of a hook or a chord to turn an idea into something of essence. Not that he has an abundance of beats churning around in his mind.
It makes sense for me to write about that kind of thing where I can then work on the basis of how it will work with a tune. Ejimiwe says Coventry is significant in another way: it was the birth of Ghostpoet. That Coventry supplied him with a diet of soul, hip hop, grime and garage says much about his musical output of varying influences. He studied media production at Coventry University. He met a girl, got a job as a customer service representative at an insurance firm and then got a mortgage.
Ejimiwe was also a member of the grime collective, but his initial fondness for grime was short-lived. And that part of me is intact, never changing and always the same. Politics, marriage, or poverty: your imagination is the place that saves you from the real world. However, Jones may be considering not only the ideas for a new work, but the format itself. It has been an amazing life, so I figure I had better write it all down before I start forgetting.
I have an agent, and have been talking to him for a couple of years but it took me a long time to send him anything. I remembered a time when I had been writing a short story based on the title of a song, and was writing about sad afternoons. I remembered a night in when a man tried to break into our house in the middle of the night I remembered how the guy was going to all the different doors in the house trying to get in.
It was terrifying, and I had totally blocked this memory out, but as I went to write about that year I remembered. He has still never mastered one instrument. I tried to play a bit of clarinet and trombone, but at the time the school required insurance for me to take them home so I could practise. Think of Ejimiwe as a conversationalist with lyrics rich in symbolism. There are moments that are gut-wrenching that are balanced with joy and positivity. I wanted to get that across in my music.
He says it all started with a few demos before gradually building up a collection of works. Wheatley says this was very much at the forefront of his mind while recording. Also, the band were simply in shit-hot form. I can, but of course some artists influenced me. And that was certainly something we were after, that kind of live vibe.
I think it really does come through, too. Much more of a band record than his first effort, this is an instantly likable mix of alt. On the subject of comparing his two releases, Wheatley admits that he quite consciously did just that. With this one, I just feel like it grabs you straight away. But Wheatley says that doing something completely different was a real no-brainer once he met his band.
We played everything on that record. When we were getting ready to launch that record, we got this band together and they sat really well. So we did the next record with that band, and there were flavours from all the other people that came out. There was just much more of a band atmosphere. I write songs because I love doing it. I actually wanted to do an album before that first EP came out. Maybe another EP. As for music, I just let myself be inspired by these feelings and of course I try to take the listener [there].
Sydney band New Empire have, since their first album, begun to really refine this difficult dichotomy. I think it really helps your creativity when you can broaden your sense of style, musically, as much as possible.
And, of course, Alcest has a new record due out very shortly. Paut believes this is accurate. People can expect a strong emotional experience from our show.
Our aim is to deliver otherworldly, nostalgic and ethereal feelings. As you [might] suppose, this experience has a huge impact on my life. But is it more work for the mainstream band to achieve success, then? Gigging, one would expect, with all the necessary networking with bands and venues that process requires, would be especially tough.
But really, you just find other ways to let people know about you, and to get new ears to listen to you. After passing over a chance to work with producer Nash Chambers on the album, Kimber explains how the decision was based on the band not wanting to run the risk of the album sounding too country.
The windows are tinted, probably illegally too, but it protects all the gear from being visible to outsiders. Balancing remedies from both her placid naturopath and western-medicine-fixated physician, Kimber admits to being torn as to who will fix the condition first. I tried to play slide on the banjo recently in that Bonnie-esque sort of style. Between the twitchy agitation of British new wave, recordings of birdsong, and the paradise of the New Guinea jungle, this is a dance performance of uncommon adornment and flamboyance.
Part of Melbourne Festival. Opening night, 8pm. The Arts House until 23 October. This play thrusts the detached malevolence of Hedda Gabler into a postmodern, digitised nightmare. The Arts Centre until 23 October. A story of intimacy, teetering between reality and fantasy examines how we see ourselves in our dreams, when we are alone and there is no one but a dog to reflect the image of ourselves. Part concert, exploration and voyeurism with a puppet and live music.
