[engl] Sur les Bras Morts is the 4th LP album of Gratuit, a one man band currently lost in the Pyrénées Mountains, France. A prince, or a king, or a knight ... is bored and languishing. Day by day, he sees the sun before him, over the river. He decides to run after him, imagining that by doing so, he will be able to make up for the time spent and lost.

[engl] Teenage Terrified is the debut E.P. by Hamburger, a Bristol band formed over a chance meeting at a vegan fast food joint. Consisting of six friends, Hamburger have mixed the raw, immediate feeling of home/bedroom recording with the poppier sound of studio recordings with Dom Mitchison of Humm Studios. Teenage Terrified takes in a range of flavours, from the sing-songy, slacker pop of Zebulon, to the more ethereal, dreamy and melodic Seafood, to the intensely personal, stripped back and introspective Agatha. Every time you try to define Hamburger’s sound, they will surprise you and take you somewhere a little different. Having said that…one can definitely hear the sonic influence of Elliott Smith, Alex G, Sparklehorse and Built to Spill. Pink vinyl 12" limited to 300 copies

[engl] In 2013 Headland produced the LP sound/track to accompany a collection of 1970s surf film fragments site-specific to the northern coast of New South Wales: an album of guitar-based music seemingly poised between the open spaces of the landscape and the stylised rhythm of single-fin surfing. This latest release, Cosy, maintains the essence of that project, providing five easy pieces that reflect on Australian surf-culture of the ‘70s and hint at an upcoming full-length release. Headland’s main contributors are Murray Paterson, known elsewhere for his work with Tex Perkins & The Dark Horses, and Joel Silbersher, founding member of seminal Australian Rock bands God and Hoss. Fans of the likes of Giant Sand / early Calexico / Scenic / Sun Kil Moon would be advised to take a dip. A limited edition 5 track / clear vinyl 12" EP to keep the waves rolling in, until the new album is on our shores.

[engl] The HEADLAND soundtrack is a collection of 14 musical pieces composed and performed to accompany a collage of super8 footage shot around Lennox Head, NSW in the 1970s. The film gives us an on-the-rocks view of a particular way of surfing and some glimpses of a culture specific to that time and place. Not simply nostalgic, the music is sympathetic to the values and lived memories of small town surf-culture. Rather than describe, the compositions and performances reflect on anecdotal experiences and memories. The recordings act as documents to those reflections. It’s a mixture of hi and lo-fi recording sessions held variously at Skritch’s Borough (Brisbane), Nashuaville (Nashua) and at Uralba (near Ballina) with Steve Law. There are a range of musical touchstones evident including Pat Garrett & Billy the Kid, early JJ Cale, Meddle era Floyd and American Stars and Bars.

[engl] HEADLAND began in 2013 as a soundtrack to a gorgeous collection of found super8 film fragments depicting surfing and coastal culture in and around Lennox Head, Australia in the 1970s. For this release, contemporary, High Definition slow-motion footage by award winning filmmaker Stephen Jones (El Mar Mi Alma) overscores each track of a full length LP. The film provides a discrete and personally emotive portrait of the Lennox coastline that builds upon traditional notions of landscape and seascape where each and every frame seems painted by hand. The instrumentation is lyrical, the compositions quaint and heartfelt. The combination is a personal insight into an emotional understanding of place. With an almost distinct Australian fever to its pitch, “True Flowers” ebbs and flows like the proverbial tide it is “soundtracking”, the players of this collective have a long history in the underground/mainstream music scene in Australia, and with this record have created a similar cinematic/avant garde-pop as created by the likes of Calexico, Friends of Dean Martinez, Boxhead Ensemble, Lullaby for the Working Class, and even Pink Floyd and Neil Young, so immersive and far-reaching is their sound. DVDs will accompany the first 300 LPs and 200 CDs of True Flowers from This Painted World. Band member bios: Les Dorahy A well-regarded visual artist, since 2006 Les has operated the Nashua Road recording studio and in recent times his creative interests have been directed towards the accordion, composition and audio engineering. Brock Fitzgerald A highly sought-after multi-instrumentalist, his CV includes recording artists such as The Scare, Wolf & Cub, Steve Smyth and Colourflux. Murray Paterson Artist, writer, curator and arts educator, Murray is probably best known as a musician/composer working with Tex Perkins and The Dark Horses. In 2009 he and Perkins also collaborated on a film score for Rachel Ward's feature film Beautiful Kate. Joel Silbersher Singer/guitarist for seminal Australian rock band GOD (1986–1989) who had an enduring hit with My Pal, written by Silbersher. Joel went on to form Hoss and Tendrils (with Charlie Owen). As a solo artist he released Greasy Lens in 2002. Rebel Waltz Films (Stephen Jones and Tatiana Velasco) El Mar, Mi Alma (2012) ~ A visual love song to the surf blessed land of Chile, its people, and the ocean that defines it. Ghost of Neruda (in development) ~ A thrilling investigation into the alleged murder of the most widely read poet of the twentieth century - Pablo Neruda.

