[engl] This is the second album from our swedish Lounge Metal heroes Hellsongs. Nine metal classics from bands like AC/DC, Pantera and Iron Maiden happily rearranged and - tatadadatadataaa!

[engl] Following up their excellent album of space-sliced psych from last year, L.A.’s Hoover III return with a new single on French enclave Six Tonnes De Chair. Starting with a riff that scratches the ol’ runes of Sabbath in the sand, the band proceeds to drive the track in a lighter direction, welding the heavy guitar chug to echo-dripped harmonies. The track doesn’t just troll for grooves, though. As they arc into the second half the band stompboxes the warp drive and takes “Fathom” through a few layers of cosmos. Hoover III have been working a particularly potent strain of Space Rock in their first couple of releases, and if this new single is an indicator of where they’re headed, then the next LP threatens to be one to watch out for. In the meantime, this is a good reminder to shake the earthly tether once in a while.

[engl] Izae's "Kvamb" perfectly demonstrates how short, acoustic songs can be beautiful and creative. Calm, tender, and atmospheric compositions, with guitars frequently performed in major chords and scales. All tracks are emitting positive vibes which will cheer you up in a twisted, but entertaining way.

[engl] After almost two years of busy tour schedules and widespread unanimous critical acclaim longstanding experimental pop crusader Jane Weaver finally commits one of her most requested projects to vinyl in the shape of dedicated mini-album The Amber Light presented here on exclusive and limited Amber transparent vinyl. Originally issued as a limited CD only bonus disc for The Silver Globe album global re-release The Amber Light surprised fans expecting B-sides and outtakes with what for many stood up as its own isolated project including some of Jane’s best material to date including the pulsating synth anthem I Need A Connection which since became a radio favourite also appearing on film and fashion shows throughout the latter half of 2015. The Amber Light also included further collaborations with Finders Keepers Andy Votel as well as long awaited collaborations with Atari/Star Wars Synthesist Suzanne Ciani, Tom Furse (keyboardist from The Horrors) and Sean Canty from Demdike Stare. Recorded over the course of two long weekends between tours with her custom-built band operating at an energetic optimum, The Amber Light captures Jane exuding the passion, experimentalism and justified confidence which is instantly reflected with some of her best songwriting to date. Currently causing a stir with her collaboration with Beyond The Wizards Sleeves and within the final throes of recording a brand new LP it is still a very exciting time for this unique multi-tasking independent female composer who’s loyal long-running fan-base multiplies with every closely recorded breath. Trepidation is not required here, The Amber Light means you can go.

