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Fire Records are delighted to announce that they will be releasing the brand new solo album from Australian songwriting legend Tom Morgan, best known for his contributions to SMUDGE and THE LEMONHEADS. "Orange Syringe" includes ten perfectly formed stripped-back pop songs saturated with Aussie charm, with just the right amount of jangle and an instantly comforting hook. The album showcases Morgan's skills as a master storyteller and lyricist, delving in to complex and personal subject matter, while never forsaking the hooks, leaving the songs swathed in melodic hues and moods ranging from the bright to the very, very dark. The man who wrote iconic songs like "It's A Shame About Ray" and "Outdoor Type" delivers line after line of tongue-in-cheek genius, with darkly funny twists like "the outcome is bleak, the second time in a week" and "I'm not broke, I'm just not working" along with casual flirtations, winking as he delivers "this beauty before me, she's a bit of alright" and smiling through his days of holding back on the bus fare when a pretty girl sleeps over and remembering his full family history while picking up the bottle of wine for dinner at his mother's. Tom Morgan has played in a plethora of bands, including fronting Aussie stalwarts SMUDGE, a tremendous 'slacker pop' trio who he formed in 1991 with drummer Alison Galloway (immortalized in THE LEMONHEADS "Alison is Starting to Happen"). They quickly became known for Morgan's melodic, mini-pop masterpieces with his colourful lyrics and the band's low-fi approach to recording, releasing three albums (plus a collection of B sides and unreleased covers), a mini-album, a handful of singles, and appearing on several compilation albums. Fire has recently reissued their stellar "Real McCoy", "Wrong Sinatra" and "Manilow" records. Long established as one of the finest lyricists of a generation of Aussie tunesmiths, Morgan was brought to wider attention when he paired with LEMONHEADS frontman Evan Dando for the albums "It's a Shame About Ray" and "Come on Feel The Lemonheads". With Tom's lyrical dexterity and ear for a perfect pop song, their meeting bore immediate spoils, inspiring Evan to global acclaim as he began the more 'pop' direction of his career. He was so taken with Tom's tunes that he even covered some of Smudge's songs, with great commercial success. Following passing a guitar back and forth with Evan, Tom and SMUDGE continued in various guises before finally splitting in 1999, only to get together a few years later to play periodic shows. A prolific writer, he has been continuously working and creating, and is finally ready with a proper solo album, seeing him recording with his wife Leticia and producing some of the very best work of his career. It is clearly time to sit up and take notice of the pop songwriting masterclass that is "Orange Syringe", where finally Tom Morgan can take centre stage and receive the recognition he deserves Style: Independent

Fire Records & Bo Weavil are extremely proud to present the long awaited re-issue of THE GARBAGE & THE FLOWERS classic double album Eyes Rind As If Beggars, a sprawling collection of fragile melodies, abrasive improvisations and velvet voices. The story o Style: Independent

Artist: The Children's Hour Label: Fire Records

Artist: the Garbage & the Flowers Label: Fire Records (Cargo Records)

Artist: the Children'S Hour Label: Fire Records (Cargo Records)

James Jackson Toth - AKA Wooden Wand - retreated back to Alabama to record this spooky, heady album that demands close attention. This is music for quiet reflection and shares a worldview more in line with noise and doom metal artists than it does summer of love casualties and beach burnouts. Every Wooden Wand album trounces expectations, and Blood Oaths Of The New Blues, thankfully, doesn't break that trend. It doesn't contain a single guitar solo, snare hit, or country affectation. Harmonium, organ and disembodied vocals are the order of the day here, with back-masking and subliminal messages added to enhance the trip. Like spiritual cousins Nico's Desertshore, Peter Hammil's A Black Box, or Dino Valente's s/t solo album, Blood Oaths Of The New Blues represents a break with the past with an eye on an uncertain future, and is the boldest, most adventurous and most intensely personal album of Toth's long career. The new focus on texture and sonic space does not, however, come at the expense of Toth's inimitable lyrical style. For proof, see the "alt couple" travelogue of "Outsider Blues," the menacing firsthand account of the real-life Doherty Gang's crime spree in "Southern Colorado Song," or the suicidal yearnings of the protagonist seeking to drown himself in "Supermoon (The Sounding Line)." Elsewhere, Toth evokes the weary spirits of state-executed men and women in "Dungeon Of Irons," pays tribute to one of his musical heroes in "Jhonn Balance," and even glimpses, for a moment, a sort of hope, via the sweet love song "No Debts." Warring factions on each side of Wooden Wand's generally eclectic fanbase can finally call a cease fire - this is the first Wooden Wand album that should equally satisfy both the fans of Toth's acerbic rambler narratives as well as older fans who miss losing themselves in the fried, psychedelic atmospheres of albums like Buck Dharma and Harem Of the Sundrum & The Witness Figg. The album also features the best vocal performances of Toth's career. Style: Indie Rock

