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We're all familiar with this story: the pandemic struck, and people found themselves confined to their homes, left alone with their thoughts. Amidst various musical projects, Shelby Cinca reached out to his former bandmates with the idea of creating and instrumental album in the style of FRODUS—a desire that had never materialized during the band's active years. Despite the challenges of life and logistics, the project began to take shape as Nate and Shelby brainstormed and organized their ideas. They recalled an offer from their fellow DC friend and prolific musician, Aaron DC Edge, to provide raw drum tracks. Shelby accepted Aaron's offer to kickstart a rhythmic foundation, and soon the project came to life. Some tracks remained faithful to the original demos, while others underwent substantial editing. Eventually, songs began to take form in an organic manner, despite the geographical distance between the collaborators. Conceptually, the group aimed to craft a soundtrack for a post-human world, inspired by a cryptic phrase hidden in the artwork of Frodus's last album: "when man dies, we become wolves again." These songs conjure images of overgrown and ruined cities, the return of wildlife, and the interplay of light and darkness, peace and savagery, coexisting in the after- math of humanity's downfall. Without the prominent narrative of anguished vocals, the vistas emerge in the mind's eye without barriers, allowing for a more subtle and profound exploration of the themes.

What Kind of Human Have I Become is a new vehicle helmed by Matt Plunkett (Cuticles, The Trendees, etc.). Conceived as a solo endeavor, the designation got a bit blurry following an invitation to record his new songs with Stefan Neville (Pumice, etc.) at the studio he shares with Ben Holmes (Oksun Ox, etc.) in Auckland.

Once in the studio, Plunkett’s songs puffed in a wholly new way with Neville at the controls, and backing and bits from both Neville and Holmes perhaps channeling Nag and Bendie. Fans of Matt’s past and current activities will find much to rejoice in here; Avoiding The Diggy Diggy Dogs plucks three songs from the sessions. More to come in due time.

What can be said about Chuck Berry that hasn't already been said? One of the architects of rock 'n' roll, whose influence extended far beyond his American contemporaries, crossing the ocean in the early '60s and becoming a reference point for the entire British Invasion. Sleepy LaBeef always included Chuck's classic tunes in his repertoire, as early as 1965, as demonstrated by his fabulous version of "you Can't Catch ME" on his debut single for Columbia. Sleepy's powerful voice, combined with the country-rocking vibes that permeate the track, make this version a real crowd-pleaser. Keith Dennis was part of the duo Keith & Troy, from which Troy Cory emerged, an artist who had some impact in the '60s and '70s. In contrast, Keith only released a couple of solo singles, but one of them included one of the best versions ever made of Berry's "almost GROWN." Perfectly produced and instrumented, it becomes another standout track. "dear Dad" is one of Chuck's last great songs for Chess in his initial stint with the company. New Zealand artist Bobby Davis made a tremendous revision of it shortly after, for Zodiac Records, on a very little-known single, reissued here for the first time. Curley Money has the honor of closing out this EP, and indeed the entire Blacked! collection, with his version of "little Queenie" for his own label, Money Records. Originally released in 1965, the record would be reissued by Curley himself in the mid-'70s, another magnificent example of how Chuck's black rock 'n' roll also influenced country and rockabilly artists, even in terms of form and instrumentation. Curley's version rocks like a demon, it's hard to believe that it came from an artist who was already over forty when he recorded it. With this volume, Blacked! concludes its collection. In total, there have been 8 EPs and 32 songs, featuring both well-known names and others that would hardly ring a bell to any rock 'n' roll aficionado. But always with the philosophy of including excellent songs that have been rarely compiled until now. Magnificent examples of how the influence of black rock 'n' roll and rhythm & blues artists set the pace for many white kids when creating their repertoires.

Hidden is the 10th album of Ufomammut and it marks a shift in the band's musical composition, aiming for a more intense and heavy sound, and it’s the third release featuring Levre as the band’s new drummer. The title reflects the concept of the presence of everything in our existence and the ability to bring to light what lies within us. With Hidden, Ufomammut delves into a sonic journey that traverses vast expanses of space and time. From the crushing heaviness to the hauntingly melodies, from the textured compositions to the otherworldly atmospheres, Hidden testify the neverending evolution of Ufomammut and their mastery of creating immersive sonic experiences: a fitting celebration of their 25 years of sonic exploration and experimentation.

