Available for PRE-ORDER, out on the 30th of March.
180g LP In Gatefold Jacket Includes Art Print Poster + DL Coupon.
Godspeed You! Black Emperor (GYBE) returns with its first single LP-length release since the group's earliest days in 1997-99. ‘Asunder, Sweet And Other Distress’ clocks in at a succinct 40 minutes and is arguably the most focused and best sounding recording of the band’s career.
“If Godspeed around the turn of the millennium felt like a band of the moment, now, in a time of rapid cultural turnover and bite-sized music consumption, they feel out of step in a very necessary way.” – PITCHFORK
“This Montreal collective still sound like nothing else…The Godspeed ethos of wordlessly eliciting universal truths remains as devastatingly effective as ever.” – THE GUARDIAN
Working with sound engineer Greg Norman (Electrical Audio) at studios in North Carolina and Montréal, GYBE slowly and steadily put the new album together through late 2013 and 2014, emerging with a mighty slab of superlative sonics, shot through with all the band’s inimitable signposts and touchstones: huge unison riffage, savage noise/drone, oscillating overtones, guitar vs. string counterpoint, inexorable crescendos and scorchedearth transitions.
Following Godspeed’s return from a long hiatus at the end of 2010 to begin playing live shows again, and with the hugely acclaimed ‘Allelujah! Don't Bend! Ascend! release in 2012 marking their first new release in a decade, the group continued to perform regularly on their own headlining tours (and as headliners at many leading festivals), often including a new multi-movement piece in concert over the past couple of years.
Known to fans and through live show recordings by the sobriquet “Behemoth”, GYBE has gradually distilled this new work down to a fastidious and uncompromising essence in the studio, with the swing-time swagger of the opening unison riff in “Peasantry or ‘Light! Inside of Light!’” giving way to increasing microtonal divergences and an exhilarating immersion in the harmonic power of massed amplified instruments, before collapsing into some of the most visceral and unalloyed noise/drone the band has yet committed to tape on “Lambs’ Breath” and “Asunder, Sweet”.
The album closes with “Piss Crowns Are Trebled”, a 14-minute piece of vintage Godspeed, where ascending and descending guitar and violin melodies intertwine over gut-rattling distorted bass in 3/4 time, segueing into a pummeling four-on-the-floor series of sparkling, soaring crescendos.
‘Asunder, Sweet And Other Distress’ finds Godspeed in top form; a sterling celebration of the band’s awesome dialectic, where composition, emotion and ‘note-choice’ is inextricable from an exacting focus on tone, timbre, resonance and the sheer materiality of sound.
Tracklist: 1. Peasantry or ‘Light! Inside of Light!’ 2. Lambs' Breath 3. Asunder, Sweet 4. Piss Crowns Are Trebled
Vinyl Available for PRE-ORDER, out on the 30th of March.
CD Available NOW.
Isle of Dogs, the debut album from East London indiepop band Tigercats is re-issued on LP (heavyweight 180gvinyl + DL code).
CD is still instock now on Acuarela. With 11 fantastically catchy, heartfelt and infectious songs, the band are well in to their stride, demonstrating an enthusiastic confidence and a fun-loving charisma. Here's a bit of history: Tigercats’ singer Duncan played in Esiotrot until suddenly he didn't, and after a respectful interval of ambling around for 18 months he asked his brother Giles to join on bass in a new band. The name Tigercats appeared out of the air and was soon followed by Jonny on drums, Stefan on guitar and Laura on keyboard. Tigercats have released three singles on Haircut and WeePop! records that have been mostly compared to Orange Juice and Hefner, with the Wave Pictures and Violent Femmes close behind.
Steve Lamacq said their longest ever song, "Banned at the Troxy" was "a great little single" and Huw Stephens said "it reminds me of Los Campesinos that, and that’s a very very very good thing". This is of course excellent, and perhaps someone will pick up on their love of Chic eventually. Tigercats have toured across Europe, playing at Primavera and appearing on Spanish TV, while back in the UK they’ve appeared at both Indietracks and End of the Road festivals.
They’ve also toured in the USA and Canada, their last trip culminating in a headline appearance at NYC Popfest. Their follow up album, Mysteries, has been released by Fortuna Pop in February 2015, and the band head out on tour in April.
