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In the 70's we were born, in the 80's we were raised, in the 90's we drank to Nirvana, Fugazi (yes, you can drink to Fugazi) and TAD, and in the 00's we began feeling the weight as everything began looping back on itself. And now? Now we're fucked, we own nothing; financially we go from month to month.

You can post all your memes and your dog chasing mouse chasing cat chasing sex' videos in an attempt to portray you're over the moon.

You can post all the pictures you want of your children yet you KNOW you're only doing it cos you're not spending enough time with them, you're staring down the barrel of your 40's and you hate every fucker out there.

This is Grey Hairs second album, perfectly placed to document the times. 2015's 'Colossal Downer' with its grim faced party child on the cover was the band on early good form, now they're warmed the fuck up and are playing tense. The playing is tightly wound around the vocals, which are set to attack - attacking themselves, attacking the generation.

This is a band of lifers, with history going back including Peel Sessions and touring the world. But as with all lifers it's in the blood. You can pile your life into trying to get famous doing music or you can go your own way. Grey Hairs are the latter. These characters put shows on in their home city. They come from the same DIY blood stream as set up by Black Flag or UK punx like Heresy or The Stupids. Check the video for the Grey Hairs tune Serious Business.

The Dude done Notts style. Paranoid and shambling, Benny Hill - esque speed walking around Ripley and Nottingham. Haunted and chased by the grim reaper / death from Bill and Ted's. Even hanging out with ultimate lifer John Otway in the boozer. You gotta keep moving, keep the reaper at bay.

Grey Hairs are channelling aggressive surf rock and some of the lesser known 80's and 90's bands of their optimistic riddled youth, now seen through the eyes of the barrel staring 10's. It's 100% definitely punk rock, but it's way more than that. You want a soundbite, go hunt your own.

But I'm saying Takeshi Terauchi vs The Wipers done Notts style, this time it's war. Paranoid Time, The Minutemen done by The Fall and the B52's. It's a total monster, the more you listen the more you hear. Joe Thompson (Hey Colossus/Henry Blacker).

Tracklisting:
1. Serious Business
2. Man Is A Kitchen
3. 2.36am, Backwards
4. On And Off
5. Misophonic
6. Sausage
7. Pat Was Right
8. Red Paint
9. The Chin (Part 1)
10. The Chin (Part 2)

Dag play songs about the country, about the city, and about trying to find yourself somewhere in between. Always surrounded by isolation, living in your head - the company of strangers or the solitude of the bush.

Led by songwriter Dusty Anastassiou, Dag have gone through several lineups over their 3-year existence. Their new album was recorded over 2 years in Brisbane, with local musicians Matt Ford (Thigh Master, Tenth Court) on drums, Skye McNicol (Bent) on violin and Josh Watson (Sewers) on bass, also contributing to the mixing and coproduction of the album. The songs attempt to capture some of what is to live on the outskirts of a state or town - still isolated in the digital age from outside trends and current sounds.

The result is a mix of folk-rock and country, played in the bright, brittle style of 80's Australian indie bands like Tactics, The Cannanes and The Go-Betweens. Songs about love, loss, death and the dole make up the bulk of this record, delivered in a dead-pan Queensland drawl that resonates with earnest, honest lyricism - at once both comforting and confronting.

Some words: "There's doubt that Dusty Anastassiou will ever find the answers to the questions he's asking about on Dogwood'. But it doesn't matter, because simply asking those questions puts him leagues ahead of everyone else." - Ryan Saar, Soundly Sounds

"Comparisons to 90's Silver Jews wouldn't be out of place here. Listening to this album reminds one of the experience of coming across just such a band, back then. It's a wonderful discovery." - Ian Powne, 4ZZZ

"A guitar that sounds as if it might be strung with barbed wire and a voice that floats on deep clouds of fucked up country-tinged remorse and post-Jandek blues." - David Keenan, Volcanic Tongue

"Frontman / songwriter Dusty Anastassiou brings us 6 songs of backyard woe and mild joy not heard with the same guitar slingin' finesse in this crumbling town since early go-betweens." - Matt Kennedy, Eternal Soundcheck 

Tracklisting:
Side A:
1:Exercise
2:Staying Up at Night
3:Not Fine Mind
4:Know Where to Go
5:Company

Side B:
1:Age of Anxiety
2:Guards Down
3:J.B.
4:Benefits of Solitude
5:Endless, Aching Dance

Limited to 700 vinyl copies and 1000 CDs.