Tusmørke, arguably the most atavistically trollish, acid-drenched musical act ever to come out of the kingdom of Norway makes yet another eternal return, this time to take the fellow traveller on a subterranean expedition to the kingdom of the Fair Folk! Dawn of Oberon is the band’s 12th album, released 12 years after their debut “Underjordisk Tusmørke” (2012). 12-12-12 - That makes this album twice as occult as 666. The band says: “This record is a testament of a tumultuous time. We had a new drummer, Kusken, and keyboard player, Herjekongen, in 2022 and immediately started working on the epic Dawn of Oberon. This behemoth had been wallowing about since the start of the millenium, never quite finding its shape and form. We thought of this as a trial by fire to galvanize the new members. During jams at rehearsals and concerts, new themes emerged, resulting in a sort of sequel in the form of Dusk of Tawblerawn part 1-5. Kusken decided to quit after just 8 months, but agreed to document the time we had spent together. All the music was recorded in our rehearsal space and studio in 2022-2023. The record is a manifestation of our Peter Pan syndrome; our aesthetics and ideals remain unchanged for the last 25 years. Never grow up, just grow old. This time we go away with the fairies all together, to the far-away land of the far-out mind. 1.Dawn of Oberon2.Born to be mild3.Dwarven Lord4.Midsommernattsdrøm5.People View6.Troll Male

Tiny Habits were formed in Boston, MA by artists Maya Rae, Cinya Khan and Judah Mayowa. The three singer-songwriters met at Berklee College of Music and the band was born at the beginning of 2022.

They started out by sharing covers recorded in the stairwell of their dorm and posting them on social media. Focusing on beautifully intimate three-part harmonies the trio's enticing signature sound, offered exquisite, reimagined versions of songs from across a spectrum of styles and quickly drove them to viral success. They received recognition and early support from artists as diverse as David Crosby, Marcus Mumford, Phoebe Bridgers, and Noah Kahan. Collaborations include work with Mark Ronson, JP Saxe and Lizzy McAlpine, who they supported on NPR’s Tiny Desk

Their debut EP “Tiny Things” was released in April 2023 and established them as one of “the” bands to watch in the year ahead. In early 2023, the band opened for Gracie Abrams “Good Riddance Tour” across North America, followed by their own sold-out US “Tiny Tour”

At the end of 2023, the trio opened for Noah Kahan on his “Stick Season Tour” across Europe, followed by a sold-out headline show in London. In January 2024, the band rejoined Gracie Abrams, opening for the Australian leg of her “Good Riddance Tour”. This was followed by a sold-out headline show in Melbourne and a performance at the Minetta Lane Theatre in New York with Kacey Musgraves. The New Yorker recently wrote a feature piece on the band, coining them “The Prodigies of Harmonies”.

Sun Racket' is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013's 'Purgatory/Paradise' is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh's well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that's at once calm and ethereal before building into glorious cacophonous crescendos. When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. "It sounded beautiful jumping around like that". Two-minute songs reappearing as twisted instrumentals or another song's bridge. They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. 'Sun Racket' is the opposite. It refused to do anything but sit still. It says, "sit here and deal". "All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn't have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more" - Kristin Hersh And so, they continue. Business unusual. "A ground-breaking band who changed the face of alternative music rather than follow the rule book." MXDWN "Pioneers of the 80s/early 90s college rock sound" Pitchfork "One of America's finest guitar bands" The Quietus

