|
|
|
|
viewing 1 To 25 of 38 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
SCR 190CD
|
An expanded edition of the 2005 debut album by Sennen, hailed as a latter-day shoegaze classic, with seven bonus tracks. When Sonic Cathedral first started out as a club night in 2004, there were a number of bands around that reminded us of the stuff that had made the label fall in love with music about 15 years earlier. In this so-called "nu-gaze" scene, alongside the likes of Engineers and Amusement Parks On Fire, were an unassuming four-piece from Norwich called Sennen; they played lots of shows for Sonic Cathedral, and their mixture of melody and noise made them stand out. Their debut album, Widows, was released on October 24, 2005 by the Hungry Audio label to great acclaim from websites such as Drowned In Sound, who, in their 9/10 review, described it as "enticing, invigorating and most importantly extremely enjoyable." American webzine Somewhere Cold went even further, saying "they have produced what should become a classic in the genre... they have taken it to a new level with their patient compositions, influx of slowcore elements and incredibly talented instrumentation." Sennen have gone on to release a number of albums, the most recent being 2016's First Light, and their music has featured on big TV dramas such as One Tree Hill and True Blood. However, Widows remained a much sought-after time capsule of early noughties experimentation. The new, expanded edition doubles the original album with another seven contemporaneous tracks, many of which were live staples at the time, but have never been released before. Remastered by Slowdive's Simon Scott.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SCR 185CD
|
Cheval Sombre releases his fourth album. It is his second album this year, and a companion piece to Time Waits for No One (SCR 180CD/LP), which came out at the end of February 2021 to great acclaim. Like that album, it has been produced and mixed by Sonic Boom and features guests including Galaxie 500 and Luna frontman Dean Wareham. Cheval Sombre is the nome d'arte of Chris Porpora, a poet from upstate New York whose otherworldly psychedelic lullabies on his self-titled album from 2009 and its follow-up, Mad Love (2012), won him a cult following. Coming just three months after Time Waits for No One, Days Go By furthers the overarching theme of the inexorable and inevitable march of time and, musically, comes across like John Fahey sitting in with Spiritualized circa Ladies and Gentlemen We Are Floating in Space. The title Days Go By is actually taken from the lyrics of the previous record's title track -- and this is just one way in which the records are inextricably linked, via a number of symmetries. Both have ten tracks, with eight originals, one instrumental and a closing cover version, which this time around is a take on Scottish folk musician Alasdair Roberts' "The Calfless Cow". As the intersecting flight paths of the two birds on the respective covers show, there are also plenty of differences. Not least, the mood, which on Days Go By is lighter, airier, punctuated by strings which are even more beautiful. Chris likens it to Blake's Songs of Innocence and Experience, but in reverse order. "How wonderful to discover that on the other side of experience, there is an innocence which has endured," he explains. "Beyond politics, love affairs, worldly woes, even life and death, it's true -- there is a calm after the storm ... You've got all these songs around conceptions of time, it's over eight years since your last album, you decide to release twin records . . . Time Waits for No One is a dark record, already reminiscent of the shadowy days of winter, of the trials of the pandemic. If Days Go By can coincide with the promise of springtime, bringing with it light, lifting spirits -- then I know my work has been done."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SCR 180LP
|
LP version. White vinyl. Cheval Sombre releases his third album -- his first solo release for more than eight years, following 2018's critically acclaimed collaboration with Galaxie 500 and Luna frontman Dean Wareham, and the first of two new albums scheduled for 2021, both of which have been produced by Sonic Boom. Cheval Sombre is the nome d'arte of Chris Porpora, a poet from upstate New York whose otherworldly psychedelic lullabies on his self-titled album from 2009 and its follow-up, Mad Love (2012), won him a cult following. Time Waits for No One ushers in his most prolific period, and serendipitously the world has finally slowed down to his pace. This is no lockdown record, but Cheval Sombre's reclusive, reflective music is its perfect soundtrack. "I've always said that what I really want