Release Date: 22/09/2017

“When musicians have this intensity in them, they often get to it sooner and stay put. Ms. Wolfe sounds like she’s using it by choice, not disposition; she can use different kinds of darkness as colour or tincture."
New York Times
 
“The reigning dark priestess of goth-scarred art rock.”
Rolling Stone
 
Chelsea Wolfe has announced the release of Hiss Spun, her sixth album, this morning. Following her acclaimed 2015 album Abyss, Hiss Spun is at once dynamic, heavy, and raw. This morning NPR shared the song “16 Psyche,” saying, “Wolfe has always possessed a talent for dynamic song writing, particularly concerning the theatre of the soul. But the masterful "16 Psyche" is a full-on ride, and one that finds her at her most commanding and climactic yet."

Recorded by Kurt Ballou (Converge), the album was conceived as an emotional purge, a means of coming to terms with the tumult of the outside world by exploring the complexities of one’s inner unrest. “I’m at odds with myself,” she explains. “I got tired of trying to disappear. The record became very personal in that way. I wanted to open up more, but also create my own reality.” Hiss Spun features prominent guitar contributions by Troy Van Leeuwen (Queens of the Stone Age, Failure) throughout the album, and a guest spot from Aaron Turner (Old Man Gloom, SUMAC) on the song “Vex.”
 
“What I want is to open up. I want to know what's inside me. I want everybody to open up. I'm like an imbecile with a can opener in his hand, wondering where to begin—to open up the earth. I know that underneath the mess everything is marvellous. I'm sure of it.” - Henry Miller

Digging beneath the mess of the world to find the beauty underneath is perhaps the most consistent theme in Chelsea Wolfe’s expansive discography—a theme that ties together her ceaseless explorations in unorthodox textures, haunting melodies, and mining the grandeur embedded within ugliness and pain. With her sixth official album Hiss Spun, Wolfe adopts Miller’s quest to become empowered by embracing the mess of the self, to control the tumult of the soul in hopes of reigning in the chaos of the world around us. “I wanted to write some sort of escapist music; songs that were just about being in your body, and getting free,” Wolfe says of the album before extrapolating on the broader scope of her new collection of songs. “You’re just bombarded with constant bad news, people getting fucked over and killed for shitty reasons or for no reason at all, and it seems like the world has been in tears for months, and then you remember it’s been fucked for a long time, it’s been fucked since the beginning. It’s overwhelming and I have to write about it.”

Hiss Spun was recorded by Kurt Ballou in Salem, Massachusetts at the tail end of winter 2017 against a backdrop of deathly quiet snow-blanketed streets and the hissing radiators of warm interiors. While past albums operated on the intimacy of stripped-down folk music (The Grime and the Glow, Unknown Rooms), or the throbbing pulse of supplemental electronics (Pain Is Beauty, Abyss), Wolfe’s latest offering wrings its exquisiteness out of a palette of groaning bass, pounding drums, and crunching distortion. It’s an album that inadvertently drew part of its aura from the cold white of the New England winter, though the flesh-and-bone of the material was culled from upheavals in Wolfe’s personal life, and coming to terms with years of vulnerability, anger, self-destruction, and dark family history. Aside from adding low-end heft with gratuitous slabs of fuzz bass, long-time collaborator Ben Chisholm contributed harrowing swaths of sound collages from sources surrounding the artist and her band in recent years—the rumble of street construction at a tour stop in Prague, the howl of a coyote outside Wolfe’s rural house in California, the scrape of machinery on the floor of a warehouse at a down-and-out friend’s workplace. Music is rendered out of dissonance—bomb blasts from the Enola Gay, the shriek of primates, the fluttering pages of a Walt Whitman book are manipulated and seamlessly integrated into the feral and forlorn songs of Hiss Spun.

