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Fortuna POP!

  • Airport Girl 'Honey, I'm An Artist' - Cargo Records UK

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    Airport Girl 'Honey, I'm An Artist'

    £5.99

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    Fortuna POP!

    Airport Girl 'Honey, I'm An Artist'

    £5.99

    The fabulous debut album from airport girl marries their love of americana (Pavement, Sonic Youth) to with a dose of scottish pop (Pastels, Belle and Sebastian).

    As played by John Peel and John Kennedy (XFM). Album of the month, scootering ”The Pastels, Teenage Fanclub and Belle & Sebastian all come to mind… a cool album from the genuinely and fiercely independent underground.”

    “Airport Girl est à prendre beaucoup plus au sérieux, point de jonction idéal entre les go-betweens et hefner - autrement dit un ersatz complétement affriolant de l'icone Jonathan Richman.” (Les Inrockuptibles)

    Tracklisting:
    1. This Could Be The Start Of Something Small
    2. Power Yr Trip
    3. I'm Wrong, You're Right
    4. Home On The Range
    5. Frostbite
    6. Hey! Crayola
    7. Love Runs Clean
    8. Between Delta And Delaware
    9. The Foolishness That We Create Through Love Is The Closest We Come To Greatness
    10. You Fill Me Up (I Lose)
    11. Surf #7 Wave
    12. Shine Like Stars

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  • Airport Girl 'Slow Light' - Cargo Records UK

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    Airport Girl 'Slow Light' CD

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    Fortuna POP!

    Airport Girl 'Slow Light' CD

    £4.99

    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 

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  • Allo Darlin 'We Come From The Same Place' - Cargo Records UK

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    Allo Darlin 'We Come From The Same Place'

    £11.99

    Initial copies of the LP ship with a limited edition Risograph art print and bookmark designed by Allo Darlin' guitarist Paul Rains.


    The 3RD full-length recording from the much loved Anglo-Australian four-piece is made up of smart, beautiful pop music, with lyrics that resonate with experience and melodies that chime, echo and soar.

    The album combines the eagerness, urgency and immediacy of their 2010 debut with the contemplation, sophistication and ambition of their 2012 follow-up Europe, and yet it goes beyond either both sonically and in song. It was written at a time of considerable change for songwriter Elizabeth Morris, a time during which she fell in love, moved to Italy and got married - not that that seems to have hindered the songwriting process. They then returned to their spiritual home of Soup Studios.

    The intention was to capture a more instinctive and fluid live studio sound and to play as well as possible while the red button was on, a different approach to the more piecemeal recording of their previous two albums. Or as Paul Rains put it, We've used three years of touring to try and get some of that sweat and grime and togetherness and sweetness and anxiety onto a record. One of the themes of the new record is new beginnings and things drawing to a close. Nothing feels the way it did before and I am grateful for that, sings Elizabeth on "Crickets in the Rain", a song written after her move to Italy and which she describes as anti-nostalgia. Built along the same lines is the gorgeous History Lessons, of which Elizabeth says, I guess at some point I became a bit tired of everything seeming better in the past, from music to relationships to buildings to societies. We're a bit obsessed with it and it can become overwhelming.

    We don't live in the present. This song is trying to express that frustration. Among the highlights of the album is Bright Eyes, a duet with guitarist Paul Rains. Elizabeth again, I wanted to write another duet, but the only problem with doing that is that when you play live it's very rare that the person you recorded it with can be there. So I thought it would be great to write a song with Paul singing the other part.  Another standout is the Twin Peaks-referencing Half-Heart Necklace, based on a true story from Elizabeth's hometown. There had been some murders, and this girl who was my age was missing and presumed killed. It turned out she had been hiding for years in her boyfriend's cupboard, and she was charged for wasting police time.

    Other notable tracks include the rollicking Kings and Queens, inspired by a show they played in the USA with their friends and kindred spirits The Wave Pictures, and Romance and Adventure, originally earmarked for a film soundtrack and written in response to a challenge from Paul to write a pop song in a minor key. Allo Darlin' were formed by Elizabeth Morris, fellow  Australian Bill Botting (bass), Paul Rains (guitar), and Michael Collins (drums).  