to do with music is to give people sanctuary," he explains. "Pandemic or not, the world has always felt as though it were spinning out of control to me, and so if folks have slowed down, I do see it all as an opportunity to discover vital realms which have always been there, but we've been too rushed and distracted to encounter." Time Waits for No One is also his finest and most fully realized body of work to date and, appropriately enough for a record that has taken so many years to come to fruition, across eight original songs, an instrumental and a closing cover of Townes Van Zandt's "No Place to Fall", its overarching theme is time itself; what it is and what role it inevitably plays in all of our lives. But the record is also timeless, contrasting the musical simplicity of Cheval Sombre's open-tuned acoustic guitar curlicues with the beautiful, sweeping and ornate arrangements of Sonic Boom's keyboards and Gillian Rivers' and Yuiko Kamakari's strings. The end result is something akin to Daniel Johnston backed by the Mercury Rev of Deserter's Songs. Elemental and earthbound, but simultaneously and very subtly shooting for the stratosphere.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SCR 180CD
|
Cheval Sombre releases his third album -- his first solo release for more than eight years, following 2018's critically acclaimed collaboration with Galaxie 500 and Luna frontman Dean Wareham, and the first of two new albums scheduled for 2021, both of which have been produced by Sonic Boom. Cheval Sombre is the nome d'arte of Chris Porpora, a poet from upstate New York whose otherworldly psychedelic lullabies on his self-titled album from 2009 and its follow-up, Mad Love (2012), won him a cult following. Time Waits for No One ushers in his most prolific period, and serendipitously the world has finally slowed down to his pace. This is no lockdown record, but Cheval Sombre's reclusive, reflective music is its perfect soundtrack. "I've always said that what I really want to do with music is to give people sanctuary," he explains. "Pandemic or not, the world has always felt as though it were spinning out of control to me, and so if folks have slowed down, I do see it all as an opportunity to discover vital realms which have always been there, but we've been too rushed and distracted to encounter." Time Waits for No One is also his finest and most fully realized body of work to date and, appropriately enough for a record that has taken so many years to come to fruition, across eight original songs, an instrumental and a closing cover of Townes Van Zandt's "No Place to Fall", its overarching theme is time itself; what it is and what role it inevitably plays in all of our lives. But the record is also timeless, contrasting the musical simplicity of Cheval Sombre's open-tuned acoustic guitar curlicues with the beautiful, sweeping and ornate arrangements of Sonic Boom's keyboards and Gillian Rivers' and Yuiko Kamakari's strings. The end result is something akin to Daniel Johnston backed by the Mercury Rev of Deserter's Songs. Elemental and earthbound, but simultaneously and very subtly shooting for the stratosphere.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SCR 170LP
|
2021 repress; LP version. Blue vinyl. Ride guitarist/singer Andy Bell releases his debut solo album. The product of a gradual, four-year process and finished during lockdown, the album was entirely written and recorded by Andy, engineered by Gem Archer and mastered by Heba Kadry. Back in 2016, Andy was inspired by David Bowie's death to be more proactive about finishing his songs, more confident about sharing them and to channel all of this into finally making a solo album. He laid down some tracks in former Beady Eye and Oasis bandmate Gem's studio, but got diverted when Ride's live reunion blossomed into a full return. A run of two albums, an EP and two world tours later, it would take a pandemic to give Andy the space to complete The View From Halfway Down. From the ecstatic psych pop of "Love Comes In Waves", to the heady loops of "Indica" and deeply groove-led "Skywalker", the eight tracks mix summery melodies with soundscapes and studio experimentation. The end result sits neatly between Ride's widescreen shoegaze and GLOK's textured electronics, variously inspired by The Stone Roses, Spacemen 3, The Beatles, The Byrds, The Beta Band, Stereolab, Neu!, Can, John Fahey, The Kinks, The La's, The Who, and the United States Of America. As for the album title, it comes from a particularly dark episode of BoJack Horseman and a poem that scriptwriter Alison Tafel wrote for the penultimate show. The spoiler-free version of the story goes like this: "The poem describes someone committing suicide by jumping to their death