Riyl: Orange Juice, Sarah Records, early Creation, Mary Chain, C86, Lush. Tlv168lpxx repress edition of 300 copies on pink vinyl. The first run sold out very quickly so a small repress has been ordered. The Umbrellas are four renegade romantics crafting irresistible indie pop hymns. The band’s self-titled 2021 debut album became a breakout moment, winning critical praise and sparking an international tour. Follow-up LP ‘Fairweather Friend’ goes a step further – absorbing the sonic attack of their live shows, it balances this with studio finesse, allowing the San Francisco four-piece to become the band they’ve always aspired to be. It's a record overflowing with highlights. The candyfloss melodies of introductory track ‘Three Cheers!’ are matched to an impactful percussive punch; ‘Say What You Mean’ finds The Umbrellas working with total confidence, letting the song ride out to its chiming conclusion, four voices working in precision. ‘When You Find Out’ offers rotating notes of guitar punctuated by a vocal that pushes past angst to accept a world full of hope. A lean 10 track affair, it grasps towards beatific pop while fuelled by a sense of risk, and the precision that comes from long months on the road. The Umbrellas coalesced around a group of musicians who would frequent legendary San Francisco record emporium Amoeba Music. Singer and guitarist Matt Ferrera links with bassist Nick Oka, while Keith Frerichs is the powerhouse drummer. A chance encounter with Morgan Stanley singing karaoke at a Fourth of July party cemented the line-up around an avowed thirst for melody. “All of us love really earnest pop songs,” Nick points out. “I guess we got to a point in our lives where we wanted to be genuine.” Playing shows at San Francisco’s vital DIY redoubt Hit Gallery, The Umbrellas would share line-ups with local heroes such as April Magazine and Cindy. Recording their debut album across a two-day spell at Matt’s parents’ house, the results won a devoted cult following. Yet the experience of touring bonded them tightly and allowed the volume to tick up a little higher, and higher, and higher. “I think we got tired of people saying, oh you’re so much louder than I thought you’d be!” laughs Matt. “Our early recordings are sweet and earnest… and we wanted it to be louder.” Kicking off sessions in November 2022, the band used an ad hoc space Matt created in his basement, working across a four-month period. Sessions were a little more relaxed in terms of timescale than their debut, but The Umbrellas were incredibly focussed on the project. “We gave ourselves more space for this album,” says Keith. “We wanted time to sit on the songs, and really work on them.” Allowing their live dynamic to bleed out on tape, The Umbrellas are at once more physical and yet also more controlled on their new album. Take opening track ‘Three Cheers!’ – the peppy, sun-soaked rush masks a barbed lyric, courtesy of Nick Oka. “It’s a pseudo-political song about power struggles that occur in a job situation, or a friend group. It’s an observational song.” ‘Toe The Line’ has an unkempt, rollicking sense of energy, the playful relationship analogy of the lyric pushed to the speed of light by Keith’s ultra-fast punk drumming. ‘When You Find Out’ meanwhile epitomises their unified, egalitarian way of making music – with The Umbrellas, each voice counts. “It sounds different from any song we’ve ever written together,” says Morgan. “It shows how much we’ve grown. Trust helps us to build the songs. It’s definitely a team effort.” It's also a record of ambition. ‘Say What You Mean’ stretches past the four-minute mark, the viola performance informed by Estonian minimalist composer Arvo Pärt. ‘Gone’ was the first song attempted for the new album, and the last they actually finished, endless re-writes transforming it into a manifesto of control and release. Taken as a whole ‘Fairweather Friend’ is a bold indie pop triumph, crafted with purpose and attention. Taking their time over each note, the four-piece have strengthened their songwriting, adding depth and assurance while unlocking their potential. Some bonds last a lifetime – The Umbrellas are ready to capture your heart.

As subjects of a recent career spanning vault-clearing anthology, the likelihood that more old recordings by The Strange Girls might surface was an unlikely one. Thankfully it’s just what happened. Culled from leaky audience video recordings, Truly & Lyric features two Clayton Noone songs that never surfaced elsewhere. These date from around 2002 and feature the core duo of Kaaterama Morehu and Noone. Draped in artwork by Mark Anderson (Greymouth), Truly & Lyric offers another fleeting glimpse at The Strange Girls’ downcast beauty in action. Limited to 200.

To address the weight of the world without speaking of weariness. To march thesong to breathlessness but loosen your grip when the band wanders. To tell allyour secrets but shield your loved ones from vulnerability. To dress up in thecharm and temptation of the pop song but maintain a core of peculiarity, of asingle voice trying to navigate this world. This is the project of the Spatulas.Think of the few songwriters who know they're the only ones in the world whocould write their songs. The ones who sing in the confidence that the songcouldn't exist without them: Peter Jefferies, Jenny Mae, Ron House, HeatherLewis. Jonathan Richman? Put Miranda Soileau-Pratt and the Spatulas on thislist.All eleven songs on `Beehive Mind' share a percussive, unshadowed presence,a steady, clear-voiced clop. Every note on the record is a little bit sad on its ownbut then they're organized in a way that you don't actually notice. Credit this tothe band's skill_Jon Grothman, Lila Jarzombek, Kyle Raquipiso and MirandaSoileau-Pratt all play with no limits and they all play with profound ease. Thesongs breathe in warmth and patience, they are immediate and sweet. And thenthey start to meander. The guitar skitters with the deliberate unpredictability of awild animal. Parts repeat and reset with the obsessiveness of an anxious mind.The lyrics open doors to unexpected scenes of lovers, family, and violence.This is all intentional: "I need to play music and listen to music as a form oftherapy," explains Soileau. This means safety, this means encouragement, thismeans trauma, this means hard questions. Only a band so comfortable at themargins, only a band so capable, only a band so trusting can achieve all this.Miranda Solileau-Pratt wrote the first Spatulas song in 2020, while living inOregon. Since that time, the band has released two cassettes and toured theUnited States. Members of the Spatulas have also played in The Blimp, HoneyBucket, Hot Gum, and Meerkaz. The band has shared stages...