The album opens with the sickening bang of “Spun”, where a lurching bottom-heavy riff provided by Chisholm and Troy Van Leeuwen (Queens of the Stone Age, Failure) serves as a foundation to a sultry mantra of fever-dream longing and desire. The first third of Hiss Spun—whether it’s the ominous twang and cataclysmic dynamics of “16 Psyche”, the icy keyboard lines, restless pulse and harrowing bellows of Aaron Turner (Old Man Gloom, SUMAC) on “Vex”, or the patient repetition and devastating choruses of “The Culling—all carry the weight of desperation, lost love, and withdrawal. Wolfe’s introspection and existential dread turns outwards to the crumbling world around us with “Particle Flux”, an examination of the casualties of war set against an aural sea of static. White noise is a constant thread through Hiss Spun, with Wolfe finding solace in the knowledge that radio static is the sound of the universe expanding outwards from the Big Bang—a reminder that even dissonance has ties to creation. The electronic thump of “Offering” serves as an ode to the Salton Sea and the encroaching calamities stemming from climate change. The obsession with white noise and global destruction carries over into “Static Hum”, where the merciless percussive battery of Wolfe’s former bandmate and current drummer Jess Gowrie helps deliver the dire weight of a sonnet dedicated to a “burning planet.” By the time the album closes with “Scrape”, Wolfe has come full circle and turned her examinations back inward, reflecting over her own mortality with arguably the most commanding vocal performance in her entire oeuvre.

“The album is cyclical, like me and my moods,” Wolfe says of Hiss Spun. “Cycles, obsession, spinning, centrifugal force—all with gut feelings as the centre of the self.” And it’s an album that Wolfe sees as a kind of exorcism. “I’m at odds with myself... I got tired of trying to disappear. The record became very personal in that way.
I wanted to open up more, but also create my own reality.”

Every Chelsea Wolfe album is cathartic, but never before has both the artist and her audience so desperately needed this kind of emotional purging. Sargent House is proud to release Hiss Spun to the world on September 22nd, 2017.
 
Tracklisting:
1. Spun
2. 16 Psyche
3. Vex
4. Strain
5. The Culling
6. Particle Flux
7. Twin Fawn
8. Offering
9. Static Hum
10. Welt
11. Two Spirit
12. Scrape

Release date: 04/08/2017

The LP is limited to 500 copies worldwide on yellow vinyl.

‘Swingin’ The Bottles’ combines the Dogs D’amour BBC sessions with a live show from the Dominion Theatre in London from 1990.

All new artwork is provided by Tyla and also included are in depth notes and new interviews with the band - this set features exclusive versions of Dogs classics such as ‘How Come It Never Rains’, ‘I Don’t Want You To Go’, ‘Last Bandit’ and ‘Trail Of Tears’ .

The BBC sessions were all recorded around the release of the bands third album ‘In The Dynamite Jet Saloon’ and they feature the classic Dogs line-up of Tyla, Bam, Jo and Steve.

The live recording also joyfully captures the chaos and excitement of their incendiary, edge-of-your-seat live performance

Tracklisting:
1. Firework Girl
2. Wait Until I’m Dead
3. How Do You Fall In Love Again
4. Planetary Pied Piper
5. Everything I Want
6. How Come It Never Rains
7. I Don’t Want You To Go
8. The Kid From Kensington

Live In Concert At The Dominion Theatre 08/12/90 – London:
1. Last Bandit
2. Everything I Want
3. Heartbreak
4. Trail Of Tears
5. How Come It Never Rains
6. Drunk Like Me
7. Medicine Man
8. I Don’t Want You To Go

Release Date: 04/08/2017

Bundle with Purple 2xLP + 'Snowflake' 7" available.

Purple vinyl - Infamous Nymphs front woman Inger Lorre celebrates how vital her songs still sound today, with a live recording of a sold-out show at the legendary Viper Room.

The set includes classic Nymphs tracks, ‘Sad & Damned’, ode to a serial killer ‘The Highway’ and the mourning swirl of ‘Imitating Angels’, with the addition of a cover of Siouxsie & The Banshees ‘Monitor’.

This live album is raw and primal; tribal, glamorous, witch-y, grunge-y, punk. Inger states, “These songs are the sound of me walking through fire…” Lorre’s cult following has grown in strength of late, with the seminal self-titled debut album re issued by Rock Candy Records and 2 new songs released for Record Store Day. Encouraged by the interest she is recording a new album, tentatively planned for an autumn release.

Often seen as musician’s musician (once dubbed by Jeff Buckley as ‘The Patron Saint of Fucked-Over Musicians’) and having worked with the likes of Iggy Pop and Henry Rollins, sadly Inger’s notoriety often eclipsed her darkly beautiful music. Haunted by the infamy of a band that burned brightly all too briefly, before imploding in a devastation of bereavement, addiction, mental health issues and misguided record company dealings. No one will ever forget the desk pissing incident.