and the regret the protagonist experiences when he sees 'the view from halfway down'. Although, of course, it's too late to change what's going to happen. I read this poem as having a message of suicide prevention: if you could see the view from halfway down, you would never go through with anything that would end your life. I've never been suicidal, but I felt really moved by this brilliant poem when I watched the show during Ride's US tour in Autumn 2019 . . . The early stages of lockdown, you could feel the tension in the air, causing what felt like a global panic attack. But, in common with what I've heard from others who can experience anxiety for no reason in their everyday lives, I felt strangely calm in the midst of all of this, seeing things in my life very clearly. Such clarity allowed me to finally compile this record..."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SCR 170CD
|
Ride guitarist/singer Andy Bell releases his debut solo album. The product of a gradual, four-year process and finished during lockdown, the album was entirely written and recorded by Andy, engineered by Gem Archer and mastered by Heba Kadry. Back in 2016, Andy was inspired by David Bowie's death to be more proactive about finishing his songs, more confident about sharing them and to channel all of this into finally making a solo album. He laid down some tracks in former Beady Eye and Oasis bandmate Gem's studio, but got diverted when Ride's live reunion blossomed into a full return. A run of two albums, an EP and two world tours later, it would take a pandemic to give Andy the space to complete The View From Halfway Down. From the ecstatic psych pop of "Love Comes In Waves", to the heady loops of "Indica" and deeply groove-led "Skywalker", the eight tracks mix summery melodies with soundscapes and studio experimentation. The end result sits neatly between Ride's widescreen shoegaze and GLOK's textured electronics, variously inspired by The Stone Roses, Spacemen 3, The Beatles, The Byrds, The Beta Band, Stereolab, Neu!, Can, John Fahey, The Kinks, The La's, The Who, and the United States Of America. As for the album title, it comes from a particularly dark episode of BoJack Horseman and a poem that scriptwriter Alison Tafel wrote for the penultimate show. The spoiler-free version of the story goes like this: "The poem describes someone committing suicide by jumping to their death and the regret the protagonist experiences when he sees 'the view from halfway down'. Although, of course, it's too late to change what's going to happen. I read this poem as having a message of suicide prevention: if you could see the view from halfway down, you would never go through with anything that would end your life. I've never been suicidal, but I felt really moved by this brilliant poem when I watched the show during Ride's US tour in Autumn 2019 . . . The early stages of lockdown, you could feel the tension in the air, causing what felt like a global panic attack. But, in common with what I've heard from others who can experience anxiety for no reason in their everyday lives, I felt strangely calm in the midst of all of this, seeing things in my life very clearly. Such clarity allowed me to finally compile this record..." LP version comes on blue vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
SCR 159EP
|
Limited-edition EP released to coincide with the Austrian shoegaze duo's extensive European tour. Pressed on snow white vinyl, it compiles three remixes of tracks from 2019's acclaimed debut album All That Ever Could Have Been (SCR 155CD/LP) that have only been released digitally to date. Maps' version of previous single "Weep, Gently Weep" takes the glacial and grandiose structure of the original and adds an avalanche of electronic beats and snow-capped synths. William Doyle (formerly East India Youth) turns the title track into an ambient epic, with sequencers bubbling like mountain springs, and the bells from the Tyrolean sheep ringing out on what is essentially an Alpine version of The KLF's Chill Out. Mark Peters, meanwhile, combines "Parts I" and "II "of "Coming Of Age" and relocates them from the Alps to the windswept hills of northwest England that inspired his own album, Innerland, resulting in six minutes of cloudy ambient beauty, before the skies clear for a stunning Kevin Shields-style sunset. Rounding out the EP is a brand-new re-recording of their classic song "Glimpse", here re-titled "Another Glimpse" and amplified in every way, veering from serene Sigur Rós to splenetic Smashing Pumpkins within eight minutes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
SCR 152EP
|