"Excellent, alive, and bright.” Artrocker
“Tigercats are that rarest of bands, an indie-pop act you can actually dance to…” Neon Filler
“…it reminds me of Los Campesinos that, and thatʼs a very very very good thing.” Huw Stephens BBC Radio 1
“What Tigercats has come up with is a manifesto for what it means to be alive, to be in London and to be living life… if I was 16 right now Iʼd think this album was sent to save my life.” A Layer of Chips
“TIGERCATS write songs about Stevie Nicks and Whitechapel, all delivered atop a cloud of shimmering dream rock. Drums twist and guitars bloom like fireworks, whilst a plaintive vocal sounding eerily like Pete Shelley underpins their sound.” Upset the Rhythm
Tracklisting: 1. Coffin For The Isle Of Dogs 2. Konny Huck 3. Full Moon Reggae Party 4. The Vapours 5. Stevie Nicks 6. Harper Lee 7. Limehouse Nights 8. Kim & Thurston 9. Easter Island 10. Banned At The Troxy 11. Jonny
Brisbane Cousins Robert Vagg (Vocals) and Dan McGirr (Guitars) return with their second Lp, augmented by the presence of Natasha Buchanan, now published by Bruit Direct Disques. Their first record was privately pressed in an edition of 100 precious copies.
This release sees them tackling more sadness and loneliness than ever, with Bobby's solemn and desperate voice mixed upfront while the music engulfs the alienated words in a swirl of delicate love. The overall sound and tone of this record recalls that of Lou Reed's Berlin, a classic.
Tracklist: Side A: 1. Game Is Up 2. Visions Of The Night 3. Emboldened
Side B: 1. Loathing And Fear In December 2. Refugees 3. Fireball
Available for PRE-ORDER, out on the 13th of April.
Right from their inception in 1976, back in the first stirrings of punk, Wire went about making music in a subversive, conceptual way, setting themselves apart from both their peers and their influences. “I had this idea that I wanted to avoid things that had a particular kind of tradition,” explains singer and guitarist Colin Newman. “I thought the three-chord trick was too simplistic and that the one-chord trick would be better. Or the two chord trick where the second chord is definitelynot the right chord.” Bass guitarist and vocalist Graham Lewis identifies another trait that has run throughout the group’s lifetime. “ People said, we were mysterious, arch and dark. But the only way of doing that successfully, is by also having a sense of humour. You have to have that balance. With Wire there’s a peculiarity, a contrariness and that can be funny."
This questing approach has served them well in guarding against repetition and cliché. In context, Wire’s last album, 2013’s aptly titled Change Becomes Us was another case of “Expect the unexpected” as it found them extensively reworking a rich cache of material abandoned amid a temporary break-up in the early 80s.
Their 13th studio album - simply titled Wire – comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording. The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melodies with a 60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain melodic inflections, guitar and bass motifs, and drum rhythms from Wire’s idiosyncratic vocabulary but it has a remarkable freshness. The basic tracks were recorded at Rockfield Studios with overdubs added at Brighton Electric. The 11 tracks selected for release were the ones that came together most naturally.
From the outset Wire was an alliance between four very different characters and continues today with the addition, in 2012, of It Hugs Back guitarist Matthew Simms, who is around thirty years younger than the other group members. “With Matt there was a really new dynamic that had appeared in the group’s sound and that was something we wanted to capture, utilise and be creative with,” says Lewis. Wire is the first album where Simms has been involved in formulating the material from the ground up, but when the group’s particular chemistry starts working he is now very much part of the process.
Lewis provides most of the lyrics for the album, their subject matter encompassing love songs, cryptic narratives and coded messages. One time, Newman asked Lewis to send over some unfinished, unformatted text so he wouldn’t be bound by what to use for the chorus. This material spawned two songs written on the same day, ‘Split Your Ends’ and the droll ‘In Manchester’. The latter has the disorientating and rather absurd situation of having “In Manchester” as a soaring chorus, when the song is not about Manchester beyond a single line in the lyric.
As the album progresses, some of the sunlit pop tunes become more shadowy and it ultimately plunges into the musical black hole of ‘Harpooned’, eight churning minutes of the group’s darkest, most abrasive music to date, and a favourite in live performances since 2013.
“The point where our personal narratives meet is all about change - moving on and keeping it interesting for ourselves,” says Newman. “We’re in it for the long haul and this is a one-way trip.”
Live dates outside the UK will be announced soon.
Tracklisting: 1. BLOGGING (3.46) 2. SHIFTING (3.17) 3. BURNING BRIDGES (3.17) 4. IN MANCHESTER (2.42) 5. HIGH (1.52) 6. SLEEP-WALKING (7.31) 7. JOUST & JOSTLE (2.12) 8. SWALLOW (4.17) 9. SPLIT YOUR ENDS (3.31) 10. OCTOPUS (3.16) 11. HARPOONED (8.23)