Alternative

Downloadcode / 180g. THE FRATELLIS new album ‘EYES WIDE, TONGUE TIED’ out on COOKING VINYL They say that vertigo is not the fear of falling but the fear of wanting to jump. But Jon Fratelli knows no fear. With ‘Eyes Wide, Tongue Tied’ the new album by The Fratellis, he and the band have jumped from the precipitous heights that three albums (two top 5’s), a Brit Award, four sold-out nights at Brixton Academy and countless sell-out shows around the world took them to. Exuding Zen-like calm Jon has embraced the free-fall, abandoned the baggage and has never got on better with his band mates or enjoyed playing live as much as he does now. And boy, does it show. ‘Eyes Wide, Tongue Tied’ is the sound of freedom. It is the sound of a band at the peak of their powers. An exhilarating trip; it’s as much flying as it is falling with style. Listening to it; from the rush of album opener ‘Me And The Devil’ to the elegant landing of closing track ‘Moonshine’, it is obvious that The Fratellis are the embodiment of the maxim, “leap and the net will appear”. This is an album that oozes confidence and verve. After the release of 2013’s ‘We Need Medicine’, the Glaswegian trio, completed by Barry Fratelli (bass) and Mince Fratelli (drums) spent a year touring the world. At the tail end of 2014, they decamped to LA to work on album number four with Tony Hoffer (M83, Depeche Mode and Belle & Sebastian), who also produced their first album smash ‘Costello Music’. With Hoffer at the helm they were released. The pure enjoyment of ‘playing for the fun of it’ was back. The band had initially thought they’d produce the record themselves, but with Tony as ‘director’ all but two of the songs were thrown to the wind and in just four short weeks the album was written and recorded with The Fratellis relishing instrumentation and possibilities they wouldn’t have even thought about, without the direction of Hoffer. That unique, bright clarity of California sunshine seems to permeate the record and the band channelled it to create an album that represents what they do best. At the heart of ‘Eyes Wide, Tongue Tied’ there’s a fun, energetic soul reminiscent of their 2006 debut. It’s wonderfully vibrant, playful and the stories and characters it projects embody the spirit of LA (the first place Jon Fratelli ever went to outside Scotland). With recognisable nods to 70s Cali-rock, rockabilly and glorious hints of Americana and country layered high, it’s a glorious homecoming with roots in both Scotland and LA. Littered with standout tracks; The foot stamping ‘Baby Don’t You Lie To Me!’, The spiralling riffs of ‘Getting Surreal’ and ‘Thief’ all big choruses and live crowd pleasers. ‘Dogtown’ parades along with its strident brass section and funk-driven bass line it’s early seventies Stevie Wonder covering The Beatles’ ‘Come Together’. While the delicate, drifting layers of ‘Moonshine’ bring us to a reflective, poised ending. Open your mind, take a leap with The Fratellis ‘Eyes Wide, Tongue Tied’ and the net will catch you. Record Label: Cooking Vinyl Style: Alternative Rock

This album is an intensive rollercoaster through different moods and ways of expression, yet firmly rooted in the British songwriting tradition and personal life experience. Weird references abound, from post-punk to folk to deep psychedelic atmospheres and atonal experiments. The result is wry, idiosyncratic, and definitely unique, as it was made and produced by someone whose indifference towards any such thing as „current affairs“ can cheerfully called pathological. Yet in his stories about the inner and outer going-ons, you can hear his longing for contact Record Label: Schamoni Style: Alternative Rock

Compilation of Previously Released Limited Edition Tapes. VAGUESS (pronounced "Vegas") is the moniker of rock and roll nobody Vinny Vaguess. It's a band that's bound to elicit a lot of those "Crossed With" declarations. Like, "Man, they sound like The Seeds.crossed with The Reatards," or "Dude, they're basically The Mummies.crossed with The Vibrators," but let's just put all that bullshit to bed and get down to why Vinny Vaguess' songs have people reaching for their garage rock thesauruses. Since self-releasing a cassette called Back Off Warchild in 2012 (complete with a killer Xeroxed Swayze on the cover) and playing a triple-digit number of shows around the greater Los Angeles area, VAGUESS has tapped into punk rock at it's most elemental: fiery riffs, wiry attitude, and raw power with a prankster's sneer. Even underneath the muffling hum of a Tascam 4-track recorder, the rhythm section is a rolling thunderhead and the firecracker riffs smoke. The Bodhi Collection compiles the snottiest, loudest gems from Vinny's cassettes, all perversely remastered so that we don't get sued for frying your stereo. Even though these two-minute nuggets are caked with bonehead ¶ude and crackling distortion, Vinny's no slouch when it comes to songwriting and recording. The wobbly synthesizers on "My Dead Friends" recall Lyres and Lost Sounds or maybe ? & the Mysterians, while the quite lovely slide guitar in the chaos of "(You're) Only Happy When You Bleed" is straight off a Davie Allan & the Arrows LP. Slammed to tape in overnight sessions at the warehouse where Vinny works, these twenty dispatches from the Los Angeles underground are chock full of piss (really, there's a song called "Sinkpisser") and lighter fluid. Strike the match! Record Label: Sinderlyn Style: Garage Rock

