Fortuna POP! - CDs

Some five years after their debut album Honey, I'm An Artist had the indie kids swooning in jangle-pop ecstasy, Airport Girl return with a radically altered sound, a glistening downbeat country-pop hybrid that is sure to win them at least as many new admirers as it will alienate existing fans. A brave move then, but one that's more than justified by the rich seam of quality songwriting mined here and the luxuriant arrangements that set off singer-songwriter Rob Price's sonorous, throaty vocals.

Here is a band finding a new level of maturity, growing and changing, the music reflecting the uncertainties and troubles of adult life.From the world-weary plea of the piano-led Hold Me Through The Night to the heartbreaking country sigh of I've Seen Mexico a sense of regret pervades the album, none more so than on the desperate, hurt-racked How Long Can This Go On?. More upbeat are the jazz-tinged Don't Let Me Down Again and The Weather Song, its Sketches Of Spain intro belying its true nostalgic nature, while Show Me The Way, as pure a declaration of love as one could wish for, could have come straight from the Go-Betweens' masterpiece 16 Lovers Lane.

Throughout there is judicious use of violin, cello, trumpet, harmonica and melodica to subtly create moods and textures within the songs, along with a willingness to experiment, as the intro to Ode To The City and the sea shanty of Twice Around The Bay bear out, that lifts the album far beyond standard indie fare.The kids at the club may be momentarily fazed by Airport Girl's new direction, but ultimately any listener will be rewarded by an album of great musical and emotional depth.

Tracklisting:
1. There's A Crisis In Your Past 
2. Hold Me Through The Night 
3. Don't Let Me Down Again 
4. Ode To The City 
5. I've Seen Mexico 
6. The Weather Song 
7. Twice Around The Bay 
8. How Long Can This Go On? 
9. Show Me The Way 
10. Low Coin (Lullaby) 
11. Bullfighting 

For Fans Of: The Concretes, The Cardigans, Peter, Bjorn and John, Swedish Pop

With the current vogue in music for all things Swedish it was perhaps surprising that one of the best and most important Swedish bands of recent years, the exquisitely melancholic yet danceable Club 8, had seemingly vanished from the scene.

Of course founder member Johan Angergård had been busy both in his role as chief of the hugely influential Swedish label Labrador and with his other bands The Legends and the Acid House Kings, but still, three years had passed without so much as a note.

Finally, in May of this year, Club 8 returned to have a massive blog hit with the amazing Tropicalia-influenced Whatever You Want. Now, with their long-awaited sixth album The Boy Who Couldn't Stop Dreaming, Club 8 are set to take their rightful place at the top table of Swedish pop.

Initially inspired by a love of The Smiths and Sarah Records Karolina Komstedt (vocals) and Johan Angergård (all instruments) released their debut album as Club 8, Nouvelle, on Spanish label Siesta.

However, it was with their more dance-orientated next album The Friend I Once Had and its beguiling mix of bossa nova, glittery guitars and shiny pop melodies that they took their first big step forward, the single Missing You becoming a club and radio hit in Spain and a college radio favourite in North America.

Constantly changing, the self-titled follow-up was both darker and slower, labelled as both trip-hop and chill-out, before the band diversified again with the semi-electronic, slightly experimental but intensely emotional Spring Came, Rain Fell (2002) and the more guitar-based Strangely Beautiful (2004).

During this time the band's reputation spread, with live shows across Europe, USA and South East Asia where they are at least partly responsible for the thriving Indonesian music scene.

With The Boy Who Couldn't Stop Dreaming Club 8 have evolved yet again and made a truly different and very special album that packs a heavy personal emotional punch.

The sweet transience of life and the closeness of death come wrapped in the shape of twelve perfect pop songs in a summer dress, the mix of sunshine and melancholia as unique as it is profoundly moving. A glorious return to say the least.

Exquisite¦ lovely vocals¦ indie pop bliss (Pitchfork).

Tracklisting:
1. Jesus, Walk With Me
2. Whatever You Want
3. Football Kids
4. Hope And Dreams
5. Everything Goes
6. Heaven
7. When I Come Around
8. Leave The North
9. In The Morning
10. Sometimes
11. Where Birds Don't Fly
12. The Boy Who Couldn't Stop Dreaming

After touring like maniacs on the run for a couple of years, Herman Dune finally took a break. In 2010, Cosmic Neman recorded and toured with his other duo Zombie Zombie, while David-Ivar took some time off to write and draw (with art exhibitions in New York, Paris and Milan).