La Mama Explorations at La Mama, 7. The Rehearsal, Playing The Dane — Pan Pan Theatre Ireland present this audacious and irreverent riff on Hamlet — does not so much update or deconstruct the play as it explode it. This show is a surprising and unique testament to the endless possibilities of theatre and the presence of Shakespeare in our lives. Closing night. Merlyn Theatre, Malthouse. Closing today. Metro Gallery.
THURSDAY 20 Focus On Bertolucci — a cinematic retrospective of Bernardo Bertolucci, one of the most acclaimed auteurs in the history of cinema who carved a niche fusing stylistic lyricism with provocative explorations of sexuality. Trades Hall, 8pm. Astor Theatre, 3pm. Festival runs until 23 October. Traditional Italian steel! Following two releases an untitled album, commonly referred to as 'Black,' released in , and another, 'White,' in , this album is their debut as a three piece.
Superb stoner metal from Wellington, New Zealand, for fans of a. High On Fire, Kyuss and Unsane. The mix of sound and style they are able to seamlessly incorporate into their music makes for something exciting, something quite fresh and new within perfectly executed familiar sounds. The fuzz packed riffs on every song are thickly sweet and mesmerizing. The vocals from front-man and lead guitarist Matt Pearce are singular, powerful, compelling, exotic, and provocative.
White-black marbled gram vinyl. This exclusive performance of the 'Mariner' album originally from with NY noise rock goddess Julie Christmas is now being manifested into a limited edition double BLACK vinyl release! Spot holographic foil on cover. Includes downloadcode for full-length Mariner documentary. Creating heavy, fuzzy sound and hazy atmosphere in their music, which wishes to transcend listeners minds to another world. Through haunting vocals and hypnotic rhythms heated from witchcraft to more introspective trips.
Deathbell comes from that of a flower, once consumed gives you the ability to see all. On gram vinyl. This live set, recorded in October of , just a few months after the release of their debut album 'Demolition', is a ripping document of their early, and heavy, sound.
Absolutely essential high quality live set from some true British Heavy Metal innovators. Black vinyl version, first RSD version is sold out. Demolition Boys 2. Tush 3. Midnight Ride 4. Breakdown 5. The Hunter 2. Nothing To Lose 3. Race With The Devil 4. That's a lot of different styles and it's been done before but mix in a little jazz in the right spots and you've got something special. On clear vinyl. Grusom are not necessarily shooting for vintage production, presentation, etc.
With a combination of heavy metal, stoner and acid rock, based on the gloomy parts of psych and heavy rock, these boys, naturally and honestly, meet their audience with an open heart. Red and blue marbled gram vinyl.
Recorded during their appearance at the legendary Roadburn Festival, this record brings the live energy to all their fans across the globe for the very first time. On marbled vinyl.
On offer here is the final part of the trilogy of albums that began with 'Noeth Ac Anoeth' in , followed by 's 'Y Proffwyd Dwyll'. A free download is included.
Artistic integrity. Totengott from Spain is a band that is born as a tribute to swiss titans Celtic Frost should have all these concepts as a basic reference when working on their own music. Doppelganger is their crushing debut. Iron Maiden, Def Leppard, Judas Priest and Saxon all got signed by majors and sold records galore, meanwhile bands in every village across England formed.
Inspired by the energy and DIY attitude of the punk scene these acts recorded and released their records all on their own. It's music that deserves to be heard not only by the most die hard record collectors.
Remastered and restored sound. Extensive liner notes by Kieron Tyler Mojo Magazine. Richly illustrated with many rare photos. Baseline - Suspended Animation 2. Spider - Children Of The Street 4. Stray - This One's For You 5.