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...

Unhinged Aussie grunge captured just as the Scientists were imploding/attempting to explode. Recorded over three days in February 1986, Weird Love is the band''s last ditch effort to bring their bad vibes to bedrooms the world over, a colossal failure and brilliant mistake that sounds best when blasting out of 1982 Corolla's blown Alpine tweeters.

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled "Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

After a second official album released in 2015 (recently reissued on vinyl), THE Nils are backwith a new five-track EP recorded during the summer of 2022. The pioneers of Montreal's punk scene have lost none of their relevance. The band's catchy guitar riffs and sense of melody—now seen as a benchmark that helped define the '80s pop-punk sound—will appeal to old and new fans alike.

The Loons of Southern California have been playing their uniquely original brand of psychedelic garage and freakbeat for more than 25 years. With "Memories Have Faces" they've created their most impressive batch of songs to date, along with an intense version of the Pretty Things' "Cries from the Midnight Circus." Formed in San Diego,...

The Loons of Southern California have been playing their uniquely original brand of psychedelic garage and freakbeat for more than 25 years. With "Memories Have Faces" they've created their most impressive batch of songs to date, along with an intense version of the Pretty Things' "Cries from the Midnight Circus." Formed in San Diego, The Loons have recorded and released fi...

Sixth album by The Legendary Tigerman (aka Paulo Furtado), his first recording in a trio format with Paulo Segadaes (drums) and Joao Cabrita (baritone sax). Recorded at Rancho de la Luna (Joshua Tree) and produced by Johnny Hostile (The Savages, John & Jehn) and Paulo Furtado.

Marking 40 years of The Jesus And Mary Chain, "Glasgow Eyes" was recorded at Mogwai"s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017"s "Damage and Joy", becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK"s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk and a fresh appreciation of the less disciplined attitudes found in jazz."Glasgow Eyes" not only extends The Jesus and Mary Chain"s story, but feels simultaneously like a return to roots. From the incendiary "Psychocandy" debut and its classic "Just Like Honey" onwards, the Reid brothers steadily became the misfits who made good without compromise.

“Everything’s been fucked since David Bowie died or they started up the Hadron Collider” say The Janitors. This feeling is epitomised in the title of their riveting new album: An Error Has Occurred. Marking over two decades of activity for the Swedish psych-rockers, the recording is informed by heartbreak and loss as well as the dismal state of the entire planet. For The Janitors, these two polarities intertwine constantly: “What’s personal is political and vice versa.” To channel their frustration and anger, the band revived certain songs they’d shelved during the pandemic when working on the acclaimed Noisolation Sessions. They added others, written since, that suited the mood of sticking a middle finger up to the oppressive world around us. Whereas previous recordings were often layered up gradually, this time the full band (Henric Herlenius, Jonas Eriksson, Anders Thorell and Wilhelm Tengdahl) rehearsed intensely together before laying down everything live, over two days and nights, in a converted missionary church. The songs on Side A have the menace of Melvins, the swagger of The Stooges and the cosmic heft of The Heads. These are the more simply constructed and poppier pieces... or so the band believe. (One friend of theirs did consider this “delusional”.) ‘In A Bliss’ acts as the album’s radiant centrepiece. A palette-cleansing love song which recalls The Jesus And Mary Chain at their most starry eyed, it finds The Janitors searching for solace and strength in straightforward companionship. After this come the dronier numbers, drawn out with soundscapes and textures influenced by The Velvet Underground’s sonic experiments and the equally immersive atmospheres of electronic acts like Massive Attack. Hence, ‘Operator’ swings threateningly like a space-rock Swans, while the approach on ‘Farewell Spacegirl’ is jazzier and more meditative. “It can be hard to muster up some, or even any, positive energy at this point in time,” says Henric. “We are eternally grateful to have the creative output that this constellation gives us. Neither me or Jonas would probably be here, or be the same people we are, if it wasn’t for The Janitors. We’ll leave you with a quote from an old anarchist: ‘Every society gets the criminals it deserves.’”

