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Justin Moyer - a.k.a. Edie Sedgwick, the Warhol starlet who died of a barbiturate overdose in 1971 -spent much of the last decade schlepping around the globe in a wig and a dress, imparting his/her wisdom on celebrity culture to the masses. Sometimes, he brought a live band. Other nights, he made do with an iPod. But following the release of his third LP, Love Gets Lovelier Every Day, in 2011, Moyer understood that it was time to change that shit up. After all, ten years is a long time, man. Since Edie first stepped to the mic in 1999, four of Moyer's other bands - El Guapo, Supersystem, Antelope, and SPRCSS - came and went. Entire scenes, genres, and record labels were born and passed from this Earth. So, Edie became E.D. And the group became Moyer's central musical outlet, rather than a side-project indulged between tours. He recruited a full-time-ish backing band, including bassist Kristina Buddenhagen, drummer Jess Matthews (America Hearts), and singer JosaFeen Wells. And he consigned that tattered silver frock to the closet. Now, E.D. wears white. Incidentally, We Wear White is also the title of his new record. Recorded by TJ Lipple at Inner Ear and mixed by Trans Am's Phil Manley at his San Francisco HQ, Lucky Cat Recording, We Wear White is a more aggressive, dirtier batch of songs. In fact, the first song is called, "Dirty." E.D.'s lyrics have drifted away from the pages of People magazine and toward topics relevant to the here and now - retro-fetishism, gentrification, and why it was totally a mistake for you to get that DC flag tattoo. It includes Moyer's first ever song about smoking marijuana (full disclosure: Justin Moyer has never smoked marijuana). Why wear white? Because red means blood. Because blue's no good. Because you get to be born again. It's the color of renewal -- and the perfect pigment in which to rendezvous with your preferred higher power. Style: Independent

A rhythmic trio with a building and repetition-led sound, similar to Hookworms, Vision Fortune, Women, Deerhunter, Woven Bones, Thee Oh Sees and Peepholes. Cold Pumas hail from Brighton, land of windswept piers, and have been abiding by the three Rs since their inception : Repetition, Repetition, Repetition. Yet their début long-player, Persistent Malaise is the result of an internal aeon of transient rebirths. Split release between Faux Discx, Gringo Records and Italian Beach Babes, the album is both a metronomic cathedral of married noise and a funnel of kraut-tinged catharsis. It arrives preceded by a wave of 7"s, including splits with Male Bonding and Women, that have captured the taught and at times nascent evolution of this trio of fraternal pedants Record Label: Gringo Records Style: Independent

AX is the project of British rock and electronic musician Anthony Di Franco (Ramleh, Novatron, Ethnic Acid, JFK, ex-Skullflower). Extreme and uncompromising, AX presents a unique sound world of blistering power electronics, pulverising bass drones, feedback symphonies, and dark atmospheres.This CD includes tracks from the legendary long out of print mid-90's vinyl albums, digitally remastered for the first time. Style: Independent

Dublin, Ireland trio Autumn Owls are set to release their debut full-length album, "Between Buildings, Toward The Sea" on Webby Award-winning Epitonic.com's newly formed label. Gary McFarlane (vocals/guitar), Adam Browne (bass) and Will Purtill (drums) headed to Chicago this spring to record the album with Brian Deck (Modest Mouse/Iron & Wine). They then returned home to mix the album with longtime collaborator Ciaran Bradshaw. Deck and Bradshaw captured perfectly the band's deep, rich textures and emotional depth, no more apparent then on the first single from the record, "Great Atlantic Drift". Opening track, "Semaphores" opens in a haunting whisper, before unfolding and engulfing the listener. That feeling of being engulfed runs throughout the record, sometimes soothing, often menacing, always thrilling. Autumn Owls released two EPs prior, garnering excellent reviews in Ireland and the UK, enjoying steady airplay from 2FM, Today FM, Phantom FM and the BBC. They have toured extensively supporting such artists as DeVotchKa, Real Estate, Micah P Hinson and Early Day Miners, as well as playing their own headlining shows. Record Label: Epitonic Style: Independent