Overdrive - On The Run 6. Speed - Down The Road 3. Energy - Don't Show Your Face 4. Static - Voice On The Line 6. VODUN - ASCEND 'Ascend' spits out 10 slabs of ground-flattening, groove-inflected rock power, driven by the afro-inspired dervish drums of Zel Kaute interpreting the spirits of Ogoun , the roaring, fierce chromium guitars of Linz Hamilton The Marassa , and fronted by the fire-breathing howl of Chantal Brown Oya , delivering you the truth of generations with a drive and focus that can't be matched.
The LP comes in a gatefold sleeve and includes a free download. The album sounds fresh and vital, yet has a clear historical signature sound to it.
The lyrics on the album are written and sung in their native Sognamal dialect. Monolithic blackened doom to destroy your mind and reap your soul. Expect disturbing atmospheres made of obscure and twisted riffs, sinister soundbytes and inhuman vocals.
The band's demos reissued on CD! The CD contains 12 impressive tracks. The CD is packaged in a digisleeve. Baseline - Suspended Animation Spider - Children Of The Street Stray - This One's For You Overdrive - On The Run Frenzy - Thanx For Nothin' Speed - Down The Road Energy - Don't Show Your Face Static - Voice On The Line Red Mass pays homage to Lee Hazlewood and Townes Van Zandt with a duo of bluesy electro-acoustic soundscapes that capture the dreamy atmosphere of '50s-era pop and country in a contemporary setting.
Roachclip, The Bibs and Church Shuttle. Fans of f. Jim Shepard and Peter Laughner should definitely pay attention to Durham's outings. The flip contains an audacious cover of David Bowie's 'Rebel Rebel'. With this new ballad Gudrid takes a new direction, switching from acoustic singer-songwriter folk to subtle electro-pop.
However, her crystal clear voice remains a constant factor. This rare incognito full-length album basically bridges the micro-niches of electronic jazz, punk jazz and new wave.
While the opening track hinges on the ululating yell of Tarzan, as portrayed by actor Johnny Weissmuller in the film from , it also explores themes of genocide, racism, the destruction of culture and the melding of totalitarianism and ignorance.
The LP includes a lyric sheet, photos and notes from the band. Double LP pressing at 45 rpm, black vinyl with digital download. Packaged in a single sleeve with wide spine, the reissue also includes 'Dust And Sparks,' a bombastic and terrifying track recorded during the original sessions, but not included on the CD release.
Newly mastered, it is included as the final track on side D. Here are embryonic versions of songs f. Included are recordings made in Tony Visconti's flat in A couple of tracks feature vocals by Tony's then wife Mary Hopkin.
These were relevant issues in a fractured Britain under the rule of Iron Lady Margaret Thatcher, and they may still be relevant today in a recession-hit, isolationist Great Britain. Reputed labels like Stones Throw and P-Vine reissued Casell's music at the same time that the original album was sought-after by funk collectors and reached outrageous prices. Here's a straight reissue in original artwork with master tape sound and including a lyrics insert. This is an absolutely essential collection from an American folk legend.
This LP offers 12 marvellous examples. If you're looking for a tasty dose of super moody downtempo funk, accompanied by groovy synthesizer sounds, look no further! Whether you're entertaining guests with a bout of cheese and wine by the fire, or throwing the cocktail party of the century, these mutated muzak lounge versions of Devo classics such as 'Whip It', 'Jocko Homo' and 'It's A Beautiful World' will be the perfect hors d'oeuvres for an evening of de-evolved fun.
On offer is an inspired musical interpretation of the mood that dominated much of young America during the mid-'70s, meaning spacey funk and breaks as well as strung-out Italian sounds. Expect tightly knit and compressed drums, stoned flute sections, screaming horns, woolly Fender Rhodes notes, heavy basslines and that signature psychy wah-wah guitar that occurs on all the early Simoncini recordings.
This one is also recommended to producers and DJs who are looking for some ultra cool samples! The LP is now back in print with a beautifully redesigned cover. The record clearly is a Holy Grail. This reissue is pressed in a limited run of copies. Something is said to have "teeth" when it has the ability to make an impact.