Two brand new tracks by The Courettes on RED Colored Vinyl. The A-side will also feature on the band's next album! The B-side exclusive to this release! Both tracks feature guest vocals by La La Brooks of The Crystals! 'California' is a song we wrote on our first tour in California last year. We wanted to bring all the sunshine and some psychedelic vibes from The Byrds, the Laurel Canyon, and tons of 12-string guitars to our songwriting. But somehow the lyrics kept some black clouds. It talks about traveling and leaving your loved ones behind. Any musician on the road can relate to this. Although you can have a great time around the world, you're always missing someone. Home is really where your love is. We are very proud of this track, and on top of it we have a guest vocalist. The legendary singer La La Brooks - yes, from The Crystals, the lead voice on the classic 'Da Doo Ron Ron', one of our favourite Phil Spector produced songs of all time. To have La La singing with us is an absolute delight and honour. It's so surreal that we haven't even realised it has really happened! For the mixing our producer Soren Christensen has teamed up with the fantastic Darian Sahanaja (who produced and mixed no less than Brian Wilson's SMiLE album) to enlighten even more the Californian good vibrations. So open up your windows, let the sunshine in and play this one to the max!

"Eros" is The Christian Club's first full-band EP, a captivating journey through five tracks delving into the complexities of lost love and the search for connection. With its atmospheric soundscapes and heartfelt melodies, the EP offers listeners a sanctuary for introspection and understanding. From the ethereal opening notes to the resonant crescendos, "Eros" promises to envelop you in its emotive storytelling, piercing your heart and embracing you from the start, never letting go as you journey through its evocative soundscape. It's an experience that resonates deeply, leaving an indelible mark long after the music fades. A refuge to dwell whenever in times of need.

New studio album from the Dunedin (nz) songsmiths helmed by the enigmatic Martin Phillipps with artwork by Trees’ David Costa.

Dunedin’s finest, The Chills release their seventh studio album ‘Scatterbrain’, a glorious self-examination of Martin Phillipps’ songwriting hot (ish) on the heels of the hugely successful ‘Snowbound’ (2018) and the critically-acclaimed movie ‘The Chills: The Triumph And Tragedy Of Martin Phillipps’ a year later.

“It’s about artistic integrity, self-realisation, self-acceptance and a reflection on mortality.” The Guardian

Now in 2021, Phillipps is now taking stock of things – everything. Yes, everything. The result is this triumphant new Chills’ album ‘Scatterbrain’, a thought-provoking and evocative take from a man who has lived through good times and bad. A mature and honest reflection on life, destiny and the fate of our times delivered in beautiful melodies with Phillipps’ trademarked incisive turn of phrase. Viewed from the perspective of a man understanding his age and indeed his own mortality, the new album takes a mature look at matters arising with a side order of perspective. ‘Scatterbrain’ is a life passing before your ears as uncertainty increases and fake news rumbles on; during which aliens invade, Phillipps scales the walls beyond abandon as he probes the minutiae of worlds within worlds and the hourglass fills. A landmark album from one of the great modern song writers, it’s pure pop music for the new normal and we can’t wait to see how it ends…

On Subsonic Eye’s All Around You, the Singaporean five-piece present a concise collection of their richly layered, quick-paced indie-pop. Over ten songs which explore singer Nur Wahidah’s upbringing, All Around You boasts Subsonic Eye’s penchant for snappy, invigorating pop-rock songs jangling with clarity and entrancing tone.

THE LAST EXIT is the fifth studio album from Multi-instrumentalist / producer Greg Hughes and vocalist Tessa Murray's project, Still Corners. With the shimmering desert noir sound the band has become known for, THE LAST EXIT takes you on a hypnotic journey, one filled with dilapidated towns, mysterious shapes on the horizon, and long trips that blur the line between what's there and not there. Greg says, "We found something out there in the desert - something in the vast landscapes that went on forever." THE LAST EXIT consists of eleven beautifully crafted songs with organic instrumentation, clean-toned guitar, spacious drums and the smoky croon of Tessa Murray. Album highlights include "The Last Exit", "White Sands" and "Shifting Dunes" all of which evoke the vast space of the desert and rolling unconcerned skies. THE LAST EXIT takes on where their transcendent debut, Creatures of an Hour, or their stirring 2018 LP, Slow Air ends. Fall 2020 and Still Corners just released a stunning new number that is potentially the ultimate track of three, which they call "Still Corners Road Trilogy". In the beginning there was "The Trip", which continued five years later with "The Message" and finally arrives to conclusion with title track "The Last Exit".