[engl] The Silver Globe Expands As one of the most industrious female multi-instrumentalist songwriters in modern pop Jane Weaver literally doubles the content of her Best Record Of 2014 for this synth-ridden special release. When a handful of broadsheet music columns and reputable blog pages began to mention the vaguely familiar name Jane Weaver in the “Here’s One We Missed” themed features during 2014s end of year round-ups it became quickly apparent that the singer’s concept album The Silver Globe had already independently garnered a “must have” status amongst virtually any self-respecting music buyers. But unlike so many other big label “campaigns” that vied for PR attention via ego-fuelled video promos and down your throat advertising, this unassuming, dedicated, focused piece of experimental female vocal pop was in no way spoon fed to editors nor playlisters. Nor did it fall within the lines of what might have been considered fashionable or culturally relevant. The Silver Globe defied species, and for once, was judged on its own merit as a brilliant uncompromising pop record. The sixth album by a long-standing pillar of the North West music scene (loosely based on a lost Polish dystopian feature film and a French novella featuring a personnel of vintage Atari music composers next to Australian synth pioneers) was a simply typical product of the way Jane Weaver has always operated - as an independent and resilient female experimental songwriter, on her own label, on the outskirts of anything that resembles a music industry. Throughout her twenty-year “career” she has stayed focused, avoided whimsical fads and distractions and used her experience to work as hard as she can when she can. By Christmas The Silver Globe had been announced as Piccadilly Records’ best album of the year, earned a “worldwide” top ten track of the year accolade by Gilles Peterson, gleaned across the board full-stars and thumbs up from the music press, benefitted unanimous repeat plays from virtually every specialist DJ on BBC6 Music (amongst many more global radio stations), found DJ mix support from Andrew Weatherall, and filled most of the pages in a twelve month diary with gig and festival requests. Meanwhile, Jane’s own Bird Imprint (via Finders Keepers) has to worked around the clock to keep up with stock demands of her new (and old) music. Album collaborators such as David Holmes, Andy Votel and BC Camplight share gushing pride in the project and with this unanimous critical support (and long earned respect) Jane has reacted in the only way she knows best - to keep creating. In March, barely six months since its initial release, following tours with friend and sonic sister figure Laetitia Sadier (Stereolab) and one time backing band Black Rivers (two thirds of Doves), Jane will release an expanded edition of The Silver Globe - including a second full-length disc called The Amber Light which follows the original LP with the same dedication and adventurous zeal as its much loved synth driven sister record. With a title that alludes to the toils of trepidation and a running theme of industrial procreativity and DIY handy craft, The Amber Light carves a niche between new age motivational music, radiophonic folk and snarling krautrock echoing the kosmische stylings of The Silver Globe with the punk urgency of 80s domestic-synth pop. Featuring four brand new songs, three exclusive instrumental themes (including a commissioned theme from an American vampire film) and three new collaborative re-workings/duets based on tracks from The Silver Globe, this extensive package harbours co-production work from Tom Furse (The Horrors), Andy Votel, Suzanne Ciani, members of Demdike Stare and original Silver Globe inhabitants Pete J. Phillipson and Martin King. Substantiated by other extra format editions, including a silver vinyl version of The Silver Globe, a series of compact cassettes and a single release of standout robotic roller rink track Don’t Take My Soul (presented digitally as well as a split single with Bird Records label mate Tender Prey) Jane’s expanded Silver Globe/Amber Light project reciprocates the positive energy shared by her loyal readership and a wide host of new converts who have allowed Jane’s self-sufficient songs and synthetic soundscapes to flourish on he cusp of 2014/2015. Showing little signs of slowing down, Jane Weaver alongside her Bird Records family looks set for an airborne year. The Silver Globe is still turning and catching many a siege in its electric rays.

[engl] Remaining faithful to her influences of Germanic märchen tales, Eastern European children's cinema and mechanical pop music, Jane Weaver expands her critically acclaimed Fallen By Watchbird concept album in this ten chapter sequel-of-sorts by employing a cast of new actors and narrators to reinterpret her surreal "cosmic aquatic folklore" 12 months after the first installment. Here Jane experiments with volks-music in its purest most innocent form using modern tools to re-tell and recycle second hand stories. Inspired by post-war cinematic interpretations and hand-me-down mistranslations of global folk tales Jane has collaborated with a close-knit group of musicians, noisemakers and vocalists/narrators to create automatic-music and re-illuminate an eleven-page novella about telepathy, technology, lost-love, wiccan, war and watchbirds. As part of ongoing voice and electronic experiments with the people behind Pre-Cert Records The Watchbird Alluminate includes a wordless vocal introduction and interlude from both Demdike Stare and the elusive Anworth Kirk while the spoken-word narrative of Finders Keepers' lost American pop folk singer Susan Christie is reinterpreted by Ghostbox's Focus Group with results comparable to Ruth Whites 1968 electronic/vox inter- pretations of Baudelaire's Flowers Of Evil. Jane's own Bird Records label roster contributes two new cover versions of Weaver's self-penned tracks re-sung by Italian singer Emma Tricca and Rochdale's time-slipped falsetto soloist Magpahi (in a track evokes cinematic scenes from Night Of The Hunter or The Innocents). Elsewhere vintage soft-pop royalty appears in the form of a lead vocal from Wendy & Bonnie's, Wendy Flower, a close friend and confidant of Jane’s since their first collaborations in New York and London in 2006 at the request of Jarvis Cocker for his guest curation at the Meltdown festival. Other lead per- formances from Weaver add a new poetic twist to the story in both solo capacity and along- side Samandtheplants' Sam McLoughlin whose Supernatural Lancashire library project (with Alison Cooper) from 2010 still resonates as one of the finest new releases of last year. With a unique approach to making non-linear mechanical music this pop-up collective adds a further creative perspective to the oft mistreated "concept album" virtually eliminating genre distinction in favour of communal noise - a unique product of genuinely independent music in 2011 which continues to sprout further branches.