    Their debut album was named No. 2 record of the year by eMusic. Their second album 'Europe' scored 8.1 on Pitchfork, was made USA Today's Album Of The Week, and garnered praise from Uncut, Q, NME, The Quietus and The Guardian. It was named Rough Trade Shop's Album Of The Month and was their biggest selling album of the year. The band have been playlisted at BBC 6Music and have recorded many sessions for 6 Music & XFM, as well being Steve Lamacq's personal pick for BBC Introducing. Allo Darlin' have produced a wonderful record - thoughtful and exciting and exquisitely played ' that will please their existing army of fans and newcomers alike.

    "Breezy rom-pop brilliance." 8/10, NME

    Classic indie pop... doesn't rewrite the formula for wistful bedsit charm as much as show that it can still be carried out masterfully. Pitchfork

    A masterclass of modern cult pop. The Guardian

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  • Allo Darlin' 'Bright Eyes' - Cargo Records UK

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    Allo Darlin' 'Bright Eyes' Vinyl 7" - Clear

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    Limited Edition (500) 7" Single.

    The first single to be taken from Allo Darlin's album 'We Come From the Same Place', "Bright Eyes" is a hugely enjoyable duet between singer Elizabeth Morris and guitarist Paul Rains.

    Recording their vocals simultaneously in the live room of the studio, the two were able to play off one another and capture the humour and affection inherent in the song's lyrics.

    "Bright Eyes" isn't the first duet the band have recorded, early single "Dreaming" featured Monster Bobby of The Pipettes trading lines with Elizabeth, but as she notes, that then poses its own problems when it comes to playing live.

    "I wanted to write another duet, but the only problem with doing that is that when you play live it's very rare that the person you recorded it with can be there. So I thought it would be great to write a song with Paul singing the other part. I love Paul's singing and I wanted to hear him do it more, so it's quite selfish really!"

    "We Come From The Same Place" is the third full-length recording from the much loved Anglo-Australian four-piece and is made up of smart, beautiful pop music, with lyrics that resonate with experience and melodies that chime, echo and soar.

    The album combines the eagerness, urgency and immediacy of their 2010 self-titled debut with the contemplation, sophistication and ambition of their 2012 follow-up "Europe," and yet it goes beyond either both sonically and in the songs.

    It was written at a time of considerable change for songwriter Elizabeth Morris, a time during which she fell in love, moved to Italy and got married. The truism is that third albums are difficult beasts, but by remaining true to themselves Allo Darlin'have side-stepped the pitfalls to produce a wonderful record - thoughtful and exciting and exquisitely played - that will please their existing army of fans and newcomers alike.

    Tracklisting:
    Side A:

    Bright Eyes

    Side B:
    The Best I Can

     

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  • Bearsuit 'Please Don't Take Him Back' - Cargo Records UK

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    Bearsuit 'Please Don't Take Him Back' Vinyl 7"

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    Please Don't Take Him Back is the debut single from Bearsuit's new album The Phantom Forest. Since their full-length oh:io in 2007, the Norwich boy/girl five-piece have undergone a dramatic line-up change, swapped violins, flutes and horns for dirty synths and fierce guitars, notched-up their sound, brought in big time producer Gareth Parton and created a perfectly off-the-wall pop masterpiece. 

    Please Don't Take Him Back is a technicolour widescreen heartache. It's as cool as a disco ice queen with a warm heart; as sophisticated as a gin martini; exhilarating as strobe lights on a tireless dance floor; as touching as tender disco.

    It bridges the gap between Blondie and Duran Duran; The Human League and Depeche Mode, and jumps up and down all over other indie pretenders.

    The two tracks on the B-side see the band's last two download singles, Pushover and Muscle Belt, get a physical release for the first time.

    Tracklisting:
    1. Please Don't Take Him Back 
    2. Pushover 
    3. Muscle Belt 

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  • Bearsuit 'The Phantom Forest' - Cargo Records UK

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    Bearsuit 'The Phantom Forest'

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    Bearsuit 'The Phantom Forest'

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    Dancepunk five-piece Bearsuit's album The Phantom Forest heralds a fierce new sound for the band, who have swapped violins, flutes and horns for dirty synths, urgent guitars and infectious beats in the light of a dramatic line-up change.