The music Ubu made in 1978 was heart and soul, body and mind, in one." NME "Ubu are generally regarded as the missing link between the Velvets and punk." - Mojo "They're the greatest out-rock 'n' roll group of this millennium, and probably the next." - The Wire Smash the Hegemony of Dance. Stand still. PERE UBU return with their first new studio album for over three years in January 2013, the thirty-fifth anniversary of the group's debut ("The Modern Dance"). "Lady From Shanghai" is to be released on new label Fire Records (home to Guided by Voices, Mission of Burma, Giant Sand, Bailterspace, Josephine Foster and many others). The album ushers in a new era in the history of PERE UBU, with David Thomas and band continuing to provoke and shock listeners, further establishing them as one of the most innovative, progressive and important bands of all time. "Lady from Shanghai" is an album of dance music - it is the Ubu Dance Party. "The dancer is the puppet of the dance," says singer David Thomas. "It's long past time somebody puts an end to this abomination. Lady From Shanghai has fixed the problem." "What is the problem? Dance encourages the body to move without permission." An accompanying book 'Chinese Whispers: The Making of Lady From Shanghai' will be launched around the same time, extensively exploring the ideas and methods behind the recording. The Pere Ubu project was supposed to be an end, not a beginning. Assembled in August 1975 to be the Crosby Stills Nash & Young of the Cleveland music underground, the plan was to record one, maybe two singles and exist no more. Within months, however, those first self-produced records were being snapped up in London, Paris, Manchester, New York and Minneapolis. Pere Ubu was changing the face of rock music. Over the next 34 years they defined the art of cult; refined the voice of the outsider; and inspired the likes of Joy Division, Pixies, Husker Du, Henry Rollins, REM, Sisters of Mercy, Thomas Dolby, Bauhaus, Julian Cope and countless others. Pere Ubu make a music that is a disorienting mix of midwestern groove rock, "found" sound, analog synthesizers, falling-apart song structures and careening vocals. It is a mix that has mesmerized critics, musicians and fans for decades. Singer David Thomas named the band after the protagonist of Ubu Roi, a play by Frenchman Alfred Jarry. Style: Avant-Rock

James Jackson Toth - AKA Wooden Wand - retreated back to Alabama to record this spooky, heady album that demands close attention. This is music for quiet reflection and shares a worldview more in line with noise and doom metal artists than it does summer of love casualties and beach burnouts. Every Wooden Wand album trounces expectations, and Blood Oaths Of The New Blues, thankfully, doesn't break that trend. It doesn't contain a single guitar solo, snare hit, or country affectation. Harmonium, organ and disembodied vocals are the order of the day here, with back-masking and subliminal messages added to enhance the trip. Like spiritual cousins Nico's Desertshore, Peter Hammil's A Black Box, or Dino Valente's s/t solo album, Blood Oaths Of The New Blues represents a break with the past with an eye on an uncertain future, and is the boldest, most adventurous and most intensely personal album of Toth's long career. The new focus on texture and sonic space does not, however, come at the expense of Toth's inimitable lyrical style. For proof, see the "alt couple" travelogue of "Outsider Blues," the menacing firsthand account of the real-life Doherty Gang's crime spree in "Southern Colorado Song," or the suicidal yearnings of the protagonist seeking to drown himself in "Supermoon (The Sounding Line)." Elsewhere, Toth evokes the weary spirits of state-executed men and women in "Dungeon Of Irons," pays tribute to one of his musical heroes in "Jhonn Balance," and even glimpses, for a moment, a sort of hope, via the sweet love song "No Debts." Warring factions on each side of Wooden Wand's generally eclectic fanbase can finally call a cease fire - this is the first Wooden Wand album that should equally satisfy both the fans of Toth's acerbic rambler narratives as well as older fans who miss losing themselves in the fried, psychedelic atmospheres of albums like Buck Dharma and Harem Of the Sundrum & The Witness Figg. The album also features the best vocal performances of Toth's career. Style: Indie Rock

