[engl] Lost love songs and self-pressed pop acetates by this previ- ously unheard Californian folk duo from beneath the shadows of the Hollywood Hills These recordings of unreleased and unknown American acidic folk and acoustic pop were made in the late 60s by husband and wife duo Don & Stevie Gere. For over 40 years they've sat untouched and unplayed in a box of unmarked studio tapes at their family home in Los Angeles. As original pop songs and guitar based arrangements from the man who made the stoner psych soundtrack for cult movie Werewolves On Wheels, these rescued one-off pressings were sung in harmo- ny with his teenage sweetheart and lifelong partner, Stevie Howard, recorded at LA based walk-in studio sessions. Sprouting a missing branch in the family tree of L.A. based artists like Curt Boetcher and Doug Rhodes (The Millennium), Waddy Wachtel (Buckingham Nicks) David Gates (Bread) and members of The Steve Miller Band, this LP includes original versions of tracks written for or featuring all of the above as well as destroyed and unreleased film music. What might have been considered “lost” treasure until now has remained previ- ously unshared outside of the duo's own private relationship, and presents fans of obscure folk and privately produced pop with a unique LP that defies collectability and paints a fuller picture of a lesser-spotted enigma in uninhabited unison with his closest musical confidant.

[engl] "Long awaited second album from UK indie rock band Don't Worry! Since their inception in 2014, Don’t Worry have earned themselves a loyal following, releasing their debut album Who Cares Anyway? back in 2018. The band, helmed by co-lead singers Ronan Van Kehoe and Samuel Watson, write about everything from the mundanities of life to the relatively profound delivering a relatable commentary on modern day life. The band cite a diverse range of influences for their new record, combining the vocal harmonies of classic pop groups like The Beach Boys and The Beatles, the guitar stylings of US indie heroes Built To Spill and Pavement with the energy and quintessential ‘Britishness’ of acts like The Streets, The Cribs and Blur."

[engl] Cut from the cloth of early Soft Machine and Kevin Ayers-isms, “garagearray” is a lofty, loopy flight in a candy floss-clouded sky, with an ever-present a darkness below the surface. It's wonderfully off the cuff, in moments reminiscent of a Syd Barrett session where the band must've just closed their eyes and felt it out in the dark. Coming together in all the right moments, sometimes absolute in its nick-of-timeness. Dylan Shearer is joined on this LP by Petey Dammit on bass (Thee Oh Sees) and Noel von Harmonson on drums (Comets On Fire). Produced by Eric Bauer (Ty Segall, Mikal Cronin...etc) this session maintains a lighter than life vibration, like a breeze weaving through a tree far overhead. The production smacks with that lost in time quality of a BBC session piloted by a natural on the knobs genius. Produced as a split release with our buds at Empty Cellar Records - we did two colored vinyl editions for this, ours is the LAVA FIELD edition - featuring silkscreened jackets of Neon Orange/Red overprinted with Granite Grey, to compliment the Color-in-color Orange In Silver vinyl. Theirs is the ICE CAVE edition, with jackets silkscreened a shimmering Silver then overprinted with an Ice-Turquoise to match the Ice Blue vinyl with White Haze. Both editions are limited to 250 and we have only a small batch of the ICE CAVE edition here, you can find more at

[engl] Plunge into the magnifecent swells of shoegaze & dream-pop melodies driven by the unstoppable post-hardcore rhythms and walls of electronic noises.