    With a sprinkling of sonic dust from big-time producer Gareth Parton (The Go Team, Breeders, Foals) the band have created a perfectly off-the-wall pop masterpiece.The Phantom Forest is laden with dance-floor fillers, killer beats and brazen melodies.

    It will keep you dancing until all the booze is drunk, with a birdsong finale to serenade your dawn-walk home. But lurking beneath, a more sinister and melancholy thread weaves the 12 tracks together.

    Tracklisting:
    1. Princess, You're A Test 
    2. Please Don't Take Him Back 
    3. A Train Wreck 
    4. When Will I Be Queen? 
    5. Albino Tiger Rescue Squad 
    6. Jim Henson's Creature Workshop 
    7. Cut Loose 
    8. Ghosts Of The Black Hole 
    9. Tentacles 
    10. Giant Archaeopteryx 
    11. Kwaa-Kwaa 
    12. Dawn Of The Golden Oriole

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  • Bearsuit 'When Will I Be Queen?' - Cargo Records UK

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    Bearsuit 'When Will I Be Queen?' Vinyl 7"

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    When Will I Be Queen? is the 2nd single from Bearsuit’s forthcoming new album The Phantom Forest.

    Since their full-length oh:io in 2007, the Norwich boy/girl 5 piece have undergone a dramatic line-up change, swapped violins, flutes and horns for dirty synths and fierce guitars, notched-up their sound, brought in big time producer Gareth Parton and created a perfectly off-the-wall pop masterpiece.

    Bearsuit’s internal reshuffle last year has resulted in a more beefed-up, edgy sound. The band now consists of Iain Ross (guitar & keyboards), Lisa Horton (keyboards), Jan Robertson (guitar & keyboards), Charlene Katuwawala (bass) & Joe Naylor (drums). All 5 sing.

    With their new rhythm section they went on to record The Phantom Forest (Out Mar 7) with Gareth Parton (producer of Go Team!, Foals, The Breeders, Pink Grease & Pete & the Pirates. Known for their electric and outlandish performances, Bearsuit will be playing shows around the UK in February and March (see dates below). They’ve previously supported the likes of Crystal Castles, Future of the Left, Lightspeed Champion and Hot Chip.

    They’ve also played various festivals including Latitude, Bestival, The Great Escape and Offset, as well as several abroad including South By South West (Austin, Texas) and CMJ in New York (where they were voted ‘Best Breakthrough Act’).

    “A colourful pop hotchpotch” NME

    “Louder than an explosion in a fireworks factory” Artrocker

    "Cinematic doodlings, screamy art punk, and many twists and turns" The Independent

    "Retro space age, riotously cute disco-punk. This is what my 80s sounded like." Everett True

    Tracklisting:
    1. When Will I Be Queen? 
    2. When Will I Be Queen? (KANEDUBSTEP Remix)

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  • Cannonball Jane 'Ž'Street Vernacular' - Cargo Records UK

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    Cannonball Jane 'Street Vernacular' CD

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    For Fans Of : The Go! Team & Saint Etienne.

    By day she's mild-mannered Brooklyn-based music teacher Sharon Hagopian¦ but by night she's smart and sassy electro-pop indie star Cannonball Jane, maker of 2006's first truly great pop album.

    Sounding more like the work of a group the reality however is rather different. It's just hard to believe that there's not more than one of her! Recorded entirely at home, Sharon's studio set up of beatboxes, samplers, tambourines, guitars, turntables, piano, kid's keyboards and effects shines through on Street Vernacular, creating a mind-bendingly brilliant mix.

    From the Saint Etienne tones and Carole King-esque piano riff of Slumber Party onwards, Street Vernacular combines such diverse influences as Run DMC, The Go! Team, The Aislers Set, Ladytron, My Bloody Valentine, The Shangri-Las, Solex, The Go-Gos, Luscious Jackson and Devo, while remaining fresh, exciting and innovative at all times.

