[engl] Here it is! The third album by STRONG COME ONS from old Orleans - France. Heavy restless bass, scratchy ardent guitars, unstoppable frenetic drums, fuzz on the loose, feedback on the skid, 9 punchy firebrands of soul power rock'n'roll with screamin' vocals! The perfect record if you need to burn your house down to cheat your insurance without leaving evidence.

[engl] Originally released in 1990. Lead by british composer Gary Ramon, THE SUN DIAL clearly worshiped psychedelic music but rather than trying to copy the sound of the '60s, they invented their new sonic genre with clouds of thick basslines, fuzzy guitars, splashy drumming (...) in an embrace of drifting melodic structures.

[engl] The second album of the British psychedelic band released in 1993 shows their sound evolution more heavily accented on guitar rather than keyboards. It sounds like the 90’s, it’s more shoegazy and noisy than their early 60’s psych influences. An underrated album than any 90’s music fan must have!!!

[engl] Supercrush are back to administer another dose of impossibly infectious guitar pop with their new EP, Melody Maker. The Seattle-based group–led by guitarist/vocalist Mark Palm along with bassist Phil Jones and drummer Allen Trainer–named their latest batch of songs after a simple student model electric guitar and a weekly rock mag of yesteryear. It’s a winking tribute to the rock n roll continuum that the band so lovingly embraces, but also a fitting nod to the band members themselves and the amount of genuine songcraft that goes into making music that sounds so effortlessly catchy. Recorded during the same sessions as Supercrush’s 2020 debut album, SODO Pop, the five songs on Melody Maker are far from throwaway leftovers. Engineered by Jones and longtime collaborator Jackson Long and then mixed by Justin Pizzoferrato, the music on Melody Maker highlights Supercrush’s split personality: equal parts soft sentimentality and loud rock bravado. “When I started doing Supercrush it was a return to my earliest musical interests,” says Palm. “I got into catchy melodic stuff and grunge bands before I even got into punk and extreme music. There was a big alt rock thing happening in eastern Canada when I was growing up, with bands like Sloan and the Doughboys getting played on MuchMusic all the time, so I was exposed to all of that. In my mind any band that’s melodic and guitar-based is fair game to be an influence on Supercrush–from The Beatles, to My Bloody Valentine, to Boston. The closing track, 'Rewind’, especially demonstrates this different approach as it forgoes percussion altogether and utilizes mantra-like lyrical repetition and the juxtaposition of layers of chaotic noise, static, and feedback over a cyclical chord progression to bring this collection to it's cathartic conclusion. Although, upon reaching that conclusion it's likely that the listener will find themselves echoing the lyrical sentiment of the final song: "I just want to start again from the beginning.” Luckily, in this case starting again is as simple as flipping the record and dropping the needle. While not a carbon copy of any one band or scene, the sounds of Supercrush will likely appeal to those with a taste for much of the "alternative" music of the early 1990's, from both North America and the UK. From Brits Swervedriver and Teenage Fanclub, to American counterparts like Sugar and Smashing Pumpkins, and even often overlooked Canadians like The Doughboys and Sloan, the common denominator is meticulously crafted pop gems, something that Supercrush also strives to achieve. Ten blissful, hook-filled, syrupy-fuzz-pop anthems; so classically '90s, yet so now.