Tracklisting:
1. Tell Me Something I Don't Know  
2. Ah Hears Strange Moosic 
3. Be A Doll And Take My Heart 
4. Where Is The Man? 
5. Lay Your Head On My Chest 
6. Monument Park
7. In The Long Long Run 
8. Your Love Is Gold 
9. The Rock 
10. Just Like Summer 
11. My Joy 
12. Magician

Get your fuzzy pop thrills with the wonderful punk rock melodies of Milky Wimpshake's 'Lovers, Not Fighters'. It contains 14 tracks of pop, punk, romance and (personal) politics and includes the classic No. 1 smash hit single (yeah. in my world, ok?) 'Dialling Tone', cover versions of Spraydog's 'Lemonade' and old folkie Phil Och's 'Do what I have to do', as well as their coruscating indictment of Jack Straw's tenure at the home office, 'Jack Ass'.

The genius of Wimpshake in that they make you do things you wouldn't normally do, like jumping up and down grinning from ear-to-ear while listening to a lyric about Noam Chomsky. As the fanzine 'In Love With These Times' wrote, 'There's really no need for the Buzzcocks to reform while we have Milky Wimpshake'. Yay!

Former Uberlord of the Slampt record label, pete dale's punkpop three piece deliver an album full of fuzzy pop tunes, bus-stop romance and political awareness. crammed with the pure idiot joy of never selling out or growing up. for their vision of a socialist indie-pop utopia where everyone is free to staple their fanzines in peace, we salute them (nme), if you like the Buzzcocks, the brilliant corners or have a secret fond place in your heart for the pooh sticks 'on tape', you'll probably love this record, (jyoti mishra)

Tracklisting:
1. Scrabble
2. Philosophical Boxing Gloves
3. Dialling Tone 
4. Do What I Have To
5. Second Generation Middle-Class Dropout
6. White Liberal Guilt
7. Newport
8. Didn't We? 
9. Lemonade 
10. Jack Ass
11. Bourgeois Blues '99
12. Too Much, Too Drunk
13. Etymology 
14. Lovers Not Fighters

Classic fizzing punk-pop with smart, witty lyrics from Newcastle's anarchist indiepoppers.

Tracklisting:
1. Alice Nebulae 
2. Broken Again 
3. Itchy Feet On A Tuesday Night 
4. Share A Little Love With Me 
5. One Good Use For My Heart 
6. Patchwork 
7. Thursday 
8. Cherry Pop  
9. Lorraine 
10. Murdering Pigs In London 
11. Clicking It 
12. Fuck The Rules 
13. Eyeball To Eyeball

For Fans Of: Low, Nick Drake, The Go-Betweens, Will Oldham.

Over the course of 10 years, 3 albums, countless months in the backs of vans throughout Europe and North America, the duo of Karl Smith and Pete Cohen have been progressively expanding the musical world of Sodastream from scratchy lo-fi and barely whispered mournful melancholy through to lush expansive pop with horn sections and singalongs.

But now they're home, and settled, and on Reservations, their 4^th album, a darkness has settled in. Karl Smith and Pete Cohen effortlessly jump from acoustic introspection and instrumentals to raucous singalong shanties without any hint of affectation. Even with the additions of horns, harmonicas, and the drums of Marty Brown (Art of Fighting and Clare Bowditch's Feeding Set) on their studio albums, the core of their sound remains the same as it is live.

Sodastream's previous albums, Looks Like A Russian, The Hill for Company and A Minor Revival, along with many EPs and live recordings, have been released throughout the world on some of the most renowned indie labels including Tugboat, Rough Trade, Drive-in Records and Acuarela Discos. Over the years they have played with and supported many of their heroes and musical legends, many of whom have been labelmates along the way.

They've shared stages with Low (at the Union Chapel), the Mountain Goats, Thalia Zedek (who collaborated on their last EP), Yo La Tengo, and Lambchop.

A love of Sodastream is never far away from being an obsession. More musically and lyrically assured than ever, Reservations takes you on a bittersweet journey, deep into the heart of what Pitchfork Media singled out as one of the most relevant Australian bands since the Go-Betweens.

Tracklisting:
1. Warm July
2. Anti
3. Twin Lakes
4. Tickets To The Fight
5. Anniversary
6. Michelle's Cabin
7. Firelines
8. Reservations
9. Don't Make A Scene
10. Young And Able

With a new album now the final copies of this album are being made available at a low price. One of the greatest indie albums ever made. Marries Phil Spector's 60s girl group sound to that of 80s indiepop, but it's the awesome quality of the songwriting that is most important. Buy this! 