Repress of The Underground Youths sixth studio LP The Perfect Enemy for God. The album showcasing a clear influence of post-punk and shoegaze, the record feels lethargic in the best way as reverb-soaked vocals and whimsical harmonies blur over jangly, shimmering guitars to tell a bittersweet story.

It's easy to get lost in this record as you find yourself being thrown between the dark, longing corners of one track - such as 'Tokyo Blue's' forlorn guitars and eerie harmonies - and the upbeat pop sensibilities of others - like 'Rodion's' jingle-esque melody.

Produced by Dyer himself, the incredible production of this album heightens its allure as copious amounts of reverb, harmonies, and perfect use of dynamics send you into a dreamy haze from the first listen. The Perfect Enemy for God is being repressed onto 180g heavy ultra-clear vinyl (700 copies).

Tracklisting:
1. Tokyo Blue
2. Rodion
3. In Sofia's Reflection
4. Juliette
5. Runaway
6. Veil
7. In The Dark I See
8. Masquerade
9. Ritual

Listeners familiar with Kaitlyn Aurelia Smith's previous album Euclid (an album that prompted Dazed to call her "...one of the most pioneering musicians in the world.") will no doubt notice her heavier use of vocals on her new album EARS.

On all but one song, her gently ecstatic swells of vocals emerge to soar over a dense jungle of synths and woodwinds. After initially composing on a Buchla analog synth, she wrote arrangements for a woodwind quintet, added vocals, and further refined the pieces with granular synthesis techniques she developed in her sound design work (she contributed sound design to Panda Bear's "Boys Latin" video, and handled sound design and original compositions for Brasilia co-written by and starring Reggie Watts).

Kinetic arpeggios of synths pulse, often buoying her graceful vocal mantras, while woodwinds breathe and flutter, emulating the wildlife Smith observed while growing up on the West Coast (she even studied recordings of slowed down bird calls prior to composing these pieces).

Though some of her gestures echo the musical tropes used by early minimalist composers, the world she creates on EARS is uniquely hypnotic and full of life, not unlike Miyzaki's film Nausicaä, which she cites as an inspiration.

" - ¦one of the most pioneering musicians in the world." DAZED

" - ¦an entrancing - ¦ playful, engaging, and often incredibly soothing synth odyssey - ¦" GORILLA VS. BEAR

" - ¦gorgeous, droning ambience - ¦" BROOKLYN VEGAN

"...adventurous, mesmerizing sonic compositions - ¦" REGGIE WATTS

"Smith triggers sounds that bounce around like hyperactive jellybeans, making it feel like her electronic bleeps and bloops are lost in joyous conversation with one another." PITCHFORK

EARS is a masterful articulation of Smith's vision, which she achieved in part by spending time preparing her mind prior to composing the album.

Also Available From Kaitlyn Aurelia Smith: Euclid (Western Vinyl) LP/ CD.

Tracklisting:
1. First Flight
2. Wetlands
3. Envelop
4. When I Try, I'm Full
5. Rare Things Grow
6. Arthropoda
7. Stratus
8. Existence in the Unfurling

Kaitlyn's solo debut Euclid (primarily written on a Buchla Music Easel synthesizer) was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory.

As Smith explains, "We each chose a 3D shape and assigned our own guidelines to the different components that make up the shape. For example each point of the shape represents a different time signature, each line between the points represents a pitch, each shape within the closed lines represents a scale, etc. And then you play the shape." Despite their heady geometric origins, the songs have a playfulness and warmth that makes them inviting and memorable.

In addition to the buoyant grooves of Smith's synthesizers, some of the songs feature wordless vocals, which energize the otherworldly songs, while grounding them with Smith's earthly presence. She slows things down for the second half of the record, which features a collection of twelve short pieces, Labyrinths I-XII. Originally composed as new soundtracks to old silent films she found online, Smith says the tranquil Labyrinth pieces are "intended to feel like one is walking through a holographic labyrinth and encountering different experiences such as hang gliding, viewing microbes under a microscope, ice fishing in Alaska, and watching glaciers collapse."

Despite their brevity, most of these songs feel like mini odysseys, effortlessly casting a cinematic hue on the the listener's world. Throughout Euclid Kaitlyn Aurelia Smith consistently delivers sonic puzzles draped in a warm Pacific mist. At times these songs feel so alive ' like the musical analog to roots growing deeper and stronger, leaves on branches bending towards the light, or the sun peeking over the horizon, briefly igniting the air with a primordial swirl of warm and cool colors.