Los Angeles based Sextile have played three shows to date, one of which was opening for felte's Ritual Howls. The label hadn't heard a single song up to that point, but were so mesmerized with the band's raw energy and tightly wound performance, they knew they had to work together. The band's sound is an amalgam of The Jesus and Mary Chain, early Modern English, early The Cure, Christian Death, Coil, the post-punk era of Death in June and The Cramps for good measure. Record Label: Felte Style: Indie Rock

Providing a retrospective of their early years,Vs, released in 1982, was to be Mission Of Burma's only full length studio album with the original line up before disbanding. The album was produced by Rick Harte founder of the Ace Of Hearts record label, wh Record Label: Fire Records Style: Independent

7 Bonustracks. THE FRATELLIS new album ‘EYES WIDE, TONGUE TIED’ out on COOKING VINYL They say that vertigo is not the fear of falling but the fear of wanting to jump. But Jon Fratelli knows no fear. With ‘Eyes Wide, Tongue Tied’ the new album by The Fratellis, he and the band have jumped from the precipitous heights that three albums (two top 5’s), a Brit Award, four sold-out nights at Brixton Academy and countless sell-out shows around the world took them to. Exuding Zen-like calm Jon has embraced the free-fall, abandoned the baggage and has never got on better with his band mates or enjoyed playing live as much as he does now. And boy, does it show. ‘Eyes Wide, Tongue Tied’ is the sound of freedom. It is the sound of a band at the peak of their powers. An exhilarating trip; it’s as much flying as it is falling with style. Listening to it; from the rush of album opener ‘Me And The Devil’ to the elegant landing of closing track ‘Moonshine’, it is obvious that The Fratellis are the embodiment of the maxim, “leap and the net will appear”. This is an album that oozes confidence and verve. After the release of 2013’s ‘We Need Medicine’, the Glaswegian trio, completed by Barry Fratelli (bass) and Mince Fratelli (drums) spent a year touring the world. At the tail end of 2014, they decamped to LA to work on album number four with Tony Hoffer (M83, Depeche Mode and Belle & Sebastian), who also produced their first album smash ‘Costello Music’. With Hoffer at the helm they were released. The pure enjoyment of ‘playing for the fun of it’ was back. The band had initially thought they’d produce the record themselves, but with Tony as ‘director’ all but two of the songs were thrown to the wind and in just four short weeks the album was written and recorded with The Fratellis relishing instrumentation and possibilities they wouldn’t have even thought about, without the direction of Hoffer. That unique, bright clarity of California sunshine seems to permeate the record and the band channelled it to create an album that represents what they do best. At the heart of ‘Eyes Wide, Tongue Tied’ there’s a fun, energetic soul reminiscent of their 2006 debut. It’s wonderfully vibrant, playful and the stories and characters it projects embody the spirit of LA (the first place Jon Fratelli ever went to outside Scotland). With recognisable nods to 70s Cali-rock, rockabilly and glorious hints of Americana and country layered high, it’s a glorious homecoming with roots in both Scotland and LA. Littered with standout tracks; The foot stamping ‘Baby Don’t You Lie To Me!’, The spiralling riffs of ‘Getting Surreal’ and ‘Thief’ all big choruses and live crowd pleasers. ‘Dogtown’ parades along with its strident brass section and funk-driven bass line it’s early seventies Stevie Wonder covering The Beatles’ ‘Come Together’. While the delicate, drifting layers of ‘Moonshine’ bring us to a reflective, poised ending. Open your mind, take a leap with The Fratellis ‘Eyes Wide, Tongue Tied’ and the net will catch you. Record Label: Cooking Vinyl Style: Alternative Rock