Inger Lorre is a music industry legend. These days Inger Lorre has mostly conquered her own demons - exorcised through art, music and time to heal. What comes next will no doubt be unique as the women herself.

“Inger retains her strength as a songwriter and performer without losing any of her sensitivity, fragility and danger. I always look forward to what she does, it never disappoints” – Henry Rollins

"The Nymphs were a very original underground band with a unique sound and GREAT songs" - Iggy Pop

“Inger Lorre is a magician, a shaman…that kind of witch-doctor ability for live performing” – Eric Avery, Jane’s Addiction 

Tracklisting:
1. Rumble
2. Alright
3. Death Of A Scenester
4. Sad And Damned
5. 7B
6. Snowflake
7. Hate In My Heart
8. Wasting My Days
9. 2 Cats
10. The River
11. Imitating Angels
12. The Highway
13. Monitor

Release Date: 28/07/2017

"After "Moloch", their first album hit the scene last year, ANCST has toured relentlessly. Besides putting out a few more of their dark ambient releases, the Berlin based blackened crust collective has gone quieter at the end of 2016 to write new material for a row of releases to be put out in 2017.

The first in line will be this EP entitled "Furnace" which see's the band heading out into much more melodic territories while still featuring the aggression of former releases.

"Furnace" delivers 5 new songs of bastard sound black metal / hardcore crossover that takes no prisoners."

Tracklisting:
1. Away From Atrophy
2. Urban Tomb
3. Chronicles Of Emptiness
4. Broken Oath
5. In Stone
6. Cadence

Copenhagen based black metal quartet SOLBRUD will release their third album ’Vemod’ on June 9th via Indisciplinarian and Vendetta Records.

Since the release of SOLBRUD’s self titled debut album in 2012, the band has been an immense power in black metal, which was only emphasized by the 2014 sequel ’Jærtegn’ in all its beautiful grimness. Both albums and the quartet’s emotional and intense live performances have since then consolidated SOLBRUD as a band with a special, artistic vision unfolding in non-compromising and boundary pushing black metal.

Now SOLBRUD is ready with their third full length ’Vemod’ (Danish for sadness or melancholy). It is an album proclaiming the imminent fall of mankind musically accompanied by yet another envigoured take on the band’s wuthering and melodic variety of black metal. 

As SOLBRUD’s previous album ‘Jærtegn’, ‘Vemod’ is recorded with producer Lasse Ballade (Slægt, Orm, Halshug) in his Ballade Studios in Copenhagen, this time during a freezing January 2017. In addition, the legendary Flemming Rasmussen (Metallica, Morbid Angel, Rainbow) has overseen the mastering in Sweet Silence North where the album received an old school tape mastering enhancing the band’s analogue and organic sound.

As with the band’s two previous albums, the record consists of 4 tracks, which this time makes up a playing time of 50 epic and intense minutes.

Tracklisting:
1. Det Sidste Lys
2. Forfald
3. Menneskeværk
4. Besat af Mørke

Release Date: 21/07/2017

Rarities, Remixes And Original Unreleased Recordings. A collector's Dream!

16 tracks in total. 7 from various compilations or rare single/tour related releases plus 9 other remixed and previously unissued original recordings. Manna from Heaven Street!

Tracklisting:
1. The Concrete Fountain
2. The Only Good Neighbor
3. 13 Years Of Carrion
4. My Black Diaries
5. Burn Again
6. Punishment Initiation
7. We Said Destroy
8. Europa Rising
9. Death Of A Man
10. Rocking Horse Night
11. Passion Power Purge
12. My Black Diary
13. In Sacrilege
14. Many Enemies Bring Much Honor
15. Unconditional Armistice

Release Date: 21/07/2017

From Autumnal to Vernal Equinox, this is the Death In June Winter tree. Stripped bare, but for thirteen of its branches.

But they are as strong as ever, and with thirteen glasses and one last toast, this new album captures the true essence of Death In June, again setting new standards in its self-created genre.

Let the Blackbirds kiss you and may The Rule Of Thirds dictate your life.

CD packaged in a standard Jewel Box.