[engl] From an unassuming, self-sufficient musical micro-industry in the north of England comes more finely tuned fastidious femme pop from Jane Weaver and her growing Bird Records imprint with a new split single available of vinyl and download this spring. Having garnered unanimous acclaim amongst critics, bloggers, radio programmers, likeminded artists, gig promoters and record shops alike, Jane’s The Silver Globe LP has managed to top multiple end of year charts in 2014 and is still commanding the attention of new found fans on a daily basis - a feat deemed almost impossible for an artist with five previous albums to her name and a fervent loyalty to the independent anti corporation she has cohabited for the last twent years. With this mindset (plus good taste and talent) blooms independent pop music as it should be - adventurous, free, visionary and exciting - with Don’t Take My Soul the Liverpudlian born Manc dweller has achieved just that. Combining domestic synth pop with falsetto melodics and 10cc sounding prog pop arrangements Jane depicts a theatrical electronic pop character that fuses Kate Bush karaoke with a J-Pop Erykah Badu whilst retaining her own very distinctive songwriting, conjuring images of neon arcade machines and shabby 1980’s Euro roller rinks. Singled out as a class favourite on an album that was awarded Piccadilly Records coveted Album Of The Year accolade (and has since commanded an entire year’s worth of live commitments) Don’t Take My Soul features extra production duties from Andy Votel and ends with a guitar solo from Badly Drawn Boy which sounds like a cryogenic experiment from his pre-Bewilderbeast days. True to her co-op mentality Jane’s first vinyl single from the LP (following a limited cassette single of the Dave Brock co-write Electric Mountain) shares vinyl sides with label mate Tender Prey (aka Laura Bryon) who brings her inimitable drummy saccharine tinged pow-wow punk to the fray with the effortless Undisputed Heavyweight Champion Of My Heart ripped from the forthcoming Organ Calzone cassette and download long player released later this year. Based in Cardiff with countless road miles shared on tour with H.Hawkline and Cate Le Bon (another Bird school alumni), Laura has stolen the hearts of unknowing live converts via support slots and Marc Riley endorsed radio sessions motivated by her own self-propelled god speed. Amongst a broad clutch of other artists, spanning 70 years of lost pop and new noise, Bird records looks set for an airborne 2015. The Silver Globe is still turning and catching many a siege in its electric rays.

[engl] As we know, first times are always the most powerful: the shattering rush of revelation can only be experienced once. After that it’s all an inevitable, exhausting quest for repetition, a feverish search for the original shock, and pointless reiteration and accumulation poisoned by consciousness, analysis and age: and such a sensation keeps fading as we experience it. 2018’s garage band #1001 will look and sound the same as the preceding one, and leave you wondering – half-sorry, half-dismayed – how on earth listening to the Sonics and the Standells could electrify you back in the days. Likewise, you can count on the fingers of one hand the bands you’ve loved up until their 5th album like J.C. Satàn – almost ten years after falling in love. We all already know dudes who have “seen them too much”, heard them too much and stopped expecting anything from them anymore. Except that… Except that those folks are in for a big-time surprise, as the Satàn crew did not deliver a 5th album just for the hell of it, just to justify their next tour: they got together to seek the rare fuel, the miraculous current able to galvanize our sleeping senses, the electroshock forcing us to revive the urgent impression of being alive. Centaur Desire has something of a new first-time record – recorded all together (Arthur and Dorian used to handle all instruments themselves), enhanced by an incredibly powerful sonority (gear has piled up over the last years), and filled with a new groove (Romain finally plays his drum parts, and it’s fantastic). Never where you’d expect it, Paula’s voice adds to the pervading climate of freshness. A true panacea, in the alchemists’ sense – that universal remedy that gives sight back to the blind, hearing back to the deaf and youth back to old jaded bodies. A formula had to be found, that combines an undeniable talent for composition with devastating live fury – the laboratory residue of which, on the vinyl sieve, had always seemed a bit staid. Here it is, and some of this on-stage gold stabilized to get cut on record and reproduced endlessly until reaching our speakers. If the modern-era Nicholas Flamel extracting this yellow metal out of peat was called Josh Homme or Black Rebel Something, the whole world would be murmuring the ecstasy of court’s flatterers. At a time when the aforementioned bigwigs are composing a supposedly magnum umpteenth opus that smacks a lot of schlock, J.C. Satàn release something that dashes all of them with the cheerfulness of freaks and the Rabelaisian, farcical mirth of a horny centaur inviting us to Pan’s great farandole, in the setting of a Manowar sleeve. “CENTAUR DESIRE!” declaims a sonorous voice on the title song, just like one would invoke some demon/leviathan to lay low an army of muddy killer whales by hitting them with burning dildos. Like a superlative life, an explosion of springtime sap accompanying the great universal libidinous rush that seizes us in the cosmic shag or in the mosh pit. No doubt the fact that this 5th album is their best one to date is quite uncommon and leads one to wonder. Light years away from barely-hatched bands that seem to find reward in a second-class access prime-time appearance playing a shortened version of their unique hit before docilely presenting the weather forecast between two cell phones ads, thus betraying their only ambition – to become TV hosts – J.C. Satàn took their time, worked and searched without sacrificing their ambitions on the altar of dayglo-tracksuit pop, on which the critique, hysterical by dint of its own pomposity, reveres each day a new genius. And when a killer such as “Complex Situation” is played on a TV set, we’ll see some dislocated host disappear through a puppet-theater trapdoor, and then be pulled from there with tears on his face: a first-time shock of this caliber really doesn’t hit one every day.