Want, both lack and desire, is the sound of two brothers trying to sing sense into a burning world.

Listening to The Softies has always felt like peeking into a diary, with no personal detail spared. Lyrically the band documents a lovelorn heart in every manifestation, and hope is the bright silver lining adorning each song. As the third Softies album, Holiday in Rhode Island [KLP119] presents a more accessible view to the humble honesty of their emotive universe.When Holiday in Rhode Island was originally released in Sept. 2000, it had been three and a half years since The Softies previous album Winter Pageant [KLP061]. In that time Jen and Rose's introspective musings are reborn, sparkling with renewed vision, both musically and spiritually. The trademark harmonies between Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze) simply shimmer, brighter than ever before, benefiting from strong yet simple arrangements and excellent production (at a house on Galiano Island near Victoria, British Columbia) by Dave Carswell and John Collins. Thebeautiful surroundings and supportive production crew inspired The Softies to extend their minimalist blueprint of two delicately jangling guitars and two crystalline voices to include acoustic guitar embellishment on "Just a Day," "You and Only You;" piano and sparse drums on "Me and the Bees;" a xylophone makes subtle appearances here and there. Holiday in Rhode Island is a stunning artistic accomplishment from these two much heralded pop icons.

Dedicated to the power of pop music, Sobs are Singapore’s premier indiepop propagandists. After releasing a breakout bedroom pop EP Catflap and a dream-jangle LP Telltale Signs that brought international embrace, Sobs now assemble a front-to-back indiepop behemoth – Air Guitar – after a much anticipated three-year wait.

A thirty-minute trip for the post-Internet consumer, Air Guitar calibrates inventive pop hooks for the indie rock lover, instantly accessible yet intricately arranged. The album draws a line through the history of pop stylistics from 80s new wave ("Last Resort") and 90s power-pop ("Burn Book") to 00s sk8er punk and radio pop ("Air Guitar"). Further informed by the cosmopolitan, culturally astute ethos of PC Music – Sobs connects the uptempo of Shibuya’s Advantage Lucy ("Lucked Out"), heart-on-sleeve indie rock of Bettie Serveert and Big Star ("World Implode"), with the eclecticism of New York’s Darla Records ("Friday Night") to define the pulse of indiepop then and now.

Simple Reality cements the short lived legacy of Coventry DIY group Skeet.

Emerging from a scene of first-generation punks and 2 Tone kids, Skeet was instigated by Gary and Nigel Meffen in 1981, fusing tightrope instrumentals with a Roland CR-8000 under the glow of projected visuals. After a cassette of their debut performance found its way to Kay Booth who worked at Inferno Records, the unsuspecting frontwoman took the liberty of adding her own vocals. Instantly embraced as a permanent member, Booth’s shy delivery and open-diary expressions of social alienation and romantic rejection hovered over the brothers’ scratchy guitar and agitated bass.

Playing as few as 10 shows, their unnerving minimalism was recorded in a suburban home studio, borrowing a reel-to-reel from Toby Lyons (The Colourfield) and a mixer from Jerry Dammers (The Specials). Record labels gestured interest until one day they were no more - no arguments, no official split, just a silent parting of the ways and three people taking journeys in different directions. Unheard and unloved in the vaults for nearly four decades, 'Brief Call' finally resurfaced via the Coventry Music Museum compendium Alternative Sounds Volume 1, followed by a micro pressing of the full suite on Chris Long’s Almost Unknown imprint in 2023.

Simple Reality now offers a definitive snapshot of these must-hear neurotic post-punks. Mastered by Skeet fanatic Mikey Young, newly discovered instrumental multitracks are restored alongside a live recording of their final stand. Performed atop of a trailer in a pub beer garden, the release-worthy desk tape adds three new tracks and a more energised swing at ‘Left On the Shelf’s apathetic techno-pop.

RIYL: Fire Engines, 23 Skidoo, A Certain Ratio, Young Marble Giants, pel mel

Debutalbum by hard hitting avantgarde quartet featuring Wilco members Nels Cline & Glenn Kotche, plus improv heavyweights Chris Corsano & Darin Gray.

Debutalbum by hard hitting avantgarde quartet featuring Wilco members Nels Cline & Glenn Kotche, plus improv heavyweights Chris Corsano & Darin Gray.