With a battery of custom built software instruments, samples, and 7 live lopers, Christopher Tignor and master percussionist Theo Metz saturate our senses with new colors reflecting the urgent vitality of their South Bronx neighborhood. At times the two seem to lock talons like eagles in a death spiral, as Metz's brutal percussive athleticism keeps pace with Tignor's machines in an aural game of chicken. The inspiration and experiences that led Tignor to write Replicant are directly tied to his employment history and educational background. His undergraduate degree in Literature, Masters in Computer Science, and PhD in Music Composition are all reflected in Replicant's thematic and technical underpinnings. Prior to his current job as a software engineer for Google, he held a number of interesting jobs including working as LaMonte Young's personal assistant, an EMT, a sound engineer at CBGB, a bike messenger, and has had the opportunity to handle live sound for artists including Philip Glass, Laurie Anderson, and Patti Smith. Listening to Replicant, it's interesting to contemplate how each of these experiences have made their mark on the man and the Replicant. Record Label: Western Vinyl Style: Independent

Record Label: Schnitzel Records Style: Independent

Heartbreak, working shitty jobs to survive and the loneliness of public transport in a city, Craig Dermody knows no other way than heart-on-sleeve. Paying bills, selling paintings, going to work, smoking cigarettes, thinking rationally - Craig Dermody's difficulty performing these mundane actions is well documented on "Para Vista Social Club", the debut album from his revolving-cast Australian band SCOTT & CHARLENE'S WEDDING. Originally pressed up to just 200 copies with each sleeve painted by Dermody himself, these have now long since sold out, however the album will be reissued worldwide by London label Critical Heights in November 2012. "Para Vista Social Club" (named for the Adelaide suburb in which Dermody grew up) is an off-the-cuff collection of real-life woes, each song spilling out like a soused diary entry. Dermody wrote the songs faithfully about his experiences and from there enlisted a backing band that knew not to overcomplicate the rusty, grunge-damaged appeal of the songs. And so we have guitarist Luke Horton (Love of Diagrams), bassist Jarrod Quarrel (St Helens, Lost Animal), and drummer Dion Nania (Panel of Judges) channeling the Velvet Underground and The Wipers against Dermody's slurred singing and name-checking of specific Melbourne transit lines, often the site of his melancholic self-reflection. After "Para Vista Social Club"'s original Australian self-release, Dermody headed to America indefinitely, putting this particular incarnation of the band on ice. Now based in New York, the band keeps changing and Dermody keeps writing songs under the name Scott and Charlene's Wedding. There will be a new album in early 2013. Despite Dermody's relative inexperience playing guitar and writing songs his musical CV consists of sharing lead vocals in Spider Vomit and playing bass in the scrappy Lindsey Low Hand, the songs on "Para Vista Social Club" aren't short and simple. They're long, knotty jams, often digging into a single idea and not looking up for the next few minutes with Dermody's voice ranging from a rough moan on "Born To Lose" and speech-like drawl on "Every Detail" to a bummed flatness on "Foreign Lands" and a surprisingly clean presence on the poppy "Wiseman At The Station". "Footscray Station" is the album's breakout track, a shuddering feat of shaggy-dog jangle and perfectly bruised lyrics, leading directly on to another train-themed song, "Epping Line", a crawl of a song documenting Dermody's own crawl to work as well as a demoralising phone conversation with his father. A lot of the themes are well trodden to say the least - heartbreak, working shitty jobs to survive, and the loneliness of public transit in a city - but the delivery is so wincing and unpolished that it socks you in the gut before you can call it cliché. "Para Vista Social Club" is sludgy and hypnotic and true; an undisguised catalogue of the licks we take in our youth. When Dermody sings, "I think I lost my soul/But I found it again in rock'n'roll", it's not just an easy rhyme we've all heard before. It's something closer to the salvation provided by cheap beer, good music and even better friends. Record Label: Criticalheights Style: Independent

Record Label: Dancing Propaga Style: Indie Rock

Record Label: Dancing Propaga Style: Indie Rock

Record Label: Dancing Propaga Style: Indie Rock

One one hand, their fifth album, Information Retrieved, is the logical and accessible realization of a sound Pinback have been developing and refining for over a decade. However, that consistency that we've taken for granted is what makes Information Retrieved such a euphoric surprise; their finest and most fully realized album, a dozen years deep into a career that includes bona fide modern classics like Good To Sea and Summer in Abaddon. Simply put, this is better than we ever could have expected. They could have coasted on automatic pilot to another lauded album that likely would have made it onto plenty of year-end lists, but instead they shot the moon, and the result is a major triumph. The touchstones are still there. Zach Smith's stunningly unique bass guitar acrobatics driving both rhythm and melody in lock-step unison; the incredible immediacy of Rob Crow's voice that could make a phone book sound compelling; and the music and lyrical interplay between the two of them that made Pinback so special in the first place. The difference now is their exquisite control over dynamics and a greater emotional resonance throughout. It's the most complete and soulful Pinback album by a fair distance, the finest moment in the career of a band whose unfettered brilliance we've come to count on, but will never again take for granted. Style: Independent