    Tracklisting:
    1. Slumber Party
    2. Hey! Hey! Alright!
    3. Such Is The Score
    4. Breaker Breaker
    5. Taxi
    6. Add A Wrap
    7. Fine Reminder
    8. Brave New World
    9. Automatic Knockout
    10. Let's Go
    11. The Force Of Gravity

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  • Chain & The Gang 'Minimum Rock N Roll' - Cargo Records UK

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    Chain & The Gang 'Minimum Rock N Roll'

    £9.99

    Led by the remarkable Ian Svenonius, prime mover behind two of the most essential bands of our time, Nation Of Ulysses and The Make-Up, and author of two books, The Psychic Soviet and Supernatural Strategies for Making a Rock 'n' Roll Group, not to mention online talk show host and auteur filmmaker, Chain And the Gang deal in a new genre called CRIME ROCK that updates rock n roll, blues, and gospel music or vocal quartets from the late 50s /early 60s for the discerning few.

    A gang with a fluid and floating active core, Minimum Rock N Roll was recorded in Portland Oregon with Ian and Katie Alice on vocals, Brett playing the electric guitar, Chris on electric bass guitar, and Fiona driving the drum kit and then mixed down in DC by Brendan Canty. More minimal and more ferocious, more lean and more mean, Minimum Rock N Roll is Chain & the Gang looking for food, hungry and intent on devouring the known world, once they find its tender underbelly.

    Minimum Rock N Roll is a protest against a world where everything is available¦ the internet's engorgement of the senses has bred a world that's stupefied, self-satisfied and sedate. It's time for a diet. This record is a kind of aural austerity! Barely any words! Hardly any beats! Fewer notes! Its just EXACTLY ENOUGH.

    Tracklisting:
    1. Devitalize 
    2. Never Been Properly Loved 
    3. I'm A Choice (Not A Child) 
    4. Stuck In A Box 
    5. Got To Have It Everyday 
    6. Fairy Dust 
    7. Mum's The Word 
    8. Crime Don't Pay 
    9. What Are You In Here For? 
    10. Minimum Rock N Roll 
    11. Curtain Pull 
    12. Everything Worth Getting (Is Gone)
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  • Chorusgirl 'Chorusgirl' - Cargo Records UK

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    Chorusgirl 'Chorusgirl'

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    Chorusgirl 'Chorusgirl'

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    Digipak CD / LP 140gm black vinyl.

    Fortuna POP! are delighted to welcome London-based noise pop quartet Chorusgirl into the fold, with their ST debut album. The brainchild of German songwriter, singer and rhythm guitarist Silvi Wersing, Chorusgirl blend the shimmering dreaminess of 4AD bands like Lush, the noir pop of The Cure and the bittersweet electricity of The Breeders across 10 songs that sparkle with melody and pop nous but are stealthily subverted by something darker.

    After several years playing in bands that either split up or fizzled out, fed up with being someone else's bassist and feeling like the eternal chorus girl to other people's dreams, Silvi Wersing decided to strike out on her own. Naming her own band with a heavy dose of irony, she recruited Udo Westhoff (bass), Michael Boyle (drums) and Diogo Oliveira (lead guitar) to flesh out the demos she had made on her laptop, polishing the recordings to a hi-fi sheen in Bear Cave Studios in Cologne. Dig beneath the surface of the perfect pop songs on Chorusgirl and you'll find heavy lyrics about saying goodbye, giving up, grief, alienation and loneliness.

    It's all deliberately coded though, shrouded in the metaphysical poetry that Silvi does so well. As she explains, 'Most things in life are complex, so lyrics should be too. I like subversion and the non-obvious. Like the best kind of horror films.' 'Oh, To Be A Defector', the catchy as hell opening track, is about 'not taking part, about not playing everyone's game. Of not belonging, of dropping out and of being ok with that and shouting that back at everyone', and takes its cue from the opening sequence of The Eternal Sunshine of the Spotless Mind; 'No Moon' is about the death of a loved one and the intense loneliness straight afterwards; 'Girls of 1926' is about Silvi's best friend: 'We were like sisters, grew close, grew apart. It's a complex bond with unfinished business.