[engl] What a time to be alive. We're thinking the West Coast jangle-pop trio have done an outstanding good job of upping their (and our) serotonin levels, with four amazing 7"s so we decided that the world needs all of them on one proper Collection LP. Although best known for playing in a long lineage of hardcore, punk, and metal bands, Mark Palm's focus has always been song- craft and pop sensibility. After finally embracing all that is sweet and sublime as the primary songwriter of San Francisco's shoegaze darlings MODERN CHARMS, Palm continues to explore the saccharine side of things with this latest project, SUPERCRUSH. Supercrush is currently in the studio completing work on their debut full length album. However, in the meantime the band is releasing a collection of all their previous material. For the past handful of years Supercrush has been employing a drip-feed approach to releasing new music. Every so often a new two song 7" single of power-pop excellence would appear out of nowhere. And then all would go quiet until the next pair of gems inexplicably materialized out of the silence. Here we have all four supersingles, along with two previously unreleased bonus tracks, collected as one ten song release. From the fuzzed-out guitars of 'Lifted' to the tasteful organ and glockenspiel accents of 'Walking Backwards' it's all here in one attractive package with cover art featuring an eye-catching assemblage in the colorful style we've come to expect from Supercrush. ? The two bonus tracks were recorded in the winter of 2015/2016 as part of the same group of sessions that yielded the 'I've Been Around' and 'I Can't Lie' singles. However, this pair of songs finds the band taking a temporary detour from the short and sugary simplicity of their superpop formula to explore a more spacey approach, recalling the shoegazing dreamy-ness of the outro of 'Melt Into You' from their first single, or perhaps even some of Mark Palm's work with his previous group, Modern Charms. The closing track, 'Rewind’, especially demonstrates this different approach as it forgoes percussion altogether and utilizes mantra-like lyrical repetition and the juxtaposition of layers of chaotic noise, static, and feedback over a cyclical chord progression to bring this collection to it's cathartic conclusion. Although, upon reaching that conclusion it's likely that the listener will find themselves echoing the lyrical sentiment of the final song: "I just want to start again from the beginning.” Luckily, in this case starting again is as simple as flipping the record and dropping the needle. While not a carbon copy of any one band or scene, the sounds of Supercrush will likely appeal to those with a taste for much of the "alternative" music of the early 1990's, from both North America and the UK. From Brits Swervedriver and Teenage Fanclub, to American counterparts like Sugar and Smashing Pumpkins, and even often overlooked Canadians like The Doughboys and Sloan, the common denominator is meticulously crafted pop gems, something that Supercrush also strives to achieve. Ten blissful, hook-filled, syrupy-fuzz-pop anthems; so classically '90s, yet so now.

[engl] Second album from London's, Supermilk, (the solo indie rock project from ex-Doe drummer Jake Popyura). Arriving just over a year after debut Death Is the Best Thing for You Now, the album showcases a more gentle and personal side to Popyura's songwriting whilst retaining the urgent fuzz-pop and post-punk of previous releases.

[engl] As Light Return – The Telescopes are back with their ninth album.

[engl] Consisting of eight new songs and incantations that form a series of sonic convulsions stretching the parameters of intuitive composition to the point of auditory illusion.

[engl] The Telescopes were initially signed to Cheree Records then moved on to What Goes On Records where they became regulars at the top of the indie charts before gaining more mainstream success on signing to Creation Records. The Telescopes are now with Tapete Records. The previous album for the label – Songs Of Love And Revolution saw a return to the indie charts in 2021, including a Dinked edition with remixes by Anton Newcombe, Lloyd Cole and Third Eye Foundation. The Telescopes music has constantly pushed at it’s own boundaries, it overlaps many genres following its own course, inspiration led. Time has shown The Telescopes music not only withstands repeated listening but also reveals something new with each listen, it has been described by the British music press as 'more a revolution of the psyche than a revolution of the sidewalk'; a thread consistent throughout a highly influential body of work spanning over 30 years. The Telescopes have been cited as an influence on many artists across genres, around the world. The first five albums have all been re-issued by renowned labels such as Cherry Red, Bomp! Rev-Ola, Space Age Records, Weisskalt, Glass Modern, Fuzz Club and many more. Of Tomorrow is the 15th album from The Telescopes, the fifth for Tapete. The album was created entirely by Lawrie at his studio in Shropshire, it is a departure from what the press often refer to as a ’wall of throb’ when describing the dense merge of noise and sound synonymous with most of The Telescopes output. Of Tomorrow marks a complete change in dynamics. Here we have the poetry of motion, solid grooves to the fore, leaving crystallised trails across a fluttering undercurrent of uplifting rhythm and hooks. Lawrie’s voice, usually treated as an instrument equal to the rest of the sound now takes the reins, engaging the listener in a melodic swirl of radiant harmony that speaks, sometimes in a whisper, of love as revolution. Every song on the album stands it’s ground, each one unique. Everything from the composition to the performance, arrangements and production are leaps beyond previous offerings. This is an album to get lost in on the dance floor or headphones in equal measures.