The music Ubu made in 1978 was heart and soul, body and mind, in one." NME "Ubu are generally regarded as the missing link between the Velvets and punk." - Mojo "They're the greatest out-rock 'n' roll group of this millennium, and probably the next." - The Wire Smash the Hegemony of Dance. Stand still. PERE UBU return with their first new studio album for over three years in January 2013, the thirty-fifth anniversary of the group's debut ("The Modern Dance"). "Lady From Shanghai" is to be released on new label Fire Records (home to Guided by Voices, Mission of Burma, Giant Sand, Bailterspace, Josephine Foster and many others). The album ushers in a new era in the history of PERE UBU, with David Thomas and band continuing to provoke and shock listeners, further establishing them as one of the most innovative, progressive and important bands of all time. "Lady from Shanghai" is an album of dance music - it is the Ubu Dance Party. "The dancer is the puppet of the dance," says singer David Thomas. "It's long past time somebody puts an end to this abomination. Lady From Shanghai has fixed the problem." "What is the problem? Dance encourages the body to move without permission." An accompanying book 'Chinese Whispers: The Making of Lady From Shanghai' will be launched around the same time, extensively exploring the ideas and methods behind the recording. The Pere Ubu project was supposed to be an end, not a beginning. Assembled in August 1975 to be the Crosby Stills Nash & Young of the Cleveland music underground, the plan was to record one, maybe two singles and exist no more. Within months, however, those first self-produced records were being snapped up in London, Paris, Manchester, New York and Minneapolis. Pere Ubu was changing the face of rock music. Over the next 34 years they defined the art of cult; refined the voice of the outsider; and inspired the likes of Joy Division, Pixies, Husker Du, Henry Rollins, REM, Sisters of Mercy, Thomas Dolby, Bauhaus, Julian Cope and countless others. Pere Ubu make a music that is a disorienting mix of midwestern groove rock, "found" sound, analog synthesizers, falling-apart song structures and careening vocals. It is a mix that has mesmerized critics, musicians and fans for decades. Singer David Thomas named the band after the protagonist of Ubu Roi, a play by Frenchman Alfred Jarry. Style: Avant-Rock

Fire Records are bringing together some of MISSION OF BURMA's best loved tracks in a two disc deluxe compilation "Learn How: The Essential Mission of Burma", that will herald the label's reissue seri Style: Independent

With the announcement of a new, grittier, LEMONHEADS album on the horizon, Fire Records will be reissuing the band's first three albums "Hate Your Friends" (1987), "Creator" (1988) and "Lick" (1989), which showcase the band's early punk rock roots. Firstly though, Fire Records will release a limited edition 7" single featuring the original "Lick" version of "Mallo Cup" as well as a live radio version, which was recorded for VPRO in Holland, which featured on a later version of "Creator". The "Mallo Cup" single is due for release in November in time for Evan Dando's tour. Fans are rejoicing over the news that Evan Dando will be reuniting with original co-songwriter Ben Deily for the new LEMONHEADS album, which will doubtless see a return to a rawer, more noisy sound and sees Ryan Adams on production duties. Dando and Deily were co-conspirators for the first three LEMONHEADS albums, which saw them in full punk rock mode and sounding like an entirely different band from the subsequent commercially successful major label releases. The three albums chart the course of the band from noise punk pranksters, to international pop stars as they evolved from Deily's LEMONHEADS to Dando's LEMONHEADS. Style: Alternative Rock