    I found a photograph of my grandmother and her best friend in the 1920s; they looked just like me and my friend. It's as close to a love song as I'll ever get, a love song to my best friend'; and 'Sweetness and Slight', bubbling over with barely suppressed anger, is about intense disappointment and choking someone with sweet words that are not meant in such a sweet way after all.

    With their debut album Chorusgirl breathe new life into guitar pop, reinvigorating the genre with fresh hooks and sharp-edged songs full of heartache, anger and grit.

    No longer the eternal chorus girl to other people's dreams, Silvi Wersing is creating the soundtrack to her own - and perhaps her nightmares too.

    'Chorusgirl take up the female-fronted fuzzbomb art-pop baton that Lush and The Long Blondes help patent - jangling guitars carrying along a bucketful of big hooks, Silvi Wersing's strident, cool-as vocals, joy camouflaging the pain.' Sweeping The Nation

    'A shimmering brand of 4AD-inspired noir pop' Drowned in Sound

    ''60s pop music distilled through a bit of new wave, and perhaps a dash of The Vaselines. If that doesn't sound good to you, you can just fuck right off.' Overblown

    'Maybe it's just me, but when I see The Cure, Breeders, Bangles and Echo and the Bunnymen all in one influence list I start to slide off my seat a bit.' Noisey

    'An exotic pop delight, Chorusgirl cite standout 90s bands like Lush and The Breeders among their influences, and can happily live alongside them.' Louder Than War

    "Through influences ranging from grunge to the artier end of brit-pop, Chorusgirl are a surf-inspired jangling joy, all twanging guitar and dead-eyed vocal delivery.' For The Rabbits

    Tracklisting:
    1. Oh To Be A Defector
    2. No Moon
    3. Girls Of 1926
    4. This Town Kills
    5. Sweetness And Slight
    6. We Care About You
    7. Shivers
    8. Dream On Baby Blue
    9. Arrows And Bones
    10. Whiteout
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  • Cinema Red And Blue 'Butterbean Crypt' - Cargo Records UK

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    Cinema Red And Blue 'Butterbean Crypt'

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    The Butterbean Crypt EP is a special Halloween release from Cinema Red and Blue, an indiepop supergroup featuring members of both Comet Gain and Crystal Stilts. Strictly limited to 500 copies on 10 vinyl, it's pressed on spooky black vinyl with a white marble effect.

    Tracklisting:
    1. Walkin\' To The Cemetery 
    2. Gentle Wandering Ways 
    3. As Pure As The Freshly Driven Snow 
    4. Memory Grave (Recalled From The Crypt) 

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  • Cinema Red And Blue 'Come Back To The City, Babyface' - Cargo Records UK

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    Cinema Red And Blue 'Come Back To The City, Babyface'

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    Despite their untimely demise after twenty years in showbiz, Fortuna POP! are fulfilling their contractual obligations to subscribers of their singles club with the release of four final smash hit 45s, the first of which comes from indie supergroop Cinema Red And Blue with "Come Back To The City, Babyface", a slice of feel good West Coast pop with a nod or two to in the direction of The Lovin' Spoonful. 

    The songs were farted out by David Feck of Comet Gain and recorded with Bongo Gary Olson at Marlborough Farms in New York City some years ago, time moving more slowly these days, and as for who played what it's hard to tell with all the mushrooms and whiskey swimming around the basement but unless the boys in the bodega didn't all do it you can count on some members of Comet Gain, Crystal Stilts and Pale Lights being involved. 

    Inevitably this will be a massive smash hit just as Fortuna POP! leave the rock'n'roll building, but hey, them's the breaks, enjoy the groovy sounds while you can.

    Tracklisting:
    Side A:
    Come Back To The City, Babyface

    Side B:
    The Captain's Song
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  • Club 8 'The Boy Who Couldn't Stop Dreaming' - Cargo Records UK

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    Club 8 'The Boy Who Couldn't Stop Dreaming' CD

    £9.99

    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

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  • Cocoanut Groove 'How To Build A Maze' - Cargo Records UK

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    Cocoanut Groove 'How To Build A Maze'

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    Cocoanut Groove 'How To Build A Maze'

    £11.99

    Vinyl LP (Limited to 500).