Tracklisting:
1. The Glass Coffin
2. Forever Loves Decay
3. Jesus, Junk And The Jurisdiction
4. Idolatry
5. Good Mourning Sun
6. The Perfume Of Traitors
7. Last Europa Kiss
8. The Rule Of Thirds
9. Truly Be
10. Their Deception
11. My Rhine Atrocity
12. Takeyya
13. Let Go

Release Date: 21/07/2017

Considered to be one of the most influential albums of all time, the deleted original 1987 version of this album stands centerstage with works by The Beatles, The Velvet Underground, Jimi Hendrix and Joy Division.

It marked a definitive shift in style for Death In June and the true beginning of a new musical genre, Neo Folk.

This digitally remastered edition was the bonus CD accompanying the 20th Anniversary Stone Circle Edition of Brown Book issued in 2007, and contains 7 songs from the original album coupled with 7 remixed, re-recorded and rare versions of the remaining songs.

In effect it is Brown Book II, Braun Buch Zwei! To test and to try. This is the sound of the true believer, sounding better than ever!

CD packaged in a standard Jewel Box.

Tracklisting:
1. Heilige Tod
2. Touch Defiles
3. Hail! The White Grain
4. Runes And Men
5. To Drown A Rose
6. Red Dog - Black Dog
7. The Fog Of The World
8. Europa: The Gates Of Heaven And Hell
9. Punishment Initiation
10. Brown Book Re-Read
11. Burn Again
12. Zimmerit
13. Europa: The Gates Of Heaven
14. Brown Book

Release Date: 21/07/2017

Finally re-assembled onto 1 single CD and a double LP, the best of 1992's “But, What Ends When The Symbols Shatter?” and 1995's “Rose Clouds Of Holocaust” albums plus 2 rare single tracks from the same period, which is generally considered one of the high points in Death In June's career.

(All these songs were previously available on the 2009 limited stone commemorative edition “Symbols And Clouds Euro Cross”.)

Track Listing CD/LP: (original recordings 1992-95):
1. Death Is The Martyr Of Beauty
2. He's Disabled
3. The Mourner's Bench
4. Because Of Him
5. Little Black Angel
6. The Golden Wedding Of Sorrow
7. The Giddy Edge Of Light
8. Ku Ku Ku
9. Hollows Of Devotion
10. But, What Ends When The Symbols Shatter?
11. Cathedral Of Tears
12. Lord Winter
13. God's Golden Sperm
14. Omen-Filled Season
15. Symbols Of The Sun
16. Luther's Army
17. 13 Years Of Carrion
18. The Accidental Protégé
19. Rose Clouds Of Holocaust
20. Leopard Flowers

Release Date: 25/08/2017

With his ice-cold debut album Pessimist delivers a defining work which to us represents the culmination of nearly a decade of collective research and development in underground drum’n’bass. It is hard to think of any producer, past or present, who has so skilfully and successfully bridged the sonics and sensibilities of d’n’b and techno.

In fact Pessimist makes drum ‘n bass work as techno: combining the monotone, infinite-horizon quality of the latter with the rhythmic swerve and soundsystem heft of the former.

The perfectly formed ‘Balaklava’ 12” for BEB’s A14 sub-label in 2016 was his first work to attract serious attention outside of d’n’b circles, but the young Bristol producer’s singular aesthetic had been honed across important records for the likes of Samurai and Ingredients, and as a member of the Ruffhouse crew, and since then the experimentation has continued across releases and remixes for UVB-76, Osiris Music and Ilian Tape.

Cutting edge techno-dnb hybrids form the backbone of this, his first LP, but there’s more to it than that. Out of its relentlessly noir, paranoid, smoked-out dubscape emerge fierce, Babylon-shall-fall jungle tear-outs (‘Through The Fog’); zoned, acidic rave (‘Peter Hitchens’); downtempo breakbeat excursions (‘Glued’); sleek and rude ‘Balaklava’-esque steppers (‘Spirals'); and passages of bleak, bombed-out industrial ambience.

At times it feels like the missing link between British Murder Boys and Source Direct, or what might have happened if late 90s UK junglists had listened more closely to Chain Reaction. But really, it sounds like Pessimist and Pessimist alone.

