Indierock | Alternative 229 Items

Released to celebrate the 30th anniversary of Oasis’ seminal debut single Supersonic –
limited-edition collector’s formats including a replica of the original CD single and a pearl
coloured, numbered 7”.

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.

The material for «Gemini Twins» was created in the summer of 2022 and finished in 2023. Serge: "I am interested in the themes of Man, his place in the Universe. From primitive times to the era of space exploration, people continue to ask themselves eternal questions: Who am I? Where am I from? Where am I going? The character of 'The Story Of Captain Glosster' is a slightly modified version of Homer’s Odysseus. This is the image of the End of the Wanderings. But Odysseus, after long wanderings, returned to his beloved woman. On the contrary, Captain Glosster found his love as a result of his trips. Found her in Other Worlds. I don’t use science fiction images because that’s how it’s supposed to be according to the laws of the genre. It would be too primitive and not interesting. The composition 'Time Loop' is not a reference to some kind of science fiction. In my composition, the image of the Time Loop is an image of human life. Life is rhythmic, irreversible. Under any given circumstances, we do not have the ability to press «Ctrl+Z». We can only move forward. 'Solstice' is inspired by the feeling of a calm, soft summer day. When all thoughts are stable, there is no anxiety and the world around you looks amazing through the haze of sun rays and summer smells. I tried to convey this state in my track. 'Over the Mountains' could, of course, be an image from science fiction. But not necessarily. This is the feeling of flying over the mountains. Perhaps on another planet. Or maybe not. This is a feeling of triumph from conquering air. 'Fugit Irreparabile Tempus' is my musical reflections on our world and the place of Man in this world.”

The hardest working band in punk rock, The Fleshtones, return with "Festa di Frankenstein" and "The Dedication Song," two anthemic tunes done in the band's inimitable "Super Rock" style that they've been championing since 1976. The former is a haunted hip-shaker about a party at the Frankenstein residence (sung entirely in Italian!) and the latter is frontman Peter Zaremba saluting all of the bands across the USA who influenced them and continue to play the gin joints and dive bars to this day. "The Dedication Song" was originally a hit by the great Freddy Cannon back in 1966, whereas the Fleshtones' brand new rendition serves as a sequel to their smash hit "American Beat" that put them on the map over four decades ago. "Festa di Frankenstein" is a reworking of the under-appreciated Halloween track "Frankenstein's Party" by the Swinging Phillies from 1967. While the original recording is a soulful horn-filled tune, the Fleshtones' version is a far grittier recording that will be a staple of all garage rock Halloween hootenannies to come. Both songs are pressed on a 45 single that is limited to 500 copies worldwide. This is a one-time only pressing!

DestructionDerby(Remixes and Alternative Mixes) is a collection of the remixes and alternative mixesfrom the era of their debut album - Future Primitive. Reconfigured by the finest minds in underground rock n roll and trashed onto a mixtape cassette, the mixtape brings together remixes of Data Animal along side remixes undertaken by Data Animal of other artists.DestructionDerbyis out on cassette and digitally May 31st , only on Dedstrange.

•Green and red cassette shells
•Dolby B noise reduction
•On-body print

2 glass replicated CDs in digipak case

Ltd edition CLEA...

Just had to do it, this timeless classic "Sugar man" by Sixto Rodriguez. An immense tune. OG released on the funk and soul label; Sussex records. With a top line up of musicains - Bob Babbitt on bass and Dennis coffey on Guitar; Gordon Staples did the stunning Strings arrangment and Mike Theodore producer... This was previously issued as a 7" in the 70s, but sell for well over £100.00. We have used the OG White colour sleeve design instead of the South African issue with a black sleeve, in keeping with format styles. On the flip we have take another track from the LP "Only good for conversation" Heavy groove with nice bass drum loop, it has a Eugene McDaniels vibes. x500 copies Don;t miss out!!! credits releases June 21, 2024

Sixto Rodriguez Vocals, Acoustic Guitar Bob Babbitt Bass Andrerw Smith Drums Dennis Coffey Electric Guitar Gordon Staples Leader [Strings] Mike Theodore Arranged By , Keyboards Carl Reatz Baritone Saxophone, Leader, Trombone Bob Pangborn Percussion Theo-Coff Productions Producer Dennis Coffey & Mike Theodore Producer, Arranged By Detroit Symphony* Strings

Step inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day! 22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done! Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now! This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger. Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records. On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”. On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk. These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

Rising Sheffield five-piece Dearthworms are set to release their debut album Sapsucker; a ferocious yet considered blend of jagged noise, wonk-rock, and a touch of experimental post-punk, in the vein of the Pixies, The Fall, Shame, Gilla Band, Protomartyr, Uranium Club.