    Second album from Cocoanut Groove.. Fronted by Olov Antonsson, it's their first as a full band, the debut album Madeleine Street (2008) having essentially been a solo project. Hailing from the North of Sweden, Antonsson wears his1960s baroque pop influences on his sleeve, along with traces of latter day guitar pop like The Smiths and The Clientele, and folk acts like Vashti Bunyan and Nick Drake.

    The songs for How to Build a Maze were written and recorded over quite a long period of time. Bleaker and less naive than their debut it's still no great departure, with Olov continuing to strive for 60s pop perfection, attempting to write something as beautiful as "Beechwood Park" by The Zombies or "World Of You" by The Aerovons. As well, there are quite a few traditional Swedish folk melodies hidden on the album, like the ones you find on the album "Jazz på svenska" by Swedish pianist Jan Johansson.

    Recorded in various places around Olov's hometown Umeå, with no professional recording studios involved whatsoever, the album is about getting lost in different ways ' losing your way in city streets, losing friends and watching summers pass. The theme can be summed up by this simple definition from Wikipedia: "A maze is a tour puzzle in the form of a complex branching passage through which the solver must find a route." Having taken their name from a Lovin' Spoonful/Roger Nichols song, Cocoanut Groove formed in 2007 with Olov writing and recording the song "The End Of The Summer On Bookbinder Road", which became their debut single.

    Olov writes all the songs and plays guitar, as well as bass, piano and whatever else is needed. Over the years (and on this record) he has been joined by Calle Thoor, Anton Runesson and William Andersson (drums), Josef Ringqvist (bass), Mattias Malm (guitar, keys, vocals, arrangements, percussion and whatnot), Ivar and Gunnar Lantz (strings) and Frida Danielsson (trumpet).

    Cocoanut Groove follow in a grand tradition of Swedish indiepop, with a focus on melody and beauty, tinged with melancholy. From the long, dark winters to the respite of the dreamy summers, the songs talk of escaping the city and pining for the countryside, about unemployment and having nothing to do but drink coffee and watch the birds fly.

    Tracklisting:
    1. Prelude 
    2. How To Build A Maze 
    3. On A Monday Morning 
    4. The High Coast 
    5. Fair-Weather Friend 
    6. Colours 
    7. North Country Summer 
    8. Afternoon 
    9. A Secret Tune 
    10. Night Walk 
    11. Seven Flowers

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  • Comet Gain 'Fingerprint Ritual' - Cargo Records UK

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    Comet Gain 'Fingerprint Ritual' Vinyl 12" - Red

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    Red Vinyl 12' (Limited to 500 copies).

    COMET GAIN return with a four song EP of tracks recorded at Soup Studios with producer Simon Trought at the same time as the LP, BREAKING OPEN THE HEAD Part 2 - A hugely different version or continuation of the LPs Part 1 which was a fuzz Rubbles acid pop song about the creators of the dream machine, Phillip K Dick and other adepts finding the door to illumination and such things.

    Taking hints from Them's 'the square room', early Sundial, exploito dumb psych like Ultimate Spinach, Sonic Youth 'Thousand leaves', Elevators 'Easter Everywhere' and German kosmiche music but then forgetting them all once we started although for some reason a snippet of The Monkees arrives near the end as well as cameos from Marjorie Cameron's/Jack Parsons magical child and the dream I had that the holy grail was in a bucket in some guys shed in North London. The song is over 11 minutes but hopefully has enough going to not bore the discerning listener.

    THAT LUCIFER SUMMER - A dumb garage folk rock fuzz and punk tambourines thing a la the first Love record, The Leaves, Teardrop Explodes, Music Machine etc. A jaunty song about dark things namely the nightmare side of the occult renaissance in the late sixties in the west coast. TO THE CITY'S CORE - Inept white boys n girls attempt to play Bo Diddleys 'Black Gladiator' LP with a 'Slates'-era Fall sneer and end up somewhere else - includes Comet Gain's first funky(ish) break beat and a farfisa organ played thru a mangled fuzz pedal.