The ruthless minimalism, and the tension which comes of that restraint; the swing and propulsion of the drum programming; the abyssal reverbs and long trails of delay; the deep and body-numbing sub-bass; the uncompromising palette of blacks and blues.

Tracklisting:
1. Intro
2. Bloom
3. Grit
4. Spirals
5. Glued ft. Loop Faction
6. War Cry
7. Peter Hitchens
8. No Matter What ft. Overlook
9. Through The Fog
10. Outro

Sivu looks faith, mortality and self doubt squarely in the eye…sensational - SUNDAY TIMES CULTURE

A singular talent...A feast of ideas - Q

Irresistible - NME

Like a one man Wild Beasts - GUARDIAN

After two years out of the spotlight Sivu returns with his new album Sweet Sweet Silent, a loud and clear demonstration of the considerable talents of singer James Page.

This is a record of extraordinary beauty driven by a sense of experimentation, inspired by the likes of Radiohead’s ‘Amnesiac’, Wild Beasts ‘Smother’ and lifelong hero Richard Hawley. After the release of 2014’s ‘Something on High’ James began struggling with Meniere’s syndrome. His hearing deteriorating, this new album faces up to those challenges and fears.

Together with trusted collaborator Charlie Andrew (Alt-J, Marika Hackman) Sweet Sweet Silent gives room for slightly detuned instrumentation, restlessness breaks from pattern and romantic imagery. It’s what makes the music feel more human, built from the ground up. Sivu may not be seeking approval with this record, but it’s likely he’ll be flooded with praise once it comes out. 

Live : Sivu played extensively in support of the debut record, playing with acts including London Grammar, The Staves, Bombay Bicycle Club, Marika Hackman and Stornoway. He performed throughout the UK and across Europe at festivals including Latitude, Reading, Les Inrocks, Blue Balls and Reeperbahn.

Tracklisting:
1. Submersible
2. Lonesome
3. Kin and Chrome
4. Sweet Sweet Silent
5. Blood Clots and Pheromones
6. Flies
7. Childhood House
8. Drastic Change
9. My Moon River
10. Wonder In me

Oakland’s mysterious Phantom Limbs inflicted their psychotic art-goth-punk debut on the world back in 2001 - and to celebrate their reunion Alternative Tentacles is proud to reissue “Applied Ignorance” with brand new art by singer Hopeless and the addition of 2 previously unreleased tracks recorded live on KALX Berkeley in 2001!

Prodded by pitchforks to see them, Jello Biafra thought they were the strangest band he had EVER seen at Gilman St. that the crowd went stark raving nuts for. A cross between the Screamers and Gilbert & Sullivan gone terribly wrong. Eerie, grinding keyboards mixed with driving bass, thundering drums, wall-of-sound guitar and frantic, desperate vocals.

The Phantom Limbs subjected West Coast punk, goth, metal, and indie audiences alike to their psychosis with equal appreciation from the late 90’s thru the mid-00’s. Like a carnival sideshow, The Phantom Limbs thrived equally on the awe and anxiety of the crowd.

Their music is a swirling amalgamation of old school punk, deathrock, and no wave mixed with the theatre songs of, say, Kurt Weil. Like so many of the great Alternative Tentacles’ bands, they were a must-see live. Their live shows became stuff of legend with singer Hopeless invariably naked or covered in grease paint, duct tape, wrapping paper or substances of unknown origin.

Crowd interaction was mandatory, with Hopeless sometimes going so far as to handcuff himself to unsuspecting fans. The members of The Phantom Limbs had previously lent their talents to such cult faves as The Boyscouts of Annihilation, Anal Kitties, Scurvy Dogs and Black Ice, and since splitting in the 2000s have created new musical madness with (among others) the Loto Ball Show, Altar De Fey, and Malditos.

Tracklisting:
1. Piss On Them Lightly
2. Shut Up Old Man
3. Unhinged Face
4. Minutes Collector
5. Shake A Baby
6. Hot Knives And Hornets
7. Jointly Stranded
8. Somebody Twisted Your Arm
9. Shut Them Out
10. How Calm You Are
11. Murder Us Windpipes (Live on KALX 2001)
12. Romance (Live on KALX 2001)

“It seemed like a good idea at the time…,” begins the explanation of Wire’s original motivation for ‘Change Becomes Us’. Not only was it a good idea, it actually turned into a superlative one. In spring 2012, Wire’s plan had been to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet the band itself was disintegrating.