This record certainly has "teeth", and sharp ones at that. The first record features Fleetwood Mac-related recordings from a.
Expect an arsenal of heavy riffage, screaming guitar leads and roaring whiskey drenched vocals. Recorded in a brilliant small group setting, featuring only the instrumentation of the fantastic Hungarian guitarist Elek Bacsik and French journeyman bassist, Michel Gaudry, this is Gainsbourg at his cool and minimalist best. Her work is a stirring mix of contemporary classical music and rural inspired folk, combining songs in the English language with bewitching fables in her native tongue, an insular Nordic language spoken by fewer than 50, people.
On 'Painted Fire' she has extended her fairy-like ballads with 'synthfanfare' and bits of electropop. La Fille Avec Toi Le Temps De L'amour Il Est Tout Pour Moi On Se Plait Ton Meilleur Ami Il Est Parti Un Jour J'Suis D'Accord Recorded over a weekend in Nashville with the help of Charlie McCoy and top notch session musicians, the album is Hazlewood's truest country album and a perfect example of the genre hopping he was afforded at LHI with unlimited creative freedom and money to burn.
This limited edition copies includes an extra track and a download for more bonus material. The LP comes in a deluxe gatefold sleeve and includes liner notes. Vinyl only, copies. Recorded in and previously unissued, this awesome collection features Romano Rizzati Walter Rizzati , Silvano Chimenti and a loose assemblage of primo Italian library session-players. LP with download. The Welsh singer-songwriter's 21st studio release in a prolific career spanning four decades, finds him reunited with Ben Wisch, the three time Grammy Award-winning producer who helmed 's 'Being There'.
A voice that seems to speak to us from the heart of the Estonian forest, Mari Kalkun's music is at once of a place and yet deeply personal.
Rooted in ancient Estonian and Voru traditions and infused with the peculiar features of Estonia's dialects and the traditional regilaul chant, her music resonates deep within us to touch spirits and souls - even when the language may be strange to us.
On red vinyl and coming with a download code. This album shines a light on the real Lizzy, in a way her cultural experiments of previous albums never did.
Using her music to draw attention to the situation, 'Zulu Rock' was the result of an emotional, ambitious, creative power struggle that -arguably- delivered her best vocals yet. Truly stunning stuff! This title was originally released as a limited colour version for Black Friday, but due to high demand now here's a 'normal version' on black wax.
The backing musicians are top players who also worked with a. This limited edition reissue on gram vinyl comes with remastered sound and a free CD-copy. This album documents Nico's last ever performance which took place on June 6th, in West Berlin as part of the European Capital of Culture festival that year. Except for the album's closing song which was previously released on 'The End The concert was Nico's last. Six weeks later, on July 18, she died while on vacation in Ibiza.
Originally released on CD in , this is the first time this album gets a vinyl release outside of Europe. Strictly limited to 2. On offer is very appealing Americana-tinged music, using many instruments, ranging from banjo to pedal steel, and from electric guitar to glockenspiel, or trumpet.
This is a well crafted and intelligent record. This LP-version comes with a download code. They release and EP and were well received by the press during tours in their homeland.
Playing a mix of americana and indie folk. Included are vrsions of a. This edition is limited to 1. This music is relevant for fans of a.
Equally recommended to power pop and '60s rock fans. Limited to copies on vinyl, this is a reissue of a highly rated library LP by Italian jazz pianist Oscar Rocchi.
It contains incredible and totally killer jazz-funk vibes and breaks. Side B leans more towards experimental avantgarde jazz, with totally stunning results. Her music drifts from dreamy lo-fi folk pop and over to a bit more up-tempo pop with noteworthy vocal harmonies. This LP includes a free CD-version.
The eight tracks of 'On Dark Horses' capture the evolution of Rundle as a unique artist. Pressed on inch vinyl, the tracks were hand-picked with only one goal in mind: dancing! She was born to Finnish parents in , she grew up in Lapland, in the Swedish bordertown of Haparanda, but now she lives in Helsinki, Finland. After some 15 years of writing songs she now releases her debut album. The style is tasteful melodic pop with hints of folk, jazz and country.