Lead track "Fosas Limitadas" is percussion heavy with strident synths and choppy guitars, sounding like a mix of Stereolab and Wire, before bursting into a chorus that sounds like the best Spanish psych-pop single you've never heard. An appropriate analogy as, according to singer/guitarist Lorena Quintanilla, the song (which translates as "limited graves") "talks about the inconsistence of our memories." "I like the rhythm -- the demo made me think of [Survivor's] 'Eye Of The Tiger'," adds guitarist Alberto González, with a laugh. "It's a fun song in a weird way. It sounds like if it was melting..." The other new track, "El Olivo", is a lament for the old house they lived in when they first moved to the city of Ensenada in 2017. "Lorena had a dream about this huge olive tree," explains Alberto. "In the dream, there was golden oil emerging from it and she saw the tree as an infinite source of abundancy and wellness. A year after her dream, we moved to that 100-year old house and turns out there was an old olive tree in the backyard. The tree is now gone along with the house --the greedy owners demolished everything in the property to build a gym or some other elitist business." The EP is rounded out by remixes of two songs from De Facto (2019). CC Crain, aka Cooper Crain from Cave and Bitchin Bajas turns "Lux, Lumina" into a disturbing dub noise, like Broadcast covering PiL's Metal Box, while Pye Corner Audio sets the epic "Unificado" adrift on a sea of analogue synths. Transparent orange and green moon phase vinyl; Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
SCR 155LP
|
Double LP version. Pink Cadillac color vinyl. Innsbruck-based Lars Andersson and Phillip Dornauer's shoegaze-inspired beginnings coalesced on their acclaimed 2017 EP, Glimpse, which did just as it said, offering a tantalizing peek into their world; the full, glorious vista is now revealed on their accomplished debut album. And All That Ever Could Have Been really is breathtaking. It begins with an almost 15-minute post-rock epic and takes in nods to ambient, dreampop and even prog, with echoes of Galaxie 500, Low, Beachwood Sparks, Dungen, The Besnard Lakes, Sigur Rós, and M83. Its eight tracks belie both the band's youth and their small number, forming a mountain of sound that suggests they are more of a geological outfit than a musical one. "Skeletal, celestial shoegaze [that] reflects the cold beauty of the Austrian Alps" --Stereogum.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SCR 155CD
|
Innsbruck-based Lars Andersson and Phillip Dornauer's shoegaze-inspired beginnings coalesced on their acclaimed 2017 EP, Glimpse, which did just as it said, offering a tantalizing peek into their world; the full, glorious vista is now revealed on their accomplished debut album. And All That Ever Could Have Been really is breathtaking. It begins with an almost 15-minute post-rock epic and takes in nods to ambient, dreampop and even prog, with echoes of Galaxie 500, Low, Beachwood Sparks, Dungen, The Besnard Lakes, Sigur Rós, and M83. Its eight tracks belie both the band's youth and their small number, forming a mountain of sound that suggests they are more of a geological outfit than a musical one. "Skeletal, celestial shoegaze [that] reflects the cold beauty of the Austrian Alps" --Stereogum.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SCR 194CD
|
Former Engineers songwriter Mark Peters pays a final visit to his debut solo album Innerland (SCR 094CD/LP, 2018) with the release of New Routes Out Of Innerland, a collection of reworkings. Innerland was one of 2018's most surprising sleeper successes. An intentionally low-key album of windswept instrumentals inspired by Mark's move back to his native northwest, it gave musical nods to Eno, Talk Talk, Vini Reilly, and Richard Thompson, and first appeared as a limited-edition cassette before being expanded to vinyl and CD editions in April of 2018. Something about its beautiful simplicity struck a chord and slowly but surely. This new version, however, is completely different. It finds Mark looking outwards, away from the bleak, post-industrial landscapes of Wigan, and inviting eight different artists from around the world to interpret and translate the instrumentals of Innerland into their own musical and geographical languages. German sound artist Andi Otto takes "Twenty Bridges" and turns it into a weird world music groove, the cello recalling Arthur Russell, the rhythm Holger Czukay circa Movies (1979); Polish composer Olga Wojciechowska sprinkles stardust all over "Mann Island", morphing it into a slice of febrile, filmic techno; former Disappears and now FACS frontman Brian Case wrangles "Windy Arbour" into a dark, dystopian drone; as previously heard last year on a limited edition lathe-cut 7" single, Ulrich Schnauss subtly re-frames "May Mill" as elegiac electronica, the