THE FRATELLIS new album ‘EYES WIDE, TONGUE TIED’ out on COOKING VINYL They say that vertigo is not the fear of falling but the fear of wanting to jump. But Jon Fratelli knows no fear. With ‘Eyes Wide, Tongue Tied’ the new album by The Fratellis, he and the band have jumped from the precipitous heights that three albums (two top 5’s), a Brit Award, four sold-out nights at Brixton Academy and countless sell-out shows around the world took them to. Exuding Zen-like calm Jon has embraced the free-fall, abandoned the baggage and has never got on better with his band mates or enjoyed playing live as much as he does now. And boy, does it show. ‘Eyes Wide, Tongue Tied’ is the sound of freedom. It is the sound of a band at the peak of their powers. An exhilarating trip; it’s as much flying as it is falling with style. Listening to it; from the rush of album opener ‘Me And The Devil’ to the elegant landing of closing track ‘Moonshine’, it is obvious that The Fratellis are the embodiment of the maxim, “leap and the net will appear”. This is an album that oozes confidence and verve. After the release of 2013’s ‘We Need Medicine’, the Glaswegian trio, completed by Barry Fratelli (bass) and Mince Fratelli (drums) spent a year touring the world. At the tail end of 2014, they decamped to LA to work on album number four with Tony Hoffer (M83, Depeche Mode and Belle & Sebastian), who also produced their first album smash ‘Costello Music’. With Hoffer at the helm they were released. The pure enjoyment of ‘playing for the fun of it’ was back. The band had initially thought they’d produce the record themselves, but with Tony as ‘director’ all but two of the songs were thrown to the wind and in just four short weeks the album was written and recorded with The Fratellis relishing instrumentation and possibilities they wouldn’t have even thought about, without the direction of Hoffer. That unique, bright clarity of California sunshine seems to permeate the record and the band channelled it to create an album that represents what they do best. At the heart of ‘Eyes Wide, Tongue Tied’ there’s a fun, energetic soul reminiscent of their 2006 debut. It’s wonderfully vibrant, playful and the stories and characters it projects embody the spirit of LA (the first place Jon Fratelli ever went to outside Scotland). With recognisable nods to 70s Cali-rock, rockabilly and glorious hints of Americana and country layered high, it’s a glorious homecoming with roots in both Scotland and LA. Littered with standout tracks; The foot stamping ‘Baby Don’t You Lie To Me!’, The spiralling riffs of ‘Getting Surreal’ and ‘Thief’ all big choruses and live crowd pleasers. ‘Dogtown’ parades along with its strident brass section and funk-driven bass line it’s early seventies Stevie Wonder covering The Beatles’ ‘Come Together’. While the delicate, drifting layers of ‘Moonshine’ bring us to a reflective, poised ending. Open your mind, take a leap with The Fratellis ‘Eyes Wide, Tongue Tied’ and the net will catch you. Record Label: Cooking Vinyl Style: Alternative Rock

Record Label: Rough Trade/Beggars Group Style: Alternative Rock

Record Label: Small Stone Style: Stoner Rock

Record Label: Beggars Banquet/Beggars Group Style: Electro Pop

Record Label: Domino Records Style: Electronic

"Built In Sun is a new project from Joe Plummer; drummer for The Shins, Cold War Kids and Mister Heavenly. Joe also produced and co-recorded an all drum project called Hew Time, released on Joyful Noise in 2014. Joe has also toured and recorded with Modes Record Label: Joyful Noise Style: Independent

All tracks newly remastered * Liner notes by Vivien Goldman Lizzy Mercier Descloux may have come of age in Paris, but it's in New York's Lower East Side that she really came alive. The French punk pioneer, a friend of Patti Smith and Richard Hell, mo Record Label: Lightintheattic Style: Independent

Both CD and LP contain further tracks via download. It's been left to an inner sanctum of musical cognoscenti to laud the legendary outsider, who plundered 60s garage rock and artfully re-invented it as his own on the borders of grunge, lo-fi, halluci Record Label: Fire Records Style: Alternative Rock