[engl] Headland is a collective of Australian musicians that compose, record and perform soundtrack music for surf films in various forms. The group leader is Murray Paterson, an old surfer himself, who in between wrangling two red-headed boys, finds time here and there to record bits and pieces of guitarbased music. Mostly he heads to Nashuaville where his longtime colleague from a previous life in arts education, Les Dorahy, has set up a small recording studio in the old Booyong General Store, situated in the Byron Bay Hinterland. Whenever friends visit their part of the world, they drop past and join in. Most of the music remains instrumental but this new album is a collection of songs. One of Murray’s comrades from his days with Tex Perkins and The Dark Horses is Joel Silbersher. Joel has been a longtime Headland collaborator–playing bass and guitar–but while recording material for the new album, vocal melodies kept finding their way into Murray’s instrumentals. Soon there seemed enough of a coherent lyrical theme to build an album around. There’s a song about installing a dishwasher. There’s one about a soccer ball filled with blood, and one from the point of view of a lizard. The topic of love among the elderly gets a look in, and there’s a drone called Face in the Sky, which is about a face in the sky. There is some nice instrumentation touches here too with cello (Tahiti Jones), pedal steel (Danny Widdicombe), double bass (Melissa ‘Curly’ Hunt), violin/melotron (Amanda Brown – GO BETWEENS), percussion (Luke Peacock) and organ (Whitey White) fleshing out the core band of Paterson, Silbersher, accordionist Les Dorahy and drummer Brock Fitzgerald. During the recordings, a good friend of the band, Australian rock legend Spencer P. Jones sadly departed. One of his melodies and lyric was dovetailed to a Paterson instrumental and Ode to Death Trip became an emotional tribute to mark his passing. A couple of other covers appear on the album. There is a surprising, acoustic rendition of Motörhead’s Deaf Forever and a version of John Sebastian’s Darlin’ Be Home Soon. This last is a relic from 2007 when following a hard-drive meltdown at Nashuaville, the only remaining recording of a late night jam was an unedited headphone mix. It seems though, it was impossible to exclude this from the collection. There’s still enough of the spacious Australian land- and seascapes to satisfy fans of the previous Headland albums (sound/track 2013, Cosy 2015, True Flowers from this Painted World 2017), journeys through a sonic architecture centred around the motion of the ocean and it’s meeting with the coastline. But a narrative of loss and longing sits on the surface here: Silbersher’s voicing is an emotive thread that breaches at all the right times. There are references to the likes of Alex Chilton, Nick Drake and Daniel Lanois but Christian Pyle (Prawn & Spanner Studio) brings a sensitivity to the mix so that any references float rather than reveal themselves in bold relief. What Rough Beast marks the development of an ensemble and documents a sense of meaning embedded with the tone of place. File under Salty.

[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] On Jeff Rosenstock’s new album, HELLMODE, the spontaneous DIY trailblazer returns with the most confident & cohesive album of his career. Recorded at EastWest Studios with Grammy nominated engineer Jack Shirley (Deafheaven, Joyce Manor) and captured live to tape in the same room where albums like Everybody Knows This Is Nowhere and Toxicity were recorded, HELLMODE finds Rosenstock holding nothing back. The studio’s infamous natural tones are juxtaposed with echo chambers used on Pet Sounds, calling to mind the mixture of despair and clear-eyed hope heard throughout the record. The album features massive pop gems like “FUTURE IS DUMB,” “DOUBT,” and “LIKED U BETTER,” as well as softer songs such as “HEALMODE,” showcasing an intimate, immediate sound. Rosenstock has built his career on an uncompromising commitment to stay true to his beliefs. He’s toured the globe countless times and played to thousands of dedicated fans. In addition to the vast critical acclaim he’s received from places like Pitchfork, The NY Times, NPR and others, Jeff's work can be heard scoring the Cartoon Network series Craig of the Creek, which was nominated for multiple awards, including 2 Emmys. He’s performed on Late Night with Seth Meyers & The Chris Gethard Show as well as numerous music festivals across the world, including Pitchfork Music Festival, Noise Pop, Riot Fest, and more. HELLMODE is yet another exciting glimpse into Rosenstock’s powerful and emotionally resonant music, making him one of the most mesmerizing songwriters of the last decade.

[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.