kind of oddity that could have graced a Tears For Fears B-side circa Songs From The Big Chair (1985); Moon Gangs, aka Will Young from BEAK>, climbs "Gabriel's Ladder" and finds some delicate drone'n'bass; American producer and DJ Odd Nosdam takes his experience of working with Boards Of Canada and turns "Shaley Brow" into a sinister tape collage, entirely in keeping with the murky history of the locale; E Ruscha V, the erstwhile Medicine guitarist also known as Secret Circuit, converts "Cabin Hill" into Balearic Blue Nile; finally, Jefre Cantu-Ledesma lights up "Ashurst's Beacon" as an inferno of deliciously distorted shoegaze. All eight are so disparate and yet they hang together perfectly, resulting in an exciting musical journey to somewhere completely new.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SCR 194LP
|
LP version. Green vinyl. Former Engineers songwriter Mark Peters pays a final visit to his debut solo album Innerland (SCR 094CD/LP, 2018) with the release of New Routes Out Of Innerland, a collection of reworkings. Innerland was one of 2018's most surprising sleeper successes. An intentionally low-key album of windswept instrumentals inspired by Mark's move back to his native northwest, it gave musical nods to Eno, Talk Talk, Vini Reilly, and Richard Thompson, and first appeared as a limited-edition cassette before being expanded to vinyl and CD editions in April of 2018. Something about its beautiful simplicity struck a chord and slowly but surely. This new version, however, is completely different. It finds Mark looking outwards, away from the bleak, post-industrial landscapes of Wigan, and inviting eight different artists from around the world to interpret and translate the instrumentals of Innerland into their own musical and geographical languages. German sound artist Andi Otto takes "Twenty Bridges" and turns it into a weird world music groove, the cello recalling Arthur Russell, the rhythm Holger Czukay circa Movies (1979); Polish composer Olga Wojciechowska sprinkles stardust all over "Mann Island", morphing it into a slice of febrile, filmic techno; former Disappears and now FACS frontman Brian Case wrangles "Windy Arbour" into a dark, dystopian drone; as previously heard last year on a limited edition lathe-cut 7" single, Ulrich Schnauss subtly re-frames "May Mill" as elegiac electronica, the kind of oddity that could have graced a Tears For Fears B-side circa Songs From The Big Chair (1985); Moon Gangs, aka Will Young from BEAK>, climbs "Gabriel's Ladder" and finds some delicate drone'n'bass; American producer and DJ Odd Nosdam takes his experience of working with Boards Of Canada and turns "Shaley Brow" into a sinister tape collage, entirely in keeping with the murky history of the locale; E Ruscha V, the erstwhile Medicine guitarist also known as Secret Circuit, converts "Cabin Hill" into Balearic Blue Nile; finally, Jefre Cantu-Ledesma lights up "Ashurst's Beacon" as an inferno of deliciously distorted shoegaze. All eight are so disparate and yet they hang together perfectly, resulting in an exciting musical journey to somewhere completely new.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
SCR 145EP
|
Four remixes of songs from Buenos Aires-based singer/producer Sobrenadar's acclaimed international debut album, Y (SCR 140CD/LP, 2018). Former Hookworms man XAM adds some modular moods to the stately synthpop of "Inhabil"; furthering the historical cultural links between Wales and Argentina, Gwenno turns "Noordzee" into six minutes of mellifluous marimba with a dreampop sheen; shoegaze legends Slowdive reimagine "Del Tiempo" as a delightfully distorted heartbeat; Sonic Cathedral labelmate Mark Peters relocates "Cruce" to the innerlands of Wigan, and converts it into gale-force guitar-pop. Clear vinyl with orange and aquamarine splatters; PVC sleeve; Edition of 200.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
SCR 138EP
|
Cocteau Twins guitar legend Robin Guthrie has reworked one of the highlights of the Swedish shoegaze trio's acclaimed debut album Pink Noise (SCR 135CD/LP). He's taken the Disintegration-meets-slightly-out-of-focus-Saint Etienne of the original and turned it into a classic indie-pop song -- like Lush, The Primitives, or even Strawberry Switchblade, with some nice Cocteau-style bits in the background. On the flipside, ther's an audacious cover of David Bowie's "Rebel Rebel" (which often features in their live sets). They slow the song right down and turn it inside out, only adding the famous guitar riff as a synth motif near the end.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SCR 140CD
|