"...adventurous, me smerizing s onic c ompositions which c ause me t o r emember m y lo ve o f music in the early days of electronic sound making machines." REGGIE WATTS

'...sheer poe try: charming, pla yful, evocative, and showing mastery o f her medium.' SUZANNE CIANI

Tracklisting:
1. Careen
2. Wide Awake
3. Stunts
4. Sundry
5. Glide
6. Escapade
7. Labyrinth I
8. Labyrinth II
9. Labyrinth III
10. Labyrinth IV
11. Labyrinth V
12. Labyrinth VI
13. Labyrinth VII
14. Labyrinth VIII
15. Labyrinth IX
16. Labyrinth X
17. Labyrinth XI
18. Labyrinth XII

Melbourne's Lower Plenty share a new video for their second single "All The Young Men" off their forthcoming album 'Sister Sister' out next month on Bedroom Suck.

The video, filmed in a Brunswick backyard, debuted over at NOISEY who've dug in and described they're "reminded of Rum Sodomy and Lash era Pogues but this is a gentle reflection rather that a rowdy Irish jig.

'All the young men all the time, up and down my mind, off to work, off to war, who cares what for", sings Al as the band plays around him." Lower Plenty are comprised of some of Australia's most talented musicians.

The quartet are typically Australian in that they seem to exist on borrowed members, drawing together musicians responsible for bands like Total Control, The UV Race, Deaf Wish, The Focus and Dick Diver.

Unlike the harsh and direct approach of many of these outfits, Lower Plenty take the circular route, preferring to dwell in isolation and self-reflection, the result being some truly astonishing home recordings.

Lower Plenty is: Daniel Twomey (percussion), Jensen Tjhung (guitar + vocal), Sarah Heyward (percussion + vocal) and Al Montfort (guitar + vocal).

Tracklisting:
1. Bondi's Dead
2. Glory Rats
3. So It Goes
4. Run Run Run
5. Ravesh
6. All The Young Men
7. On Off On Off
8. Cursed By Numbers
9. Shades of Love
10. Treehouses

"The second album from UK hardcore engine The Lowest Form, Personal Space sees the band cutting through a comedown fug of feedback, sharp butterflyknife guitars flashing deadly over a wasteground rubble of noise.

Songs drawn up from discord, songs of marshalled cacophony, coils of scritching guitars break apart and reform, coalescing around insistent basslines and heavy drumbeats, before splintering again. It's hardcore constructed from textured noise as much as from breakdowns and riffs, rumbling infectious chants emerging from the wavering clamor, the vile keening of consciousness's half-known edges, noise in the grain of it all, noise as bedrock, an abrasive acid bath of fuzz, susurration and machinewhirr.

"SMASH MY FUCKIN' HEAD AGAINST THE WALL" is the line that opens it up, rising out of Interplanetary Bad Boy's hissing swell. Driven through the album are anguished explorations of interior/exterior limits, whirling around viciously in the grubby borders of your skull, spinning hopelessly in the cosmic of the aether, untethered, higher than the sky but way down in the muck.

From Gak Attack's claustrophobic pogo or Last Smash's drawling thump to Star Slammers manic tumble and Dread Future's rolling barrage, The Lowest Form have brought together another LP of murdered-out panicattack punk, lithe and unleashed, born of bad vibes and background radiation, an album at once uncomfortably close and fully heavy." -Joe Briggs

Tracklisting:
Side A:
1. IBB Dub
2. IBB
3. Gak Attack
4. Last Smash
5. Star Slammers

Side B:
1. Dread Future
2. Evol
3. No More Hiroshimas
4. Untitled
5. Helter Skelter

LP Single sleeve with DL postcard.

With many groups, a reduction in their personnel is often mirrored in a simplification of their sound. In Virginia Wing's case, their reconfiguration from a trio to a two-piece sees them blossoming from the previously cold, Kosmische palette found on their debut LP Measures of Joy into the wider-reaching, fully focused sound of Forward Constant Motion.

The album dives headlong into the synthetic waves that lapped around the edges of their initial work, drawing as much from the compressed thump of Homework-era Daft Punk as the languid new age-isms of Laurie Anderson to create a bold and inventive modern pop record. We felt quite out of our depth when it came to making our first album. For the sake maintaining focus and not completely wrecking our self-esteem, we limited ourselves (in terms of influence) to the sound heard on Measures of Joy,' says Pillay.