This LP-edition comes in a gatefold sleeve and includes a free download code. This is a totally aquatic affair, featuring electronic lounge sounds, weird underwater effects, spaced out jazz-funk and dope breaks.
Genre freaks definitely need this one! The album opens with the ominous and unsettling white noise and dark found sounds of 'Drag' and remains unrelenting for the next 50 minutes. These 4-guys-and-one-girl-band was founded in Nuremberg, Germany by Joe B. Their songs are pure instrumental without voices, and they don't need it: the music is like pictures in your head.
Moving between the 60's guitar sound of Pulp Fiction and soft melodies that would perfectly fit to a roadmovie. Sutcliffe takes you on a journey to wide deserts and lonesome roads. At the moment you think you know them, they surprise you with sounds like car speed races, space nights or a Polish polka. Coming with the CD version of the album. More raw sounding than their later releases, 'A Catholic Education' doesn't really fit neatly into any category being the perfect marriage of the better aspects of Britpop and the swirling dreamy guitars and melancholy pop melodies of the Big Star tradition.
A vinyl-only compilation of hand-picked female treasures that will definitely make all the girl group buffs happy. Highlights include the first-time reissues of the Angels' great version of the frat rock nugget 'Louie Louie' and Hollywood-based identical triplets the Drake Sisters' Gold Star-cut rendition of the doo wop classic 'Smoke From Your Cigarette'.
A collection of obscure girl group pop courtesy of lifelong aficionado Boyd Rice. Compiled as an attempt to preserve some of the genre's best music, and to share some forgotten songs with the rest of the world. Previous musical similarities may be unearthed but what runs through this record is a vein of dare I say mature introspection which sets it apart from previous works.
So unpacking his mini studio and opening the notebook, the bedroom auteur embarked on his mid-career masterpiece, plunging into lyrical depths on existence, ennui, affection and introspection. His voice, still coloured with the disarming fragility of old, is more mature and confident and the music keeps getting higher and higher. The final three tracks mark a triumphant return to the pensive jangle and C86 haze of the earliest Horsebeach work, an emphatic reminder that you have to go away before you can come home.
Andrew Wasylyk is the alias of Scottish writer, producer and multi-instrumentalist, Andrew Mitchell. In , Andrew was extended a residency invite from arts centre and historic house, Hospitalfield, Arbroath, Scotland to create new music for their restored, 19th century, Erard Grecian harp.
During Wasylyk's five-month sojourn he created melodies and progressions echoing the building's unique relationship with the looming North Sea horizon. Using not only the harp, but the house's original grand piano, Andrew explored the Angus landscape and beyond, gathering field recordings on trips to neighbouring Seaton Cliffs and Bell Rock Lighthouse the world's oldest surviving sea-washed lighthouse.
Winter slipped into spring, and harp-led compositions gave way to an ambitious third, full-length album, exploring a range of themes utilising a broad palette of instrumentation, including flugelhorn, euphonium, oboe, string trio, vintage synthesisers, drones and upright piano. From the wandering, Bob James-esque, Fender Rhodes and shimmering strings in the study of coastal light, " Welter In The Haar", to the plaintive brass and farewell transmission blowing through, "Adrift Below A Constellation", punctuated by the fragility of Wasylyk's sole lead vocal of this collection - "The Paralian" a dweller by the sea , is a conclusion embued with blue and golden melodies that land in a territory akin to experimentalists such as Robert Wyatt and Brian Eno.
Through which, Wasylyk weaves the listener along a Modern-classical, Ambient and Jazz dream of Scotland's east coast. Athens Of The North team were stunned by the luminous beauty and creativity at play in this work. Falling between genres and time, it stands next to 60s British Jazz, effortlessly blending notes of Library and soundtracks with dashes of British Folk. Slowly swelling horns and reverbed CR work away beneath the melancholic woodwind and shimmering guitar, hinting at sorrow, but working through it with a combination of otherworldly, soothing ambience and momentous stoicism.