White Flag" is one of three new singles from the Guided By Voices album "The Bears For Lunch". The third album of an extremely productive year, "The Bears For Lunch" is yet another example of how high GUIDED BY VOICES are flying right now. Many bands struggle to release three albums in their career, never mind three in one year. The chugging, melancholic, melody-mad "White Flag" ("I think you know this time it's real," Bob sings over an almost New Order-ish bass line) is graced with "Casino Model" and "Zebra Film Negative" on the flip side. The other singles also being released at the same time are "Hangover Child" and "Everywhere Is Miles From Everywhere". Style: Alternative Rock

Hangover Child" is one of three new singles from the Guided By Voices album "The Bears For Lunch". The third album of an extremely productive year, "The Bears For Lunch" is yet another example of how high GUIDED BY VOICES are flying right now. Many bands struggle to release three albums in their career, never mind three in one year. A relentless drum figure fuels sure-fire-live-staple and obvious single "Hangover Child" ("the best thing [drummer] Kevin [Fennell]'s ever played" says Pollard), which is joined by B-side "Urchin Promise". The other singles also being released at the same time are "White Flag" and "Everywhere Is Miles From Everywhere". Style: Alternative Rock

Everywhere Is Miles From Everywhere" is one of three new singles from the GUIDED BY VOICES album "The Bears For Lunch". The third album of an extremely productive year, "The Bears For Lunch" is yet another example of how high GUIDED BY VOICES are flying right now. Many bands struggle to release three albums in their career, never mind three in one year. The propulsive, early-R.E.M.-inflected album closer "Everywhere Is Miles From Everywhere" hosts B-side "The World's Getting Smaller". The other singles also being released at the same time are "Hangover Child" and "White Flag". Style: Alternative Rock

This is the reunited Guided By Voices' third album of 2012, in case you had lost count. Right off, from the opening track "King Arthur the Red," with its full-throated riffery, slam-tastic drums, and even some show-offy lead guitar shredding, it's evident that GBV Mach 2 may just now be hitting its stride. The progression is not dissimilar to the one the band made from the classic "Alien Lanes" album to its 1996 high-water mark "Under The Bushes, Under The Stars", both in terms of longer, more fleshed-out songs and let's call it a semi-pro approach to recording fidelity. For all the well-deserved acclaim GBV's first two records this year have garnered, "The Bears For Lunch" is a step up in every sense. This isn't to say there's a whole lotta gloss going on, and certainly the album has its share of more casually considered songs, but from the relentless drum figure that fuels sure-fire-live-staple and obvious single "Hangover Child" ("the best thing [drummer] Kevin [Fennell]'s ever played" sez Pollard) to the chugging, melancholic, melody-mad "White Flag" ("I think you know this time it's real," Bob sings over an almost New Order-ish bass line) to the propulsive, early-R.E.M.-inflected album closer "Everywhere Is Miles From Everywhere," the 19-song 43-ish minutes long Bears delivers a gut-punch as sure and assured as anything the band's ever dished out. And that's without mentioning the stellar contributions of Tobin Sprout ("The Corners Are Glowing" and "Waving At Airplanes" are particular standouts), bouts of unrestrained whimsy like "The Military School Dance Dismissal," featuring what sounds like seven Robert Pollards singing in unison/harmony over a Beatle-esque piano line, the punning workplay of "She Lives In An Airport," or the staggering work of heart-breaking genius "You Can Fly Anything Right." Add to this Pollard's two excellent 2012 solo albums, a raft of festival appearances and some club touring, and you have possibly the most consistently productive output ever in one year from a band and a songwriter already noted for its/his insanely prolific nature. That said, in a year of highlights, "The Bears For Lunch" may well take the most cake Style: Alternative Rock