'This time around, we had the confidence in the fact that we were actually capable of making a full length record so we cast the net a bit wider. More than anything, we wanted this record to expand in every direction: the poppy parts are poppier, the weird parts are weirder, hopefully' Virginia Wing's strength is in taking recognised pop structures and unearthing the exit points within them. Case in point is lead-off single Grapefruit, which emerges from a cacophony of crackles and hums and drifts in and out of focus, even while clocking in at a lean sub-four minutes.

Elsewhere, Miserable World is far more rigid; with Richards'vocals tied to its jutting, jerking movements. Standout-track, Hammer A Nail abruptly taking off from powerful stomp to high-def escapism. Underpinning much of the record, though, is a sense of the dreamlike or otherworld, the album split up by short, drifting passages where structures melt away. It's a key thematic point which, in-part, arose when Pillay developed Labyrinthitis (a disorder of the inner ear which results in vertigo and disorientation).

'When you're all of a sudden spending most of the day in a world of your own, things can quickly turn to the melodramatic' he explains 'I started thinking about the human body, health, degeneration, decay, that sort of thing'.

The symptoms would often come in spells, so I liked the idea of loosely replicating that feeling with the music. That's why some of the songs stop abruptly or sound as if they are falling apart. I wanted to reflect the fallibility of the human body.

As for Richards, the themes of Measures of Joy - the claustrophobia of being stuck in one place figuratively and literally - remain in the background, however Forward Constant Motion offers a mirror in the approaching idea in the freedom and fear of being displaced. On songs like Lily of Youth or Miserable World, such movement is pointed and direct.

Elsewhere, as on the wistful murmur of Move On (the group's warped interpretation of late night Lovers Rock tunes) or Sonia and Claudette's early AM stupor it's more uncertain. Then there are tracks, like the glimmering finale Future Body, that focus on the strength of women and female friendship. As Richards explains, the group are acutely aware of misguided perceptions when operating within the paradigm of a male-female electronic duo.

It's a record made out of a union that is vital for the on-going evolution of the group. Reduced to their very nucleus, they now sound at their most natural, comfortably processing the boundless ideas that they previously eschewed and shaping them to work, pushing the pair ever further forward.

Tracklisting:
1. Lily of Youth
2. ESP Offline
3. Mecca Cola
4. Grapefruit
5. Miserable World
6. Andalucia
7. Sonia & Claudette
8. Local Loop
9. Be Contained
10. Permaboss
11. Hammer A Nail
12. Move On
13. Baton
14. Future Body

Kuro take their name from the Japanese word for black', and their debut release for Rocket Recordings marks an experimental union between two diversely storied yet inherently like-minded musicians.

Agathe Max, who hails originally from Lyon, is a classically-trained violinist with a varied back catalogue of studio and live work - running the gamut from spectral ambience to stately soundscapes and adept at summoning dreamstates and drama alike, her emotive and engaging work has found admirers at a number of UK festivals such as Supersonic and Raw Power.

The Bristol-based Gareth Turner, meanwhile, maintains a busy schedule performing and recording with Rocket Recordings trio Anthroprophh (alongside The Heads guitarist Paul Allen) bass/drums duo Big Naturals, and his solo double-bass project Salope, as well as working as a touring tech for Melvins on their trips to Europe.

Yet despite both of these artists'multi-faceted artistic lives, their partnership was both a natural progression and reflective of an intuitive chemistry. The result of their initial spark is perhaps both artists'most coherent and captivating work to date.

'At times her work approaches the supersonic escape velocity of Tony Conrad; elsewhere, she introduces delicate repeating threads, then slowly weaves them into a fabric of vast, billowing sound more reminiscent of Steve Reich' Boomkat

'Bridges the gaps between minimalism, post-classicism, the avant garde, krautrock, and plain old-fashioned pop' Supersonic Festival 'Beautifully melodic moments or massed strings set against itself to create a gently lush if unsettled feeling' All Music

Tracklisting:
1. Arashi
2. The Hierophant
3. Ishtar
4. Incantaion In C
5. Shanghai'd
6. Song for the Mysticeti

provisionally entitled the singing fish (disc 2), tracks 1 - 4 were fish with vocals,'originally included on a free disc called CN1 that came with the CD re-release of provi-sionally entitled the singing fish / Not To. The vocals were added retrospectively (in 1984) and recorded by John Fryer in Blackwing.

Track 5 prefaced the recording of provisionally entitled the singing fish and was recorded solo'in the same way as the album; it was the B-side to the single 'Inventory'. The remaining tracks, with the excep-tion of track 10, were recorded solo in Colin's flat in West Norwood.