When Naomi Punk's debut LP The Feeling came out in Spring 2012 on Couple Skate records, it felt new and unpretentious. Not in the sense that it was without influence. There's plenty to pick apart in their music. The band isn't afraid of writing pop songs, the same way other bands like Sonic Youth and Nirvana would draw out huge hooks from dissonance-but their sound is very much their own. Though they initially began as a collage project, and their website is little more than a couple images, a list of some bands they like, and contact info, Naomi Punk, are, at heart, a trio that just wants to make good songs. Record Label: Captured Tracks Style: Independent

Wrenched Virile Lore, a remix album featuring songs from their 2011 effort Hardcore Will Never Die But You Will. Record Label: Pias Uk/Rock Aktion Records Style: Independent

Cherryade are absolutely delighted to present the rollercoaster ride of an album that is Ste McCabes Bad Kitty! Ste McCabe has been touring constantly across the UK and Europe for over 6 years, earning him major features in Artrocker Magazine, Time Out London and GT as well as receiving repeated BBC radio airplay from the likes of Huw Stephens and Tom Robinson. His 3rd album Bad Kitty blends pop beats, fuzzy guitars, creepy synths and riot grrrl inspired punk with lyrics which range from hilariously cutting and self-depricating through to dark depictions of a very messed up Britain. Listen casually and youll be smitten with Stes unique, slightly camp, insanely catchy home-made pop sound. Listen more closely and youll hear Stes razor-sharp tongue taking on welfare reforms, banks, and homophobes. Put simply, Bad Kitty hisses and scratches at all the right people, but still manages to be cute, irresistible and difficult to put down. Enjoy!..... "At heart, Ste McCabe is a brightly coloured pop-punk artist who gets better with each release" Artrocker Record Label: Cherryade Style: Independent

Lust For Youth is the solo moniker of Swedish electronic musician, Hannes Norrvide. He began the project in 2009, in Gothenburg, Sweden at Utmarken (a rehearsal space, record shop, and venue). He was inspired by friends of his who were starting a post-punk band but at the time he only had an old toy keyboard. Therefore, the earliest incarnation of the band manifested as sort of primitive drone versions of synth-pop. Some of the original versions of the songs on Growing Seeds were written during the summer of 2011, recorded in Hannes' bedroom on his computer and using borrowed equipment from his roommate. He did everything himself except the mastering which was handled by Viktor Ottosson (Street Drinkers, Looks of Love, Järtecknet). Four of the songs ended up on a cassette on Posh Isolation released in 2011. Shortly after that he began writing new songs and re-working some of the pieces during last fall and then recorded them in January/February 2012. He also made the move from Gothenburg to Copenhagen this year and eloquently points out the main difference between Lust For Youth and the power-electronics, noise scene of Posh Isolation/ Copenhagen is Lust For Youth is "less noise and more drums." Loke Rahbek of the Posh label, Sexdrome and Vår is now a collaborator of Hannes' on this project and has been playing live with him in Europe throughout the last year. The album itself Hannes describes as having the theme of a new life; coming out of an unhealthy relationship and being inspired by new love and the energy that creates. Originally released in Europe by the Italian label Avant!, Growing Seeds is now widely available on CD and LP for the 1st time. Sacred Bones will be releasing Lust For Youth's follow up LP in the first half of next year. Hannes and Loke will be touring the US this December for the 1st time including stops in LA and NY and before that playing Incubate Festival in Tilburg for the Sacred Bones/ Posh Isolation co-curated evening. The CD version of this album also contains three bonus tracks which originally appeared on the Saluting Rome EP (Posh Isolation cassette, Avant 12"). Record Label: Sacred Bones Style: Independent

JACK NOVEMBER is the pseudonym of 22-year-old Daniela Moos. Around the age of 19 she bought an indian harmonium and immediately began to write songs. She found herself performing much earlier than expected, when she was invited in March 2010 to support internationally acclaimed artist Soap&Skin at her concert in Paris. Jack November's songs are mostly consisting of the droning sound of the harmonium and some reduced electronics. Within these minimalistic electro-acoustic soundscapes she embeds a staggeringly intense and haunting voice that seems to call from a distant and unreal place. Record Label: Acht Mm Style: Independent