This is the reunited Guided By Voices' third album of 2012, in case you had lost count. Right off, from the opening track "King Arthur the Red," with its full-throated riffery, slam-tastic drums, and even some show-offy lead guitar shredding, it's evident that GBV Mach 2 may just now be hitting its stride. The progression is not dissimilar to the one the band made from the classic "Alien Lanes" album to its 1996 high-water mark "Under The Bushes, Under The Stars", both in terms of longer, more fleshed-out songs and let's call it a semi-pro approach to recording fidelity. For all the well-deserved acclaim GBV's first two records this year have garnered, "The Bears For Lunch" is a step up in every sense. This isn't to say there's a whole lotta gloss going on, and certainly the album has its share of more casually considered songs, but from the relentless drum figure that fuels sure-fire-live-staple and obvious single "Hangover Child" ("the best thing [drummer] Kevin [Fennell]'s ever played" sez Pollard) to the chugging, melancholic, melody-mad "White Flag" ("I think you know this time it's real," Bob sings over an almost New Order-ish bass line) to the propulsive, early-R.E.M.-inflected album closer "Everywhere Is Miles From Everywhere," the 19-song 43-ish minutes long Bears delivers a gut-punch as sure and assured as anything the band's ever dished out. And that's without mentioning the stellar contributions of Tobin Sprout ("The Corners Are Glowing" and "Waving At Airplanes" are particular standouts), bouts of unrestrained whimsy like "The Military School Dance Dismissal," featuring what sounds like seven Robert Pollards singing in unison/harmony over a Beatle-esque piano line, the punning workplay of "She Lives In An Airport," or the staggering work of heart-breaking genius "You Can Fly Anything Right." Add to this Pollard's two excellent 2012 solo albums, a raft of festival appearances and some club touring, and you have possibly the most consistently productive output ever in one year from a band and a songwriter already noted for its/his insanely prolific nature. That said, in a year of highlights, "The Bears For Lunch" may well take the most cake CD, Album

Fire Records are delighted to bring you a compilation of the very best of Robert Pollard's BOSTON SPACESHIPS. This is the first time that any material by Boston Spaceships has been available outside of the US in anything other than import, and this collection selects the very best nuggets from their brief but productive career brought together in succinct form. Between 2008-2011, BOSTON SPACESHIPS released five albums, beginning with "Brown Submarine", a pop punk album made by guys who've worn out the grooves on their Cheap Trick, Alice Cooper, Wire and dBs record, and culminating in the 75-minute double-LP masterpiece, "Let It Beard", one of the most ambitious, varied, sprawling, and yet entirely coherent records Pollard has ever made. "Let It Beard" features a variety of sonic textures, in part courtesy of a host of guest guitarists/luminaries including Colin Newman (WIRE), J. Mascis (DINOSAUR JR.) and Steve Wynn (DREAM SYNDICATE). The Albums were heretofore released only in the U.S. on Pollard's self-run GUIDED BY VOICES Inc. label. At its best (which was most of the time), BOSTON SPACESHIPS fused the surreal humour implied in its name with some of the most poignant, profound melodies/lyrics Pollard's ever written. Also, BOSTON SPACESHIPS totally rocked. In 2011, Pollard decided he could never top "Let It Beard", and broke up the band. Style: Indie Rock

BILL JANOVITZ' first solo album, "Lonesome Billy", was a far cry from the passionate guitar clatter of his best-known work with BUFFALO TOM, and his second set away from the band, "Up Here", is an ev Style: Folk

I can't tune shit, I couldn't tune a one string bass dick, but luckily they do it for me, not the bass dick, the guitar" - Dave Cloud // Recorded at the Memphis, Tennessee hallowed ground that is the Style: Blues

Fire Records are delighted to bring you a compilation of the very best of Robert Pollard's BOSTON SPACESHIPS. This is the first time that any material by Boston Spaceships has been available outside Style: Indie Rock