Infused with eerie, surreal lyrics, stepping into Sapsucker is to dive head first into a parallel universe populated by snivelling, pathetic men, tales of eroticism, ruminations on death, and even a giant worm rooted in North-East folklore.

The band, who all have a longstanding history of being in various other bands in Sheffield inc. Blood Sport, Amorous Dialogues, Knorke and Stray Bullet, are a by-product of the local DIY space Hatch; a place that has existed as a creative incubator and experimental breeding ground.

Lyndon Hobson’s production captures the tone of the album itself, which is one equally rooted in anxious introspection as much as it is noisy and cathartic outpourings. This is a debut album that is genuinely distinct and singular, filled with varying twists and turns and off-kilter movements.

The social status quo keeps its distance: Rules Of This Game launch a genre- and generation-spanning sound with their "Electrative Rock". The debut album compiles the digitally released singles!The ingenious duo from a small Rhineland...

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.

Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back

into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.

Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.

New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.

“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

The brand-new solo album from The Dream Syndicate’s Steve Wynn, released in tandem with his memoir. Make It Right is a commentary between literal and metaphorical ruminating – a dialogue between memoirist and musician - a vulnerable, more reflective Wynn than previously heard.

‘Make It Right’ features notable contributions from Mike Mills (R.E.M.), Vicki Peterson (The Bangles), Chris Schlarb (Psychic Temple), Emil Nikolaisen (Serena Maneesh), Linda Pitmon (The Baseball project) and a cast of dozens.

“I wrote and recorded these songs in tandem with working on “I Wouldn’t Say It If It Wasn’t True,” my memoir which comes out on Jawbone Press the same week as “Make It Right,” my first solo album since 2010. With each chapter, I would get ideas for songs inspired by the deep dive into my past and vice versa. The reflections became intertwined after a while, a mutual commentary between literal and metaphorical ruminating. It was a dialogue between the memoirist and the musician, a one-man Q&A, a gentle volley in the tennis court of my mind. 40-love, game, set and match.”

Although ‘Make It Right’ isn’t autobiographical, it begins with Santa Monica - the city and boulevard where he was born and concludes with “Roosevelt Avenue”, the main thoroughfare of the Queen’s neighbourhood in New York City that he calls home today.

Wynn will also be touring across the UK, Europe & the USA this Autumn in support of the release which promises to be a one-man show blending songs that inspired by the book along with a narrative structure of readings and storytelling.

Unisong is like a second chapter in Bergur's troubadour/trobairitz research (after Around the Songster's Commune, 2022) and an exploration into/practicing of Bergur's own poetic and melodic ability. It's a beautiful experiment in unifying and synthesizing something of a conceptual nature with something autobiographical. Let's call it bare, easy-feeling, domestic pop. 'Bare' naked -- and as in not-too-much-production. 'Easy-feeling' because that's how it feels. 'Domestic' a la John Lennon, Watching the Wheels, and as in home and living a life. 'Pop' because it is; because it's for everyone. It's about travelling, longing, searching, finding -- love.

Vinyl reissue of debut full-length, originally released in 1987.

LP - Black Vinyl

Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.

Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.

Formless, finds beauty, absurdity, humor, and unlikely joy in the bleakest of times. Cogan’s smoky, psychedelic approach to gothic country and hazy folk merges with post-punk, groove, psych rock, and traditional balladry. With a singular voice as much sensation as sound, Ora Cogan seeks out new realities within the smoke-and-mirrors labyrinth of our cruel society.

“Writing this album was a very much a lifeline… transformative and healing,” Cogan recalled. “Re-calibrating an internal compass constantly thrown off by the magnetism of a deranged world.”

Raised by a photographer and a singer-songwriter on the islands of Canada’s Pacific coast, where she once again resides, Cogan shaped her approach to music far from big-city scenes. Her childhood home played host to a constant stream of artists as it served as a professional recording studio. Cogan absorbed a myriad of influences from Édith Piaf, Ladino and Rumbetico to Karen Dalton, and American country blues, all feeding into her glacial and cinematic yet tinglingly intimate sound.

Cogan has been crafting critically acclaimed records for years, earning her festival slots throughout Europe and North America, residencies in Italy and France, and shows with Mazzy Star and Grouper. Prolific and experimental, she’s collaborated with the likes of Frazey Ford, Skeena Reece, and Mourning Coup, as well as with members of GSY!BE and Big Brave.

Formless took form in the abyss of grief and pandemic isolation. “I spent a lot of time wandering aimlessly in the woods with my dog,” said Cogan. The result is an outpouring of ruminations on awkward love, pain, internal struggles, and a fight to find ways to feel good when everything goes bad.