Later, we explore the same story arcs, but with each stroke rendering a broader and more colourful palette. Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in , an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making.
These sessions formed the basis of The Age Of Immunology. But the output of Vanishing Twin is not simply derivative. Its members are unique artists in their own right, and their collective sound already bears its own significance.
Each track glides effortlessly into the next and is steeped in dreamlike imagery. It seems Vanishing Twin are a group intent on creating music that defies borders and dissolves genre into genre. Who knows where their psychedelic voyage will take them next? A change of scene certainly helps to avoid getting stuck in the ever diminishing returns of routine, churning out the same result every time, but with ever less inspiration. Shana Cleveland has been beguiling listeners for years in her role as the superlative frontwoman for elastic surf rockers La Luz.
Now Cleveland is evolving her sound on the new solo full-length Night of the Worm Moon, a serene album that flows like a warm current while simultaneously wresting open a portal to another dimension. But whereas that album was internal and contemplative, Night of the Worm Moon occupies a different, vibrant kind of headspace. From the first tender plucks to the final twilit twinkles, Cleveland has crafted an album as warm as it is melancholy, and as intimate as it is intoxicating.
Explosive, funky and transcendent. The world is rarely what it seems. To find that, you need to burrow deeper. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music. This is music that tries to be a voice for a lot of other people. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene. Everything was new, and it still feels fresh. Of course, since our singers are Turkish, they know many of these pieces. You have to understand that most of these songs have had hundreds of different interpretations over the years. Incandescent and sweltering. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock.
And with around , views, it has helped make them known around the world. The waves have spread far beyond the Bosphorus.
What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.
The record sounds bigger and bolder, sometimes fuzzier and rockier, sometimes more electronic and spaced out than its predecessor. This sense of privacy maintained throughout is helped by the various landscapes within which Reward took shape: Stinson Beach, LA, and Brooklyn via Cardiff and The Lakes.
Recording at Panoramic House [Stinson Beach, CA], a residential studio on a mountain overlooking the ocean, afforded Le Bon the ability to preserve the remoteness she had captured during the writing of Reward in Staveley, Lake District.
Over this extended period a cast of trusted and loved musicians joined Le Bon, Khouja and fellow co-producer Josiah Steinbrick - Stella Mozgawa of Warpaint on drums and percussion; Stephen Black aka Sweet Baboo on bass and saxophone and longtime collaborators Huw Evans aka H.
Retreating from L. Instead, she has produced an album of delightfully unhinged art-pop which reveals the curiosities of her inner world. She expertly toes the line between heartfelt sincerity and playful absurdity, maintaining an edge to her songwriting which keeps it from sounding twee. Some of her vocal melodies alone would feel at home in a more conventional pop album, but the instrumentation elevates it to outsider status - discordant stings of electric guitar, metallic synths and an anxious ticking always lurking in the background.
Chronixx Flowers Ft. Michael Kiwanuka. Simbi Ajikawo, crowned Little Simz, lets her work do the talking - and her prolific releases and boundary-breaking achievements clearly tell a story of a pioneering hip-hop artist who leads the way on her own terms. Giving lauded, energetic performances, critically acclaimed albums, sold-out headline shows around the world, and international tours with the likes of Gorillaz, Anderson.
Paak and Ab-Soul, this visionary 24 year old woman from North London is living out her childhood dreams to heights of excellence - and inspiring her generation to do the same.
These comedic phrases are matched with provocative barbs and personal experiences, lending this flawless listen depth and realness. Her bars are intelligent and fierce, leaving no doubt that this is a powerful black female voice in hip hop whose importance should not be overlooked.
The focus she draws upon surrounding her experience as a woman in hip-hop and within wider-society is refreshing and important.
