[engl] *DION LUNADON’ debut solo album from .. 2018… finally gets a repress. .for this we’ve done 500 on transparent red.. only 300 for EU/UK sales. The sides are flipped the sleeve is slightly changed (not the front cover!) and its still the urgent punk rock that we need.. NEW album due soon on In The Red, followed by a full UK and European tour in late October..* Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar.

[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] Downpilot is ostensibly the solo project of singer/songwriter, multi-instrumentalist, and recording/mix engineer Paul Hiraga. For the last four albums, Hiraga has recorded and mixed single-handedly, which has given his work a seasoned clarity, and his seventh album, The Forecast, is the boldest, most exquisitely crafted Downpilot album to date. A trip across multiple decades with influences subtly ranging from the melodic Laurel Canyon-esque ballads (“Balancer”), to Baroque and Sunshine Pop of the late 60s and 70s (“Strangers Hotel”), to 90s Britpop (“Red Desert”), all with a 21st- Century spin, it’s nothing less than an achievement that The Forecast hangs together so wonderfully as a cohesive body of work. The crystalline intro to “Black Eye”, the album’s opener, showcases Hiraga’s voice, which has a richness and raspy expressiveness that has never sounded better than it does on this album. “Black Eye” is one of Hiraga’s finest songs to date with one of the catchiest choruses in the Downpilot catalog. Hiraga has long been exploring a range of themes in his songwriting: the inevitability of change, the mystery and beauty of nature, the varied histories of places and people, the complexity of human relationships, and the uncertainty of the future. He is a Seattle-based artist, and the Pacific Northwest is a palpable presence – it has gotten into his blood, and it seeps into the songs. With the sparse and delightfully rhythmic “Totems,” he evokes the distant past of the region, interweaving it with individual and personal narratives. The intoxicated twang of “Night Shade” underpins a lament on things lost, while shimmery guitar and three-part vocals on “Balancer” take a bow to CSN, making a layered bed for a poetic love song. The melodic chorus of “Strangers Hotel,” a symphony of strings, piano, and obscure oddball keyboards underpins a philosophical exploration of memory and the nature of reality. One of the albums most exciting moments appears with “Red Desert,” a desolate urban vision with a transcendent violin from virtuoso Melinda Rice, who contributes string parts on several songs. Hiraga has also included longtime Downpilot members Jeff Brown and Anne Marie Ruljancich (Walkabouts) along with Terry de Castro (The Wedding Present) to add a few vocal nuances throughout the album, with Brown’s harmonies adding a soaring quality to “Favorite Neighborhood.” Ending with the title track, this may not be the sunniest of forecasts but it is not without hope. Ultimately this is a life-affirming album that dips effortlessly into different styles while maintaining Downpilot’s unmistakable musical identity. Loyal fans will not be disappointed, as the The Forecast contains plenty of signature sounds, themes, and motifs. But this new collection of superbly crafted pop songs could also open the field to new listeners.

[engl] With their second album Dungen moved from a sound deeply rooted in Swedish folk music towards more psychedelia and 70’s pop. This missing link between the sparse debut and the world wide break through Ta Det Lugnt moves through 60’s and 70’s prog, psych, pop and folk with soaring flutes, woodsy violins, wicked fuzz guitars and frenetic jazz-drums. The record was originally released in 2002 under the name Stadsvandringar and a slightly different version got a very limited vinyl release as Dungen 2. II collects all tracks from Stadsvandringar and Dungen 2 as well as a single-track never available on vinyl all remastered by the original producer Mattias Glavå. Dungen’s music has expanded sonic boundaries all through the 2000s and II lets you explore both the butterfly light side as well as the heavier introspective aspects of a groundbreaking, yet retrospective band.

[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.

[engl] FINAL CLUB from DENTON, TX feat members of several Denton bands (including Teenage Cool Kids.) Final Club play sneery, melodic indie rock with a tendency to lean on the tremolo bar. Confident and loud.

[engl] 5 track 12" EP from London punks Fresh! Fresh have worked tirelessly since their inception - releasing two albums, touring with the likes of The Beths, PUP, Adult Mom, playing Fest, Manchester Punk Festival and The Fiest in Madrid. The EP continues their progression from 2019's Withdraw, deeply personal and visceral songwriting played in the most lively, fuzzy and catchy way possible! Purple marble vinyl limited to 500 copies.

[engl] New album from twee, lo-fi, indie-pop band Garden Centre! Garden Centre are a band that encompass the childish wonder of our every day. On their self titled debut they deconstructed the thoughts and feelings of a friendship group forged in the fires of forgotten spaces. In 2018's followup 'Monster Energy' they tackled energy drink consumption and semi rural exploration. Now, on their new album ‘A Moon For Digging’, they’ve reaffirmed their ability to look at the world a little differently. Conveying simple, starry-eyed narratives with a tentative sense of optimism, Garden Centre’s sweet, playground melodies will urge you to look up from your phone and notice the little things; the hidden things.

[engl] Another total winner from the Agitated stable, and two blasts of wild pop from San Francisco's finest purveyors of said genre The Fresh & Onlys.... its their first UK release, it ties in with UK shows, ATP etc... a New album is due out over the summer on In The Red, 2009 was chock full of killer sides from this lot, 2010 is catching up real fast: Both tracks highlight the bands abilities in creating pop music thats skewed yet perfect. They blend in many sounds / influences, immediate "recommended if you like pointers" include Violent Femmes / 13th Floor Elevators / early 80s British indie-pop / Australian underground singles from the 80s. Both tracks exclusive to this release. You will dance to this, and so will Matt Groening at ATP in May.