Sobrenadar is the solo project of Buenos Aires-based Paula García. The name translates as "supernatant" -- essentially floating on the surface of a liquid -- the perfect description of the music she has been making since 2006. Inspired by "soundtracks, music of past times, '70s, '80s, ambient, Boards Of Canada, Charlotte Gainsbourg and Grouper", her mix of reverbed beats, electronica, guitars and vocals are like a deep-sea dreampop. Following her guest appearance on Jefre Cantu-Ledesma's album On The Echoing Green (2017), this is Sobrenadar's first international release. It combines her two most recent self-released EPs, Dromer (2016) and Habita (2017), and follows a succession of singles and remixes by Slowdive, Gwenno, XAM (Hookworms), and Mark Peters.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SCR 140LP
|
LP version. Color vinyl. Sobrenadar is the solo project of Buenos Aires-based Paula García. The name translates as "supernatant" -- essentially floating on the surface of a liquid -- the perfect description of the music she has been making since 2006. Inspired by "soundtracks, music of past times, '70s, '80s, ambient, Boards Of Canada, Charlotte Gainsbourg and Grouper", her mix of reverbed beats, electronica, guitars and vocals are like a deep-sea dreampop. Following her guest appearance on Jefre Cantu-Ledesma's album On The Echoing Green (2017), this is Sobrenadar's first international release. It combines her two most recent self-released EPs, Dromer (2016) and Habita (2017), and follows a succession of singles and remixes by Slowdive, Gwenno, XAM (Hookworms), and Mark Peters.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SCR 135CD
|
Swedish shoegaze trio Echo Ladies release their debut album Pink Noise which comes just a few months after their self-titled EP (SCR 134EP, 2018), which got the attention of BBC Radio 6 Music, Radio X, Beats 1, The Line Of Best Fit, and Clash, to name but a few, and sold out immediately upon release. The album mixes A Place To Bury Strangers-style total sonic annihilation with skewed synth-pop and the band cite the Cocteau Twins and The Jesus And Mary Chain as the main musical influences, but there's also a nod to The Cure's Disintegration (1989) and even Saint Etienne. Lyrically, it's all about teen angst, which explains their perfect mixture of melancholy, euphoria, anger, and tenderness. A sense of emotional confusion that is echoed by the title.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SCR 135LP
|
LP version. Pink vinyl. Swedish shoegaze trio Echo Ladies release their debut album Pink Noise which comes just a few months after their self-titled EP (SCR 134EP, 2018), which got the attention of BBC Radio 6 Music, Radio X, Beats 1, The Line Of Best Fit, and Clash, to name but a few, and sold out immediately upon release. The album mixes A Place To Bury Strangers-style total sonic annihilation with skewed synth-pop and the band cite the Cocteau Twins and The Jesus And Mary Chain as the main musical influences, but there's also a nod to The Cure's Disintegration (1989) and even Saint Etienne. Lyrically, it's all about teen angst, which explains their perfect mixture of melancholy, euphoria, anger, and tenderness. A sense of emotional confusion that is echoed by the title.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SCR 094CD
|
Innerland is the first ever solo album by Engineers co-founder/songwriter and Ulrich Schnauss collaborator, Mark Peters. It was originally released as a low-key limited-edition cassette late in 2017, but it sold out immediately through word of mouth and the backing of BBC Radio 6 Music's Lauren Laverne and Gideon Coe, Uncut magazine, and Caught By The River. It has now been re-landscaped into a larger-scale, eight-track album. A collection of instrumentals, with nods to Brian Eno, Talk Talk, Richard Thompson, Vini Reilly, and Felt's Maurice Deebank, Innerland highlights Mark's incredible musicianship, positioning his guitar rather than his voice as the focal point of the music. It also finds him reconnecting with his youth and rediscovering a sense of place, following a move back home to northwest England in late 2016, with all the songs named after local places and landmarks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SCR 094LP
|
LP version. Blue vinyl. Innerland is the first ever solo album by Engineers co-founder/songwriter and Ulrich Schnauss collaborator, Mark Peters. It was originally released as a low-key limited-edition cassette late in 2017, but it sold out immediately through word of mouth and the backing of BBC Radio 6 Music's Lauren Laverne and Gideon Coe, Uncut magazine, and Caught By The River. It has now been re-landscaped into a larger-scale, eight-track album. A collection of instrumentals, with nods to Brian Eno, Talk Talk, Richard Thompson, Vini Reilly, and Felt's Maurice Deebank, Innerland highlights Mark's incredible musicianship, positioning his guitar rather than his voice as the focal point of the music. It also finds him reconnecting with his youth and rediscovering a sense of place, following a move back home to northwest England in late 2016, with all the songs named after local places and landmarks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10"