Record Label: Born Bad Style: Garage Rock

The Most Lamentable Tragedy [hereafter TMLT] is the fourth studio album by Titus Andronicus [hereafter +@] and the band's debut for Merge Records. The central narrative of TMLT ("a work of fiction," claims singer/songwriter Patrick Stickles) concerns an unnamed protagonist whom we meet in deep despair. Following an encounter with his own doppelgänger (an enigmatic stranger, identical in appearance though opposite in disposition), long held secrets are revealed, sending our protagonist on a transformative odyssey, through past lives and new loves, to the shocking revelation that the very thing that sustains him may be the thing to destroy him. TMLT was produced by frequent collaborator Kevin McMahon and +@ lead guitarist Adam Reich. The core band is rounded out by the long-standing rhythm section of Eric Harm (drums) and Julian Veronesi (bass) plus rookie guitarist Jonah Maurer. Joining in throughout are pianist Elio DeLuca and violinist Owen Pallett, beside a cast of guests representing some of New York's most exciting bands (The So So Glos, Baked, Bad Credit No Credit, Lost Boy?, etc.). TMLT is both the crown jewel of the band's discography and the legend that contextualizes their entire body of work. It reveals that +@ are what hardcore fans have said they are for years, and what the world must now recognize them to be: not merely the greatest rock and roll band of this era, but one of the greatest rock and roll bands of all time. Record Label: Merge Style: Alternative Rock

Seattle "surf noir" band La Luz returns with the anticipated follow-up to their breakout 2013 debut album It's Alive. Recorded in a makeshift surf shop studio with producer Ty Segall, Weirdo Shrine is a noisier, more energized effort. For most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It's Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. When it came time to record Weirdo Shrine, the goal was to capture the band's restless live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album as live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. The resulting album is a natural evolution of the band's self-styled "surf noir" sound-a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of "Sleep Till They Die" to the widescreen, receding-skyline send-off of "Oranges" and its bittersweet epilogue, "True Love Knows Record Label: Hardly Art Style: Independent

When Deaf Wish found themselves in a room together for the very first time, they agreed on a guiding philosophy: "Let's not make anything that's going to last. If we're together for just two shows, then that's what it is." They've deviated some. Over the course of eight years, the Melbourne foursome, bassist Nick Pratt, drummer Daniel Twomey and guitarists Sarah Hardiman and Jensen Tjhung, with each member contributing vocals-have instead amassed one of rock's most exhilarating bodies of work, a concise run of wooly seven inches and white-knuckle LPs whose legendary live translation has been most accurately described as "unhinged." All this despite their being scattered across multiple continents, with no way of getting to know one another outside of intermittent touring. "We didn't really know what this band was," Tjhung says. "We had something, but it wasn't clear-we had to figure out what that was." This year marks the arrival of Pain, the first they've written since coming together again semi-permanently in Melbourne, and their appropriately titled first full-length for Sub Pop. (Last October's St. Vincent EP was their proper Sub Pop debut.) It is a miraculously dissonant, wonderfully immediate display of Deaf Wish at their mightiest, alive with the same wild chemistry and sense of possibility that made their first recordings so vital. With more time together than they've ever had before, they're found themselves confronted with ideal (yet foreign) conditions. Two-minute freakouts like "Eyes Closed" share airspace with the meditate squall of "On" and the guitar-born majesty of "Calypso." Everything was captured in three takes or less, in a bleak, nondescript studio on the lifeless outskirts of Melbourne. Pain was mastered by Mikey Young (Eddy Current Suppression Ring, Total Control). "It's a simple thing," Tjhung says of their approach. "Simple takes the worry out of it. If we try to step it up and go sideways, it just doesn't seem to work. But we've grown up and been through some shit. To get to this point you have to bust through a few walls. It's easy to be new, and I think, in the end, this is what it is. When you put these people in the room, it's Deaf Wish." Record Label: Sub Pop Style: Alternative Rock

NEW supergroup feat. Flavia / Ex Autoramas und Martin / Columbian Neckties!!! Whaaaauw! The brand new Brazilian/Danish garage rock duo The Courettes! Whaaaauw! The Courettes is thee new garage rock duo from Brazil and Denmark. It's savage! It's dynamic! A blast of Jungle wildness & Scandinavian rock 'n' roll! riot grrrl in the garage' Flavia Couri will blow off your mind with atomic fuzz guitars and screaming raw vocals, and [1]eat! Beat! Beat! man' Martin Couri will make you s-s-shake with his loud as hell drumming! Their first album, produced by Kim Kix of PowerSolo. Record Label: Soundsofsubterrania Style: Garage Rock

Seattle "surf noir" band La Luz returns with the anticipated follow-up to their breakout 2013 debut album It's Alive. Recorded in a makeshift surf shop studio with producer Ty Segall, Weirdo Shrine is a noisier, more energized effort. For most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It's Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. When it came time to record Weirdo Shrine, the goal was to capture the band's restless live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album as live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. The resulting album is a natural evolution of the band's self-styled "surf noir" sound-a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of "Sleep Till They Die" to the widescreen, receding-skyline send-off of "Oranges" and its bittersweet epilogue, "True Love Knows Record Label: Hardly Art Style: Independent