The Inca Babies release a new Album "Deep Dark Blue" in November 2012 on their own Black Lagoon Records. After the release of "Death Message Blues" in October of 2010, "Deep Dark Blue" is their sixth studio album. If "Death Message Blues" was a collection of loss and acceptance, after the untimely death of original bassist Bill Marten in 2008, then, "Deep Dark Blue" is a reflection of songs about hope and endeavour, but with the usual mischief and lyrical mendacity reminiscent of previous recordings. It reflects a re-shaping of the Incas sound into a perhaps mature and yet wilful approach to guitars, percussion and offbeat narratives of tall tales and extravagant characters. Made in Manchester, UK, the Album began at their now ouse' studio, Courtyard Recording studios, but with an unexpected breakdown laying low their brilliant producer Tim Woodward, the Incas were forced to up-root and finish elsewhere. They were recommended Phil Green's Blue Room for its, sheer live sonic delight. And overall, the 13 new songs, written by Harry S., have taken on further inspiration of styles and genres. There's surf punk, there's trashman's blues, death rock grunge and end of the world ballads. While the last album saw new territories open up for the band having played in Rome, Milan, Lithuania, Los Angeles and Warsaw, where they were embraced and applauded for their singular, blistering approach to live performance; This new album, "Deep Dark Blue", with its exploration into yet more exuberant sounds and ideas, is looking for the band to consolidate and find yet newer untapped congregations to enthral. Record Label: Black Lagoon Style: Indie Rock

Gatefold CD With Booklet! Over the past four years, ex-Hefner man Darren Hayman has been releasing records about lidos, dogging and Russian space dogs. He has played gigs in libraries, observatories and remote Hebridean Islands. In all that time, however, Hayman's real focus has been on this, a 20-song, double LP chronicling the 17th century Essex Witch Trials during the English Civil Wars. The record constitutes the third part of Darren's Essex trilogy, the previous two albums, Pram Town and Essex Arms, dealing with the new towns and suburbs and the lawless countryside. "I have been drawn to my birthplace because it is both familiar and alien to me," says Hayman. "Essex is so close to London yet so remote from it in many ways. I want to be both brutal and tender about the place in my songs." "It's easy to become trapped by your own tropes. I write easily about modernity and pepper my lyrics with slang, brand names and colloquialisms. I wanted to write about something in Essex's past that spoke of its strangeness and also forced me to write in a language suitable for another period." Between 1644 and 1646, approximately 300 women were executed for witchcraft in the eastern counties of Essex, Suffolk and Norfolk. Matthew Hopkins was the self appointed Witch Finder General who travelled East Anglia and helped small communities to rid themselves of these lonely, widowed women. The album deals with fear and isolation, the way we use our own terror in times of trouble to lash out at the weak, and how societies persecute otherness and outsiders. The album also concerns itself with the wider context of the English Civil Wars. Hayman sings about King Charles I's doomed love for his French bride; Parliamentarian spies; Puritan ideals and the comfort of animals. The album is epic in both concept and sound. The landscape of the Dedham Vale is bought alive by beautiful intricate woodwind scores, trembling strings and destroyed church organs. The Violence is an outstanding creative achievement, a truly unique and unprecedented album. "It's about how violence frightens us and how fear just leads to greater violence," says Hayman. Record Label: Fortuna Pop Style: Independent

From Steve Hauschildt: "This new album was recorded in both Vancouver and Cleveland. I used almost 20 different instruments, from every decade from the 60's to the present, most of them synthesizers, drum machines and effects. This gives the album a much wider palette than my last, Tragedy & Geometry, and it also gives it a more classic/new sound, yet it is still a logical follow up to that LP. I also used some techniques in the studio where I controlled older instruments with the computer and this opened up new ways for me to explore their potential as well as their innate idiosyncrasies. I was very interested in the artificiality of vocal or choir-like sounds that emulate a person or group singing, and how this has evolved with the advancement of musical technology over the years. I also sang myself, and used a vocoder, not to sound robotic, but to remove the connotations of gender. Those sounds are androgynous because they carry both masculine and feminine characteristics. I was inspired to carry this idea into music mainly because of the work of Camille Paglia and Donna Haraway. I feel that the album in a sense treads the imaginary boundary between Nature and Artifice. It is postmodern, but not necessarily a post-Freudian statement on cyborg theory or feminism. Rather it is a musically mimetic domain where these ideas freely collide and coalesce." Exactly one year on from his last album, Steve Hauschildt returns with his most commanding work to date. Dense and lush arrangements conjure a retro-futuristic soundscape for a time that never was, or one that may yet arrive. Style: Independent

Style: Independent