[engl] It’s the kind of music that once belonged in Greenwich Village coffee shops – drawing on blues and country as much as folk traditionals – but here distinguished by Tricca’s ability to write simple, emotionally direct songs, combined with her rich, clear voice.... ends up being pretty near perfect.’ Uncut The Giallo princess returns. Raised into a unique pop-cultural landscape surrounded by Giallo comic books, whistling Morricone film scores, vibrant religious imagery and expensive furniture design, Italian born Emma Tricca’s childhood playground formed a very different backdrop to that of the many whispery femme-folk revivalists that have popped up and pooped-out over the last hum- strummed decade. Emma Tricca didn’t fall into a comfy kaftan via her parents bottle fed record collection during her pre-paid college off-years nor was she torn out of a style mag via a few guitar lessons to decorate the post-club chill-out festivals. Emma Tricca is the real deal, unaffected by whimsical press-penchants and influenced by long European road trips, heavy guitar cases and tough love relationships. In danger of spitting paganistic fluff, Emma is simply an ergonomic reaction to her environments and their stories - folk music personified. While splitting her time between Rome and London she awkwardly melts a stiff upper-lip into the hot-blooded passion which has fuelled her finger-picked momentum through all of her adult life. As folk slips from the newspaper colour supplements and becomes a four letter word once again, Emma Tricca basques in its exorcism and stands hand in hand with her peers, counting the likes of John Renbourne, Bonnie Dobson and Judy Collins as friends and stage mates, while eerily drawing comparisons with the lost music of English/Italian 70s acidic folk mystery Mark Fry. Tricca was first recognised by her long black hair, battered guitar case and sturdy Italian heeled boots by Jane Weaver and Andy Votel on stage in 2006. It was ultimately her unique and infectious vocals talents that inspired the Northern non-label bosses to release her unanimously five-star rated debut LP Minor White via the Bird Records imprint, a family of which Emma has been a faithful friend and ambassador ever since. Taking trips across central Europe to the West coast of America and stopping off at too many English, Irish and Welsh Festivals to count in between (Jarvis Cocker’s Meltdown/ Festival No 6/Green Man) the emergence of Emma’s new set of songs-of-experience come from a creative soul that has travelled far, practiced long and shared a heart, through intimate songwriting, with unfaltering abundance. Previously honing her craft with minimum means fuelled by maximum motivation her ability to spontaneously exude yearning melodic handcrafted folk songs to dewy-eyed audiences still renders todays hi-tech back-lines and expensive studios surplus to requirement. 2014 will see Emma undertake more live commitments, as well as her first musical appearance in a film starring Sir Patrick Stuart as she winks back to Cinecittà. On her new LP, Emma, for the first time, embraces the minimal use of mechanical percussion and homemade orchestrations collaborating with Italian and English musicians such as members of Welsh proggists Colorama, Edwyn Collins producer Carwyn Ellis and Sam Mcloughlin (N.Racker) who brings some Northern rural radiophonics to this ROMANtic relic. To subtitle a John Fahey song... behold the Giallo princess.

[engl] En Kernaghan is a spiritual seeker who yearns for salvation through the world’s least hypocritical religion: rock n' roll. After his previous 12" EP on Ever/Never last year, Kernaghan received quite a bit of praise for his idiosyncratic take on classic garage-punk via covers of The Cramps and Pussy Galore, and originals which fit perfectly within such esteemed company. Kernaghan reinterprets the bump n' grind of rock n' roll through his devotional prism. On his new 7", Kernaghan ups the recording fidelity while expanding his range to incorporate psychedelic touches that have been lurking in the wings all along. "Divine Body Care" could be vintage Donovan chanting a mantra as sitar-like guitars and ringing bells conjure the atmosphere of an ashram invaded by flower-punks hellbent on transcendence. Even George Harrison would welcome such a trespass. "Things Are Constantly Changing" dives even deeper into psych rock. With it's strange stop/starts and outwardly-expanding chorus, "...Constantly Changing" is not so far from The Pretty Things and other denizens of Abbey Road Studios. It's safe to say that En Kernaghan is still walking his singular path, moving along to his own peculiar drumbeats.

[engl] Way down there at the bottom of the world, there is a young man named En Kernaghan who is devoting his life to a higher power. Make that two higher powers; and from our perspective, there ain’t none higher than Rock n’ Roll. For this his Ever/Never EP (200copies), En spins classics by The Cramps, Pussy Galore and more, into his own personal mantras. With the close-mic’d confidence of a young Jon Spencer and the zeal of a newly-tonsured Monk, Kernaghan will make you a believer. -e/n En Ethan Kernaghan projekt experience banned band 1997 started in a bedroom in an australian suburb, slowly turning from that of a recording project into a performance band until being banned, then on to recording self titled LP. Kel ANG

[engl] Eight new songs from the legendary german band Fehlfarben.