The aim wasn’t simply to resuscitate and record old songs; in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealized work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes – a possible point of departure for new compositions.

This took place with Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Out of those sessions and subsequent extensive development and production, the ostensible source material became, in the classic Wire tradition, something quite other than what it may have once been – or what it might have become if it had been pursued in 1980. ‘Love Bends’ is a case in point.

Its roots lie in a raucous, octave-hopping number performed in February 1980 at the Electric Ballroom in Camden, but it’s now morphed, improbably, into an irresistible, totally modern pop song. Just as improbably, the gently lilting ‘Re-invent Your Second Wheel’ is tangentially connected to a performance piece  that was mostly shouting and banging, executed by a stageful of Wire cronies in funny hats. Similarly transformed, ‘& Much Besides’ is a six-minute oneiric-melodic interlude that gives no hint of its putative origins in ‘Eastern Standard’ – a dreary, obtuse three-minute track from the Electric Ballroom concert.

Colin Newman’s songwriting and production on ‘Change Becomes Us’ reimagines the past in ways that ultimately break any substantive connection with it, making entirely new pieces – and these songs themselves enact Wire’s restless drive to become other, often thriving on a fundamental tension between opposing sonic characteristics. With its stop-start, soft-hard, quiet-loud structure, ‘Adore Your Island’ veers between prog and unhinged punk rock, never quite resolving itself; the drama of ‘Attractive Space’ hinges on a progressive splitting of the song’s personality, between its calm, expansive, anthemic orientation and an increasing sense of intensity and claustrophobia.

‘Change Becomes Us’ encapsulates the paradoxical essence of Wire’s creativity. The tendency of these new songs to refuse a single, settled identity is emblematic of the band’s ever-evolving aesthetic – one that’s always hinged on sustained tensions and oppositions: between the familiar and the unfamiliar, the comfortable and the unsettling, the melodic and the brutal, the cerebral and the visceral, the smart and the moronic, the obvious and the inscrutable, the rational and the absurd.

This intrinsic, core ambivalence generates the essential otherness that has characterized Wire’s most memorable and distinctive work – from the epochal innovations of ‘Chairs’Missing’ and ‘154’ to the electronic-pop deconstructions of ‘A Bell Is A Cup…’ to the postmodern-punk expressionism of ‘Send’ and the widescreen lyricism of ‘Red Barked Tree’. ‘Change Becomes Us’ is an undeniable part of that illustrious lineage. Definitely more than just a good idea at the time.

Tracklisting:
1. Doubles & Trebles
2. Keep Exhaling
3. Adore Your Island
4. Re-invent Your Second Wheel
5. Stealth Of A Stork
6. B/W Silence
7. Time Lock Fog
8. Magic Bullet
9. Eels Sang
10. Love Bends
11. As We Go
12. & Much Besides
13. Attractive Space

"There’s a playfulness at work in their jagged guitar lines, a free style that hides the purpose defining every move. This is pop pure and simple". DIY

"A slice of guitar pop excellence that can't help but look on the sunny side". Clash

"A glorious grunge pop art noise". MTV

"We think this is fantastic Lauren Lavern". 6 Music

Distorted and mischievous, Francobollo are a childlike celebration of everything you find fun in life. Produced by Mercury and Brit award winning producer Charlie Andrew, Long Live Life is a debut album that finds joy in sadness, a kid running around amongst the bins waving a stick.

A live show honed at North London warehouse parties led to support tours with The Big Moon and Marika Hackman, now a busy festival summer beckons before a headline tour of Europe this autumn. Capturing their raucous energy, the album sessions were recorded as guerilla gigs in Andrew’s Brixton studio. Singles Good Times, Kinky Lola & Worried Times all championed by Lauren Laverne and Tom Ravenscroft at BBC 6Music.

An innocent and excitable celebration of all existence summoning the spirit of Weezer, Pavement & Grandaddy, Francobollo are the riot you can take home to meet your Mum. 

Tracklisting:
1. Worried Times
2. Good Times
3. Wonderful
4. Trees
5. USO
6. Kinky Lola
7. Future Lover
8. Radio
9. Sense
10. Waiting
11. You Know This
12. Now