    THE INSIGNIFICANT DIGNIFIED - A malformed protest song and memorial for all those old school socialists and anarchists and fire raisers that have been pushed aside by the change of history and its political axis - circular folk rock verses remind us of the legacy of these prophets of arcadian utopias and the need for the spirit of the people to endure - these choruses give way to guitar duel solos as the past fights the future of the left the second of these  3 solos has a guest scrabbabang geetar screech from producer Simon Trought - his first since the days of his old group Tompaulin. Inspired at times by early Creation Records, Television Personalities and mod culture, drawing from the same ideals as Dexys, The Style Council and Vic Godard and from the lineage of The Velvet Underground, The Byrds and the 13th Floor Elevators, their mystic anarchist principles blend French New Wave with English kitchen-sink heart. For years they have drifted through scenes picking up people and emotional ties - from Riot Grrrl to acid punks, C86 to lo-fi - yet somehow outliving their peers and in turn inspiring a younger generation of DIY musicians like The Cribs, Love Is All, Veronica Falls, and Crystal Stilts.

    Tracklisting:
    1. Breaking Open The Head Part 2 (The Eye-Shaped Room)
    2. That Lucifer Summer
    3. To The City's Core
    4. The Obsolete Significant Dignified

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  • Comet Gain 'Howl Of The Lonely Crowd' - Cargo Records UK

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    Comet Gain 'Howl Of The Lonely Crowd'

    £9.99

    Howl of the Lonely Crowd represents the fruition of the affection with which Comet Gain are held: recorded and produced variously by British musical icon Edwyn Collins, Ryan Jarman of The Cribs, Brian O'Shaughnessy (My Bloody Valentine, Primal Scream) and Alasdair Maclean of The Clientele, who also contributed guitar. With added input from Matthew Sawyer (The Ghosts), Helen King (Shrag), and a blast of Terry Edwards' (Spiritualized, Gallon Drunk, The Tindersticks) legendary trumpet on the rousing mod anthem The Weekend Dreams, the record captures a band fully in their stride and able to realise their full potential.

    As Feck remarked on being given access to the full range of Edwyn Collin's studio with its vast collection of guitars: they (the guitars) look great and were played on great records, which I tried to channel in that way a tribesman would eat the brain of his smartest enemy ' though I didn't eat any part of Edwyn.

    1. Clang Of The Concrete Swans 
    2. The Weekend Dreams 
    3. An Arcade From The Warm Rain That Falls 
    4. She Had Daydreams 
    5. Working Circle Explosive! 
    6. Yoona Baines 
    7. Herbert Huncke Pt 2 
    8. After Midnight, After Its All Gone Wrong 
    9. A Memorial For Nobody I Know 
    10. Ballad Of Frankie Machine 
    11. Some Of Us Don't Want To Be Saved 
    12. Thee Ecstatic Library 
    13. In A Lonely Place

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  • Comet Gain 'Paperback Ghosts' - Cargo Records UK

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    Comet Gain 'Paperback Ghosts'

    £9.99

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    Comet Gain 'Paperback Ghosts'

    £9.99

    Available on Heavyweight Vinyl LP  + MP3 Card and CD.

    Recorded at Soup Studios with producer Simon Trought at the helm, and inspired by the psycho-geography of walks in North London woods and in the forgotten grey hinterland of the city's back streets, Comet Gain's seventh album Paperback Ghosts comes soaked in autumn melancholy. Tender-hearted but not miserable, defiant but not angry, it maintains the delicate balance that has always been Comet Gain's strength.


    The album is about ghosts: the half-forgotten spectres of lost loves; the people who live inside their own sepia-tinted memories; the mystical phantom presence of previous owners retained by used books, the paperbacks haunted by old fingerprints. Blending psychedelia, folk-rock, garage muscle and 4am sadness, the songs draw on the esoteric that lies behind the ordinary. All contain a hope or sweetness. Sad Love and other Short Stories is about being haunted by memories of a lost, unrequited love, while in An Orchid Stuck in Her Throat a living ghost reflects on a life of missed chances. Stranger still is Confessions of a Daydream, wherein a mystic mod magician wanders Limehouse conjuring up the ghosts of Margaret Thatcher and flame haired 50s witch goddess Marjorie Cameron to wage a perpetual psychic war in the phantom back streets of broken London, before the defiantly undead John McKeown (The Yummy Fur / The 1990s) pops up at the end to intone some words of wisdom.  