[engl] Brutal and complex, furious and spirit-evoking, making spikes then descending, the new album (sept2015 born bad/ animal factory) strikes the nail of black-garage-gospel with the hammer of Viking gods, right in the middle of a storm of decibels that lance the climate, electrically charged by each of J.C. Satan's coming shows. Imagine QUEEN OF THE STONE AGE backing SERGE GAINSBOURG during Mexico's Day Of The Dead

[engl] NO DREAM is the 4th studio record from the Death Rosenstock band full of chords, words, beats and more! Tracked live in a big room for that classic "is that a mistake?" sound by Grammy-nominated recorded "Grammy Jack" Shirley, you are GUARANTEED to have not heard this record before you've listened to it! We hope it makes you feel good, but if it doesn't, that's on you sorry.

[engl] Written in the days after the 2017 Presidential inauguration, POST-'s lyrics get (really) heavy but the melodies are so catchy and the builds are so big and bright that the end result is more of a rallying cry than a surrender. The album was recorded in a one-week, 86-hour marathon recording session with Jack Shirley (Joyce Manor, Deafheaven) at the Atomic Garden in East Palo Alto, CA.

[engl] Kindling is comprised of my good buddies Stephen and Andy who also play in WMass hardcore outfit Ampere, as well as Gretschen (who plays guitar and sings) and Andrew, who plays bass. I can tell you these people have the most solid musical knowledge I know… While it would be easy to compare them to My Bloody Valentine, a closer listen will also led you to find evident traces of Superchunk guitar riffs, Teenage Fanclub and Jesus & Mary Chain melodies to serve a very personnal and unique sound… They blur they dreamy melodies into a wall of a massive fuzz sounds with a a pop sensibility rarely found when the volume and attack ends up this far in the red. While they spent a week at Sonelab in rural Easthampton, MA with Justin Pizzoferrato (Dinosaur Jr, Pixies, Speedy Ortiz, Sonic Youth, etc.) to record their first full length Galaxies for the amazing No Idea Records in Florida, they cut 6 extra songs for this euro-only release ! Adagio 830 and Echo Canyon team up one more timeto bring you this amazing EP for you! Those songs will also be released on tape in the US on Old Flame records !