If you listen to one song from this entire booklet, make it this. Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. Branching out from Occult Architecture Vol. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.
Disco is dance music, first and foremost, and we were digging our way into the idea of this endless dance of bodies in nature. We were also very inspired by the space and community of a disco — a space of free self-expression through dance, fashion, and mode of being; where everyone was welcome, diversity was celebrated, and identity could be fluid; where the life force that animates each of us differently could flower.
Moon Duo now groove! Not rockin' grooves like Hawkwind of old very cool still, obviously , but proper, disco and funk inspired, pitter-pattering grooves like Peaking Lights. Helped in no small part by Spacemen 3's Sonic Boom, a lot of the sounds here do actually recall the late 90s UK post rave scene in their blissed out, bubbling buoyancy and hippie, repetitive, lose yourself in nature vibes.
This record glides! Synths are further to the fore but Ripley's ever evolving infinite ether guitar flickers and dances around them to maximum effect.
The beats here are never obtrusive, it still sounds exactly like them, but them that's swapped pot for ecstasy, a couch for a field! It's a majestic record. Portico Quartet return with Memory Streams, their fifth studio album and one that continues the journey that first started with 's Mercury nominated debut "Knee Deep in the North Sea".
It's a creative path that has seen the band embrace new technology and explore ambient and electronic influences alongside minimalism, jazz and beyond. It is a process that has encouraged change. Each album has seen the band expand its palate or explore new trajectories.
From the gentle charm of their breakthrough's inimitable mix of jazz, world and minimalist influences, to the tight-knit brilliance of "Isla", the electronic infused eponymous Portico Quartet to 's return "Art in the Age of Automation" the band's most electronic statement to date they have never been a band to look backwards. Each record has been its own world, its own statement and offered its own meaning.
It's the mark of a band that has always both stood apart from any scene and been prepared to challenge its self and find new things to say and to push the limits of what they could do. It is an approach that has encouraged the band to plough their own furrow. Drummer Duncan Bellamy notes that "For better or worse I think we have always been quite an isolated band.
Perhaps that comes from never feeling like we really belonged to or fit in to a scene when we first started making music" While for saxophonist Jack Wyllie " I feel more connected to other musicians these days and those relationships influence the sound we have in some way. But I wouldn't say we feel a part of scene, it still feels quite out on its own, which is cool, because it helps the music feel unique"? The band's new album, "Memory Streams" is part of the same continuum and yet, as the name hints, there is a sense here of a remembering, shards of past influences, hints of ideas re-forged.
For Wyllie, Memory Streams "feels in some ways about the identity of the band, about the records we've made before, and the memory of them" whereas for Bellamy it suggests "a torrent of imagery, accessing and reliving archived memories, perhaps not even your own".
Sonically, the album embraces the classic Portico Quartet sound pallet of drums, saxophone, bass and Hang- Drums, but nonetheless the sound has modulated, become more modern, whilst still channelling the beauty and mystery which has always marked the very best of Portico Quartet's music.
It's the sound of a band at ease with its self who after a dozen years of recording and playing together are able to simultaneously explore and embrace their own identity. Bellamy says "we wanted to create something that had texture, fibre and space to it.
Something that felt vivid, real and alive". During recording the band re-amped a lot of the sounds on the record, a process which lends a sense of depth and spaciousness to the sound.
Wyllie adds, "We tried to reduce the pallet to what really identified the band and also as a way to help us write - it's not easy if you have unlimited possibilities. But it was also was an interesting challenge as it was about writing something new, that felt like a development, whilst also drawing on the past". Its hypnotic, rolling quality builds throughout with shades of a classic Portico Quartet tune but with a 'tougher' edge. The outstanding "Gradient" is a more produced piece.
Mixing lo-fi and beautifully recorded acoustic parts together it grows from a simple, repeated Hang-Drum motif, outwards into a searching hypnotic crescendo. A lone pulse from the drum machine cuts through a haze of chiming, swirling Hang-Drums and pads built from shards of looped saxophone. The punchy "Offset" is all about motion and tension and Bellamy's drums pound in response. Almost prog like in rhythm but has a strong minimalist element to it with Farfisa organs as the repetitive top lines.