    Comet Gain are David Charlie Feck (vocals, guitar), Ben Phillipson (guitar), Rachel Evans (vocals), ex-Morrissey/The Meteors drummer Woodie Taylor (percussion), Anne Laure Guillain (keyboards) and new recruit, Clientele bassist James Hornsey ' a motley group of like-minded romantics, taking pride in an abject failure to care about the normal band model. Inspired at times by early Creation Records, Television Personalities and mod culture, drawing from the same ideals as Dexys, The Style Council and Vic Godard and from the lineage of The Velvet Underground, The Byrds and the 13th Floor Elevators, their mystic anarchist principles blend French New Wave with English kitchen-sink heart. For years they have drifted through scenes picking up people and emotional ties - from Riot Grrrl to acid punks, C86 to lo-fi - yet somehow outliving their peers and in turn inspiring a younger generation of DIY musicians like The Cribs, Love Is All, Veronica Falls, and Crystal Stilts.  

    On each album they record, Comet Gain bring together their myriad of influences, creating a cohesive aesthetic between sound, artwork, liner notes and ideas. "Paperback Ghosts" is no different, offering us a glimpse into a haunted half-world with its strings, yearning harmonies, 12-string acoustic guitars and half-focused vision of pianos in reverb, while remaining at heart a pop record, a richly textured affirmation of Comet Gain's twenty-year anti-career.

    Tracklisting:
    1. Long After Tonite's Candles Are Blown
    2. Sad Love And Other Short Stories
    3. Behind The House She Lived In
    4. Wait 'til December
    5. Breaking Open The Head Part 1
    6. The Last Love Letter
    7. Sixteen Oh Four
    8. (All The) Avenue Girls
    9. Your Haunted Heart
    10. Far From The Pavillion
    11. An Orchid Stuck Inside Her Throat
    12. Confessions Of A Daydream
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  • Comet Gain 'Sad Love And Other Short Stories' - Cargo Records UK

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    Comet Gain 'Sad Love And Other Short Stories' Vinyl 7"

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    Coloured Vinyl 7 Ltd to 500 copies.

    Taken from the album Paperback Ghosts, Comet Gain's new single 'Sad Love' and Other Short Stories is a classic upbeat indiepop tune, brimming with melody and slathered in chiming Byrdsian guitars.

    Over yearning harmonies and keening strings songwriter David Feck muses on a love left behind and what might have been, on a life haunted by memories of unrequited romance. Comet Gain are David Charlie Feck (vocals, guitar), Ben Phillipson (guitar), Rachel Evans (vocals), ex-Morrissey/The Meteors drummer Woodie Taylor (percussion), Anne Laure Guillain (keyboards) and new recruit, Clientele bassist James Hornsey ' a motley group of like-minded romantics, taking pride in an abject failure to care about the normal band model. Inspired at times by early Creation Records, Television Personalities and mod culture, drawing from the same ideals as Dexys, The Style Council and Vic Godard and from the lineage of The Velvet Underground, The Byrds and the 13th Floor Elevators, their mystic anarchist principles blend French New Wave with English kitchen-sink heart.

    For years they have drifted through scenes picking up people and emotional ties - from Riot Grrrl to acid punks, C86 to lo-fi - yet somehow outliving their peers and in turn inspiring a younger generation of DIY musicians like The Cribs, Love Is All, Veronica Falls, and Crystal Stilts. With Paperback Ghosts, Comet Gain have brought together their myriad influences to create a richly textured affirmation of their twenty-year anti-career, a cohesive aesthetic of sound, artwork, liner notes and ideas.

    Steeped in melancholy but with a beating pop heart, Sad Love' and Other Short Stories is both one of the album's high points and a timeless single in its own right. 

    "Indie-pop lifers on top form on their seventh full-length" Uncut

    "Crisp and wistful, it has a satisying apple-sharp bite... there's a warm and lovely heart at this record's centre" Q

    "You need 'Paperback Ghosts' in your life - and whatever your life is like, this album will make it that little bit better" A Layer Of Chips
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