The Aislers Set occupy an enviable place in the pop pantheon. Brimming with drunken romanticism, sharp pop sensibilities and timeless melodies, The Aislers reveled in the history of great POP, spiking their classicist 60s-tinged tunes with pure post-punk energy and originality of bands like the Fire Engines and The June Brides.

Every song is a meticulously constructed sound world, where the arrangement and instrumentation sublimely, uncannily bring each tune to completeness. The Last Match expanded the band's sound into more orchestral areas. While the songs are still driving and catchy as a fish hook, the arrangements are far more sophisticated.

The instrumentation has been augmented by Jen's vintage keyboards/organs and various horns, giving the tunes the timeless feel of classic groups like the early Bee Gees, The Zombies and The Millennium. Still preferring to record in the garage where they are allowed unlimited time for experimentation, the band had no problem crafting an amazing sounding album that could have sprung fully-formed from the hallowed studios of Gold Star. This is no murky lo-fi production, but a fully-rounded and rich-sounding recording with a warm, analog sound.

The Last Match was a roaring success, garnering fantastic reviews and spurring the band to tour the US, Japan and UK multiple times, with bands (and fans) including Belle & Sebastian, Black Dice, The Gossip, Erase Errata, Comet Gain and Sleater-Kinney. The band even achieved the ultimate badge of indie honor, recording a session for the legendary John Peel. Even more, The Last Match established The Aislers Set as one of the most beloved indiepop bands of their generation.

It was a must-listen album, one that fueled fond memories, sparked love affairs, set off spontaneous dance parties, and reminded us all of the power of songs and song-craft and POP. It's chiming guitars and indelible melodies were heard everywhere from London to Tokyo, from Glasgow to Malmo: The Aislers truly came into their own with The Last Match.

One of the greatest indie albums ever made. marries Phil Spector's 60s girl group sound to that of 80s indiepop, but it's the awesome quality of the songwriting that is most important.

Buy this! spin.com top 20 albums of the year.

the vu-do-the-shirelles¦ one of the best albums of the year. (8/10) (nme). the sparkliest pop album of the year (The Guardian).

for lovers of bright and simple guitar pop music. album of the week, 5 out of 5 stars (The Times).

exhilarating, clattering, clever pop songs, mixing up the shangri-las, the ramomes and the mary chain (Mojo).

Tracklisting:
1. The Way To Market Station
2. Hit The Snow
3. Chicago New York
4. One Half Laughing
5. Been Hiding
6. Balloon Song
7. Lonely Side Of Town
8. Last Match
9. Christmas Song
10. The Walk
11. The Red Door
12. Fairnt Chairnt
13. We Give Up
14. Bang Bang Bang

For Fans Of: The Essex Green, Apples In Stereo, The Clientele, Jens Lekman.

The new album from legendary Brooklyn-based pop collective The Ladybug Transistor following on from their critically acclaimed self-titled release, Can't Wait Another Day is set to confirm the band's standing as some of the finest purveyors of lush, formalist pop music this side of the East River.

Ladybug Transistor  went on to craft the trilogy of The Albemarle Sound (1999), Argyle Heir (2001), and The Ladybug Transistor (2003). During this period The Ladybug Transistor developed and honed their trademark sound - a distillation of classic pop, characterized by a precise melodicism that is anchored by the restrained baritone of Olson.

As Marlborough Farms has become a gathering place for the musicians that Ladybug has befriended over the years, the band took advantage of this situation by recruiting many of them to contribute to their latest full length Can't Wait Another Day. The album features spirited contributions from members of Aislers Set, Architecture in Helsinki, The Clientele, Jens Lekman, Kevin Barker (Currituck Co., Vetiver), Heather McIntosh (Circulatory System, Instruments), Roy Nathanson (Lounge Lizards/Jazz Passengers) and others.

The first fruits of these sessions were heard on 2006's Here Comes The Rain EP, which also introduced two new members to the family, with Kyle Forester and Ben Crum of Great Lakes enhancing the Ladybug sound by adding inspired keyboards and guitar. Tragically though, drummer San Fadyl, a beloved figure in the indie rock community, passed away in April of this year due to complications from severe asthma. In addition to their own album, The Ladybug Transistor have recently worked with Soft Machine legend Kevin Ayers on his long-awaited new album Unfairground (Lomax Records).