[engl] When L.A. Takedown hovers over your ear hairs the first time, so much is communicated without a word - there are patient, capable hands at the wheel as we phantom through a neon Los Angeles of the mind, a Los Angeles that only three harmonized electric guitars can conjure, with a sunset so infinitely variegated in color that only synthetic washes of synth could serve as your fainting couch. Studio magic dust seems to drip off these android dreams projected against the wall - in person it defies logic that such a sound is coming from humans, but as you watch their hands it’s unmistakable - these are calm warriors sallying forth these sweeping, swooning epics, crowned with triumphant tripartite thunderbolts of wail. For a few fleeting moments, things seem right with the world; our hero has prevailed, the race was won by a hair, the unmanned drones levitate & strafe the coast, rending the coral sky with a psychic boom, shaking loose a few palm fronds and setting off some car alarms but otherwise leaving the sprawl unchanged and teeming. While produced and performed by Aaron M. Olson, Our Feeling of Natural High was engineered and mixed to glossy perfection by Jason Quever and (we hear) it benefits greatly from the seamless contributions of John Herndon, Jason Quever, Marcus Savino, Miles Wintner, Mose Wintner, Nicholas Krgovich and The Musical Tracing Ensemble. We’re even treated to a city-hum lullaby to humanity as a nightcap, with Nedelle Torrisi and Yellow Magic Orchestra’s Yukihiro Takahashi on vocals, truly a mint on the pillow of this fantastic soundscape. For fans of Michael Rother, Top Gun, later Tangerine Dream, convertibles and long walks on the beach.

[engl] La femme is a conundrum. A resounding expression. An episodic band with various faces. La Femme shows up and it’s all of her grimy spleen that stains the city’s grey pavement, in a synthetic rain beamed by livid burstings. La femme was born during the X years in Biarritz, when Sasha and Marlon started composing on their guitars music they recorded on Garage Band. Together they ride surfboards, pianos and synthetiseur as they gave a try to various styles, from 60s yéyé French pop to Californian surf music. Marlon moved to Paris, and there he met Sam, who played bass. Together they formed SOS Mademoiselle along with Olivier Peynot, and played vintage French rock, as Sasha was practising his scales in reverb feed surf band « Les redoutables! » After getting his grade, Sasha joined his friends in Paris, where they discovered French cold wave and synth pop, Marie & Les Garcons being one of their favourite. They polished a style that could be described as one of these following : Surf wave, Bizarre wave, strange wave, weird witch wave, silly mental wave or Psycho tropical Berlin ». In fact anything you want as long as it ends with « wave ». And the boys created LA FEMME. La Femme has no frontier, neither in her style nor in her voice. She’s always on a quest for new sounds, images and sensations. Joined in 2010 by drummer Noé and female singer Clémence, La femme formed its first live roster in few days after French rider and artist Pandora Decoster asks them to play on stage for a big surf contest in Biarritz. From her hazy and changing background, La femme takes shape and release that same year its first anthem « Sur la Planche », a song that was made to be hummed and whistled while ridding a board. La femme uncovers, boys, girls, plenty of option, a bit of mystery, loads of energy. Later she released her second EP, Paris 2012. In the music video she produced for this song, she blows down the effeil tower as a symbol, it’s time to go ans see something else. After swilling Paris bars, La femme goes for a tour in USA, en mode journey, and come back in France with improved reputation where they play for various festival. Soon joined by fancy rhythm drummer Nunez Ritter Von Merguez aka « La Sauterelle » and gorgeous singer Clara Luciani, La femme takes for a ride around Europe : from beyond the grave to Berlin, by London, Bruxelles and Roubaix. Cryptic and Mysterious, La femme is in perpetual motion and the band, based around full time and up-to-date boys (Sasha, Marlon, Sam), invites over the course of its wish and needs in studio a whole cast of female singer : Clémence, Clara, Marilu, Jeanne… Sooner this year, La femme released a self titled EP, that went by along with a 11 minutes long psychedelic music video, an epic and baroque short film for tracks « La femme, Hypsoline », preceding the release of her first album in April : « Psycho Tropical Berlin »: It’s the story of a couple who slipped chaos and survives by watching each other. Le Danger est partout - Peril is all around as written in the booklet. Rock and pop, rococo bahaus, fed from multiples influences (Krafwerk, Elli & Jacno) La Femme just want to please you. Generous and welcoming, she stretches you her white hand in the dark, if you grasp it, it could be the shiver of you life.

[engl] Since the mid-1990s, Stockholm’s Last Days of April have created a succession of luminous, hook-laden LPs, earning the band’s lead vocalist, guitarist, and all-around auteur, Karl Larsson, a reputation as a bonafide songwriter’s songwriter. With EVEN THE GOOD DAYS ARE BAD, Larsson and Co. return with their 10th long player (following 2015’s Sea of Clouds), a shimmering collection of eight new Larsson-penned songs that show him at the apex of his craft and LDOA achieving new levels of strength, honesty, and brilliance.