|
|
SCR 134EP
|
2018 repress forthcoming... Echo Ladies' mixture of guitars, synths, and drum machines is more like a Venn diagram of your favorite bands and records. At various points you can hear The Cure's Disintegration (1989), The Jesus And Mary Chain's Automatic (1989), New Order and A Place To Bury Strangers' total sonic annihilation, but crossed with the soaring indie-pop melodies of The Radio Dept, Alvvays, Camera Obscura, and even a little bit of Saint Etienne. This self-titled debut EP was released by Hybris in Scandinavia in 2017, and is reissued by Sonic Cathedral. Echo Ladies is Matilda Bogren, Mattis Andersson, and Joar Andersén.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
SCR 126EP
|
Deerhunter co-founder and drummer Moses John Archuleta released his debut album Lifetime Of Love as Moon Diagrams in 2017, after being pieced together over a ten-year period. The two remixers here hail from the same Glasgow underground dance scene. Happy Meals take the album's surprisingly upbeat closer "End Of Heartache" and turns it into an infectious piece of '80s electro brilliance, while Komodo Kolektif recast the album's epic centerpiece "The Ghost And The Host" as a spaced-out gamelan jam, complete with samples of philosopher Alan Watts. Pink vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
SCR 112EP
|
Featuring two reworkings of "Hall Of Mirrors" by Andrew Weatherall, which the man himself describes as "like taking Steve Reich down the disco with a bit of acid thrown in". Joining him on remix duties are Andy Bell from Ride, who welds the bassline from Wayne Smith's "Under Mi Sleng Teng" on to "For The Fallen" and turns it into a pulsating electronic groove. Finally, The Early Years' Sonic Cathedral label mate XAM (aka Matthew Benn from Hookworms) stretches out "Fluxus" into 13 exhilarating minutes of Kraftwerk meets New Order. Includes download code.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SCR 130CD
|
The follow-up to Spectres' acclaimed 2015 debut Dying (SCR 090B-LP/090CD), Condition was recorded by Dominic Mitchison and mastered by Frank Arkwright at Abbey Road in London. It's louder and more abrasive than their debut, but also a real progression. It sounds huge and adds a genuinely innovative and confrontational edge. "There were discussions about experimenting with electronics, but the idea soon petered out when we realized we still wanted to experiment with guitars," reveals singer and guitarist Joe Hatt. As a result tracks such as "End Waltz" have a relentlessly pounding, almost techno structure, in contrast to the kinetosis-inducing dirge of "Dissolve". Elsewhere, the almost restrained (by Spectres' standards) white noise and wordplay of "A Fish Called Wanda" and the sprawling "Colour Me Out" are counterbalanced by brutal assaults such as "Neck" and "Welcoming The Flowers". "On this album we became even less interested in actually playing guitar," explains Hatt, "which meant that we got more into experimenting with the sounds we could get out of them when brutalizing them and letting the feedback do the talking."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SCR 130LP
|
LP version. Comes in a gatefold sleeve. The follow-up to Spectres' acclaimed 2015 debut Dying (SCR 090B-LP/090CD), Condition was recorded by Dominic Mitchison and mastered by Frank Arkwright at Abbey Road in London. It's louder and more abrasive than their debut, but also a real progression. It sounds huge and adds a genuinely innovative and confrontational edge. "There were discussions about experimenting with electronics, but the idea soon petered out when we realized we still wanted to experiment with guitars," reveals singer and guitarist Joe Hatt. As a result tracks such as "End Waltz" have a relentlessly pounding, almost techno structure, in contrast to the kinetosis-inducing dirge of "Dissolve". Elsewhere, the almost restrained (by Spectres' standards) white noise and wordplay of "A Fish Called Wanda" and the sprawling "Colour Me Out" are counterbalanced by brutal assaults such as "Neck" and "Welcoming The Flowers". "On this album we became even less interested in actually playing guitar," explains Hatt, "which meant that we got more into experimenting with the sounds we could get out of them when brutalizing them and letting the feedback do the talking."
|
viewing 1 To 25 of 38 items
Next >>
|
|