Tracklisting:
1. Always On The Telephone
2. I'm Not Mad Enough
3. Here Comes The Rain
4. Terry
5. This Old Chase
6. For No Other
7. Three Days From Now
8. In-Between
9. So Blind
10. Broken Links
11. California Stopover
12. Lord, Don't Pass Me By

1. Je T'Aime, Baby
2. I My She Love You
3. She'll Break Your Heart... Again
4. The Rainbow Connection
5. Xs And Os
6. Honey
7. Jazz My Bads (For JT)
8. So Sad
9. Summertime
10. How Does It Feel To Be Loved?
11. (Gimme Gimme) The Good Times
12. Goodbye

Recorded between August 2007 & February 2008 at Soup in London & Battery Studios in Brooklyn, Three sees THE LOVES almost maturing.

Not much though. Most of the songs are still about girls. Except for the one about Coca-Cola. Says head Love, Simon- The basis of the record was recorded over 4 days in August with myself & Rob Jones (our long-term temp drummer) playing live together at Soup.

Those sounded ace by themselves & then we started throwing everything & the kitchen sink on as overdubs. Overdubs including an alarm clock on LP closer (or is it?) WAITING FOR TOMORROW & a synth battle between ex-Hefner frontman Darren Hayman & THE LOVES' keyboardist The Ed in the suite-like song, KALEIDOSCOPE (IN MY HEAD)Part of the recording was done in Brooklyn in January 2008. We know a few people over there & they asked us if we'd like to record some bits for the LP with them so we went over & did THE EX-GURLFRIEND with them & a few extra odds & ends says Simon.When asked about the influences present in this LP Simon said- The usual bubblegum pop bollocks, but specifically, Boyce & Hart, The Who, The Flaming Lips & Bob Markley's A Group LP.

The aforementioned ODE TO COCA-COLA is a love song to everyone's favourite drink. It's not wholly a 'Thumbs-up-for Coke' song though. There are a few of the more negative sides to drinking it in there says the group's spokesperson, Ziggy Rodriguez. There's also a loop of noise made with Coke bottles & cans that introduces the song like a cut-price version of Pink Floyd's Money.SWEET SISTER DELIA is a song dedicated to the doyen of the London indie scene & Artrocker correspondent- Miss Delia Dansette. We always stay at her house when we're in London so I thought we'd show her our gratitude with a song¦I'm sure she'd have preferred money or booze or something though The (almost) power ballad EVERYBODY IS IN LOVE is the song that the group tried to get Robyn Hitchcock to narrate.

We emailed him but got a polite Thank-you-no-good-luck reply Bastard.Jenna Love gets to show off her pipes on CAN YOU FEEL MY HEART BEAT? a sweary bluesy swaggering song about lust & its effects.3 also includes YOU DON'T HAVE TO a cover of an obscure bubblegum song originally performed by The Beeds & THE LOVES' last hit single ONE-TWO-THREE.

1. One Two Three 
2. Kaleidoscope (In My Head) 
3. You Don't Have To 
4. The Ex Girlfriend 
5. Everybody Is In Love 
6. Take Em Down Charlie Brown 
7. Ode To Coca-Cola 
8. Love Song #7 
9. Sweet Sister Delia 
10. Can You Feel My Heart Beat 
11. Waiting For Tomorrow

On First Frost, The Lucksmiths' trademark lyrical hooks shine warmer than ever '? and for the first time, all four members have racked up songwriting credits. Louis Richter's opener The Town and the Hills sets out the album's central theme of city v. country, while chief songwriter Marty Donald takes a sharpened pencil to the wilderness proper in Pines, concluding I don't mean to suggest I'm getting older, but the city looks its best over my shoulder.

Which is not to suggest that First Frost is The Lucksmiths' lost emo-country masterpiece. Song of the Undersea (with its nods to Jonathan Richman and to John Steinbeck) has a carefree swagger and a wicked way with a melody.

Similarly, A Sobering Thought (Just When One Was Needed) has hooks in abundance and concerns a late-night drunken escapade at a public swimming pool. Hey, why not?! 

Tracklisting:
1. The Town & The Hills
2. Good Light  
3. A Sobering Thought: Just When One Was Needed  
4. California In Popular Song
5. South-East Coastal Rendezvous
6. The National Mitten Registry
7. Day Three Of Five
8. Never & Always
9. Lament Of The Chiming Wedgebill
10. How We Met
11. Song Of The Undersea
12. Up With The Sun  
13. Pines