The beautifully sparse, emotional heft of "Immediately Visible" sits in a powerful lineage of Portico Quartet tracks such as "Line", "Rubidium" and "Beyond Dialogue". It was largely improvised in the studio and offers the perfect ending point for the album with its sense of journey and deep well of feeling.
An album that locates their music in an age where we have unfettered access to a vast and ever expanding archive of imagery and ideas, Memory Streams both embraces and builds on Portico Quartet's own unique music and legacy and locates their music firmly in the present. As soon as the rest of ensemble joins in, the music becomes joyous, blossoming into percussion driven highs of emotion reminiscent of their earlier work. If you are a fan of them, then this is the perfect album for you to end on a calming and gentle note.
Serfs Up! It marks the most gratifying and unexpected creative volte face in recent musical history. Joined by co-conspirator Saul Adamczewski and recorded at their own Champzone studios in the Attercliffe area of the city, Serfs Up!
Tropical, sympathetic and monumental. It invites the listener in rather than repel them through wilful abrasion. Fat White Family have broken previous default patterns of behaviour, and as such their third album heralds a new day dawning. Where once they soundtracked a grubby Britain of vape shops, Fray Bentos dinners and blackened tin-foil, a crepuscular comedown realm stalked by Shipman, Goebbels and Mark E.
Smith, Fat White Family now inhabit another cosmos entirely. Few but themselves could have forecast it: Fat White Family survived.
Fat White Family got wise. Fat White Family got sophisticated. Both artwork and lyrics are used as iconoclastic dirty bombs; butchered Nazi and Communist symbolism, the IRA, dead pigs, big cocks, Harold Shipman and your mum have been deployed with a complete lack of due reverence.
Decamping to Sheffield, kicking heroin and recent diversions into more melodic side projects might have led them into calmer and broader sonic waters, taking in glam, corrupted disco and cod reggae, but they are still viciously irreverent. It ought to have been a shambles, but it actually works just beautifully. CD Info: Includes illustrated poster.
Cat Number ZENX Release date 15 Mar '19 Format Info Deluxe edition vinyl including g clear vinyl and g white vinyl housed in roughboard sleeve with black foil detail and glossy printed inners.
The Cinematic Orchestra are back with a definitive new album that explores a timeless question of vital importance in - what to believe? With another ambrosial list of vocal collaborations, its notably reduced number of tracks and a huge injection of neo-classical nuances, it aims its bow directly at the heart; a body of work that seems to exist and transmit out of a heavenly and divine realm.
The band employ a beguiling tapestry of organic and electronic instruments, samples and improvisation throughout. There's a deliberate and considered higher consciousness to the entire album, like it's whispering into your ear late at night between the pillows.
Gunn is known for telling other people's stories, but on his breakthrough fourth album, The Unseen In Between, he explores his own emotional landscapes with his most complex, fully realized songs to date. His songwriting conjures vivid images while at the same time leaving space for your imagination to fill the gaps. And the guitars! Did I mention the guitars? Their fifth release following their debut album, two scores and an EP , they embraced the serendipitous role of the number five, inspired by artist Hilma af Klint and the recurrence of the perfect fifth chord.
This album sees them create bold new work built on their foundations in ambient and neoclassical. This album sees them pay greater heed to the small details in their sound than previously, something they say has been encouraged by the move to a new label. Likewise, the artist Hilma af Klint — one of the first abstract Western artists — informed their ideas about drawing on spiritual influences to shape their work.Kodi Archive and Support File Vintage Software APK Community Software MS-DOS CD-ROM Software CD-ROM Software Library. Console Living Room. Software Sites Software Capsules Compilation Tucows Software Library CD-ROM Images Shareware CD-ROMs ZX Spectrum DOOM Level CD. Featured.