[engl] Songs Of Love And Revolution is a solar burst of trance inducing rhythms gripped at the helm by a wall of throbbing bass held in place by a swarm of encircling guitars. Lashed to the mast of this whirling dervish, incantations abound to dispel what is bound. This is the 12th album by The Telescopes, music for a four-piece ensemble that will never sound the same twice in any given environment or to any set of ears.

[engl] Long before Trump was president, he was a real estate tycoon. The Reagan years were good to him. His locks of hair floating through Manhattan skyscrapers: Power, money, women…World markets opened up and the greedy would get even more voracious. The World is the soundtrack to this golden era of success. The whole World or nothing. The motto here is: More (« Big Money » and « Make It Big »). But sometimes you need to soften that iron fist and talk about love (« The Big One » and « Secrets de Femme ») or taking over the family business (« Hand It Over »), expanding (« On Sight ») sharing (« What Friends? »). And of course leisure («Aquaworld »). The business world had their own newspapers and channels and now they have their music: electric and synthetic textures, sharp perfect primes, very ambitious money making melodies that work better, faster, stronger. Continuously raising the bar when all the others fail. After their self titled debut album released in 2015, « Nights » is a sleepless album, briefcase in hand, living on the edge where one can win or lose everything in a split second. The World is too big for music, their influences are more easily found in movies, whether it’s the cynics Oliver Stone or DePalma, the candid John Hughes and John Landis or the eccentrics John Carpenter and Cronenberg. The World is a strange feeling, a powerful and naive enthusiasm overtaking everything even the future of mankind. Going down with style.

[engl] Wundersam, limited Maxi Single 12 Inch, 200 copies - four dongs from the debut album of TIMBEAU

[engl] Renowned acid cosmologist Johannes Auvinen, best known by his alias Tin Man, leaves the club floor behind for a full-length kosmische excursion on Bureau B. Since his first Tin Man records nearly 20 years ago, Auvinen has impelled acid—in the grand tradition of Phuture and co.—into shapes and forms heretofore uncharted. He does it again on his latest, "Arles," exploring a new realm of impressionistic beauty where pristine, heartfelt melodies dance delicately atop austere motorik rhythms. It's a trip you'll want to take again and again. "Cosmic," as defined by the Merriam-Webster dictionary, means "of or relating to the cosmos, the extraterrestrial vastness," or "relating to abstract spiritual or metaphysical ideas." In that light, the first record by Tin Man, aka Johannes Auvinen, on Bureau B is cosmic indeed— kosmische, if you will. Auvinen is best known for his manifold expressions of acid, in the house and techno sense, that pull your heartstrings as they move your feet. But on "Arles," he leaves his dance floor bonafides behind for an album-length journey through inner and outer space. Although "Arles" isn't built for the club, it's unmistakably a Tin Man record, through and through. (Fret not: adventurous DJs will find much to work with here, naturally.) Auvinen's tender melodies, coaxed from an array of gear including his signature Roland TB-303, dance delicately atop minimal, propulsive rhythms. The form is different, but the fundament remains the same. In the manner of its namesake city, "Arles" is a portrait of impressionistic beauty. One might call it a turning point for Auvinen, a new direction, but like Auvinen's best work elsewhere, "Arles" is disarming in its unveiled simplicity. There is no artifice here; this album has nothing to prove, no need to convince the listener of anything. Its elegance is accessible immediately, its grace given freely. And after the record's done, chances are you'll find yourself dropping the needle right back at the beginning. Each listen reveals a new tenor—each track becomes a new favorite. It's a trip you'll want to take again and again.