Recorded in mostly off-the-floor takes with rhythm section David Proctor and Finn Smith on analog tape at Vancouver Island’s Risque Disque studio and co-produced by Cogan and Loving’s David Parry, the album features international guest stars including Cormac Mac Diarmada from LANKUM, who plays strings on “Feel Life,” and a duet with Y La Bamba on “Ways of Losing.”

Philadelphia’s Sweet Pill write eruptive emo songs that embrace the edges of pop and hardcore. The kind of band whose members are fully immersed in their local scene-through a handful of notable side projects and the show-promoting Philly staple 4333 Collective-the quintet’s sound takes wide-spectrum influence from its environment. The result is an amalgam of complex song structures and flourishes of technical acumen, wholly unconcerned with genre, yet evoking the specific styles of touchstones such as Paramore and Circa Survive.

On their debut longplayer Where the Heart Is, Sweet Pill’s unbound, raucous energy presents through ten autobiographical tracks that hinge on singer Zayna Youssef’s elastic, enrapturing voice-at times belting and controlled, at others textural and guttural. Supporting Youssef are guitarists Jayce Williams and Sean McCall, bassist Ryan Cullen, and drummer Chris Kearney. Their blistering lead single “Blood” sees Youssef exploring a deteriorated friendship over Williams and McCall’s trudging riffs and tactful counterpoint, with Cullen and Kearney rumbling nimbly in the song’s foundations.

Second single “High Hopes” counters with introspective, melodic punk that reshapes anxiety rather than succumb to it. But third single “Diamond Eyes” momentarily slows the pace, with McCall joining Youssef on vocals for a breakup lament laden with acoustic sentimentalism and an emotive flurry from guest flutist Jill Ryan. Such range is the central facet of Where the Heart Is, where Sweet Pill’s penchant for combining punkish tropes enlivened with the vibrance of math-rock and the aggression of post-hardcore sweetened with pop sensibility compound into something stylistically new yet still familiar.

A reissue of the wonderful female vocal LP released by Federal in 1977! Mellow reggae with covers of classics by Patti Austin, Albert Hammond, Bob Marley, and more. Marcia Griffiths participates on backing vocals.

Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.

Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.

West Coast sensations Pacific Range lit up the pre-Covid Cosmic American Music/Jam Band scene and like a flash they disappeared leaving multi instrumentalist and founding member Stewart Forgey on his own to create one this year's most exciting albums, Nature OF THE Universe! Bringing it all back home with Dan Horne producing along with his Pac Range bandmates, Circles Around The Sun, Mapache, Fdwow all help Stew deliver these very well written gems, it's classic rock and then some.

The social status quo keeps its distance: Rules Of This Game launch a genre- and generation-spanning sound with their "Electrative Rock". The debut album compiles the digitally released singles!The ingenious duo from a small Rhineland...

Released on the band’s own Golden Chariot Records label comes this lovingly rendered reissue of ‘The Decline of British Sea Power’, the band’s debut album, originally released in June 2003 to huge critical acclaim and available now on Colored Vinyl for the first time.

Over the course of their 5 studio LPs and three award winning film soundtracks, British Sea Power have become a true British institution: Top 10, Mercury nominated LP, 3 UK silver discs and renowned for their astonishing live shows in unique and unlikely locations – National History Museum, Great Wall of China, Cutty Sark, Cern Hadron Collider, Chelsea Flower show, down a Cornish mine, up in the hills in the highest pub in England, Jodrell Bank and at the John Betjeman centenary with Nick Cave, Barry Humphries, Ronnie Corbet and Prince Charles – as well as hundreds of more traditional sell out tours and festivals around the world.

"Sometimes you have to take sides"! That's what you call a statement. It doesn't hurt that `Sides' bursts in with a hypnotic, swirling guitar riff that could have come from Kevin Shields (Ischia is clearly a My Bloody Valentine fan, which is not the easiest thing for a guitarist to do). The krautroc...

On their second album, Winter Pageant, The Softies move forward with focused delight. It's the combination of Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze, Go Sailor) that molds The Softies' panoply: feathers and thorns, fawn and fearless, fable and friction.Originally released in 1997, Winter Pageant is the drama of utter melancholia documenting the broken promises, missed phone calls, conversations stalled, love lost. Colossal tasks recorded two guitars deep, forming a new Iliad, chapters on brave deeds and the power of love on the move. You can live for love, or you could live for the splendid cascade of guitar on guitar, voice over voice: The Softies.Winter Pageant was recorded by Stuart Hallerman (Soundgarden, KARP) at his Avast! recording studio in Seattle, Washington.