Track 11 features a drum loop of Robert. We have no idea what the circumstance was for the recording of track 10, but it has been titled for what it is: a rare example of Soft Option (the band that played on Not To) just playing.

Colin Newman's 3 classic early 80's solo albums A-Z, provisionally entitled the singing fish & Not To originally released on Beggars Banquet / 4AD re-released on his own new imprint Sentient Sonics.

VINYL - unavailable for many years'remastered original albums on single vinyls.

CD - the 3 remastered original albums each accompanied by a companion CD of extra tracks, b-sides & demos - quite a lot of which have never been released - released as 3 double digipacks.

The Original 3 albums:
These albums were recorded and released between 1980 & 1982 in a 'post 154' rush of activity. While all the albums bear the name Colin Newman they differ in that A-Z & Not To were recorded as 'band' albums with Colin being joined by Wire's Robert Grey, Mike Thorne (who also produced, as he had the first 3 Wire albums) & Desmond Simmons on A-Z and Robert, Desmond & Simon Gillham on Not To. provisionally entitled the singing fish was more an 'actual' solo album in that everything was played by himself. Colin produced the latter 2 albums with Steve Parker engineering.

The 2nd discs (included only with the CD versions)

Tracklisting:
provisionally entitled
the singing fish (Disc 1):
1. fish 1
2. fish 2
3. fish 3
4. fish 4
5. fish 5
6. fish 6
7. fish 7
8. fish 8
9. fish 9
10. fish 10
11. fish 11
12. fish 12

provisionally entitled
the singing fish (Disc 2):
Studio Recordings:
1. You and Your Dog
2. Here Come the Fleeing Rabbits
3. No Doubt
4. The Grace You Know
5. This Picture
Home Studio Demos
6. fish 9
7. fish 11
8. Crystal Clear
9. A Passing Parade
10. Soft Option
11. Original Suicide
12. You and Your Dog
13. Is It Worth Repeating?
14. It Isn't Quite Enough
15. I Can Feel It
16. Atmos 1
17. Atmos 2
18. Now You Know
19. Kiora Kora
20. Vox Pop

A - Z (disc 2), tracks 1 - 9 were recorded at Riverside Recordings, Chiswick, by Robert, Desmond and Colin on the same sessions as Robert and Colin's contributions to the additional 7' given away with Wire's 154.

Track 10 is Mike and Colin playing the studio piano at the studio where A - Z was mixed, and 11 was recorded on the A - Z sessions. Both were on the flip side of the single 'B'. Tracks 12 - 17 were recorded solo in Colin's flat in West Norwood.

Colin Newman's 3 classic early 80's solo albums A-Z, provisionally entitled the singing fish & Not To originally released on Beggars Banquet / 4AD re-released on his own new imprint Sentient Sonics.

VINYL - unavailable for many years'remastered original albums on single vinyls.

CD - the 3 remastered original albums each accompanied by a companion CD of extra tracks, b-sides & demos - quite a lot of which have never been released - released as 3 double digipacks.

The Original 3 albums:
These albums were recorded and released between 1980 & 1982 in a 'post 154' rush of activity. While all the albums bear the name Colin Newman they differ in that A-Z & Not To were recorded as 'band' albums with Colin being joined by Wire's Robert Grey, Mike Thorne (who also produced, as he had the first 3 Wire albums) & Desmond Simmons on A-Z and Robert, Desmond & Simon Gillham on Not To. provisionally entitled the singing fish was more an 'actual' solo album in that everything was played by himself. Colin produced the latter 2 albums with Steve Parker engineering.

The 2nd discs (included only with the CD versions)

Tracklisting:
A - Z (Disc 1):
1. I've Waited Ages
2. & Jury
3. Alone
4. Order for Order
5. Image
6. Life on Deck
7. Troisième
8. S-S-S-Star Eyes
9. Seconds to Last
10. Inventory
11. But No
12. B

A - Z (Disc 2) CD ONLY!
Riverside Demos:
1. Life on Deck
2. The Classic Remains
3. Don't Bring Reminders
4. Image
5. Not Me
6. But No
7. Troisième
8. I've Waited Ages
9. Order for Order
Studio Recordings
10. Alone on Piano
11. The Classic Remains
Home Studio Demos
12. Order for Order
13. Not Me
14. The Classic Remains
15. Troisième
16. Standard Practice
17. Part of Our History