A Rather Vivid Shade of Red

Post

Do the Depravity Dance!

Quelque Part

KG to the LW

cate let Bon

roses opening in the smoke

The Glow, Pt. 2

Instrumental

Cheeky drum and bass edit of Rattlesnake by, read the title

King Gizzard & The Lizard Wizard - Rattlesnake (NeMa Ensemble Rollersnake Rework)

DeVotchKa - Venus In Furs

DeVotchKa - Curse Your Little Heart

Calgary

New album from King Gizzard and the Lizard Wizard out now!

King Gizzard and the Lizard Wizard - "The Bitter Boogie"

New album from King Gizzard and the Lizard Wizard out now! 

King Gizzard and the Lizard Wizard - "Cold Cadaver"

Michelle Blades - Eternal Fugitive

King Gizzard And The Lizard Wizard - Lonely Steel Sheet Flyer

Electric Music For The Mind And Body

Death Sound

Trio

Da Da Da ich lieb dich nicht du liebst mich nicht Aha Aha Aha (Lange Version)

The Best Of...

Dear Prudence

Surrealistic Pillow

White Rabbit

Disraeli Gears

Sunshine Of Your Love

Handful Of Soul

Let's Go Get Stoned

Aoxomoxoa

St. Stephen (2013 Remaster)

From the 2003 VA Compilation Maybe Chicago, Criminal IQ records

The Ponys - Pop Culture

London Calling (Remastered)

Totally Wired - The Rough Trade Anthology

How I Wrote Elastic Man

From the <a href="http://www.digi.gaga.com.au">Gaga Digi</a> catalogue. If you want to know more, check out our <a href="http://www.gaga.com.au">site</a>, follow us on <a href="http://www.twitter.com/gaga_music">Twitter</a> and <a href="http://www.facebook.com/GagaMusic">Facebook</a>, and <a href="http://eepurl.com/Vtm-">join our mailing list</a>. For all licensing enquiries, <a href="mailto:katie@gaga.com.au">get in touch with Katie</a>.  For all publicity enquiries, <a href="mailto:emily@gaga.com.au">get in touch with Emily</a>. 

King Gizzard and the Lizard Wizard: Black Tooth

Push Barman To Open Old Wounds, Vol. 1

Lazy Line Painter Jane

Heaven or Las Vegas

Cherry-coloured Funk

The Only Fun in Town

The Angle

The Budos Band III

Black Venom

Taken from Rips' forthcoming self-titled debut LP. Released by Faux Discx on June 16. Pre-order here: http://www.fauxdiscx.com/shop/rips
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Brooklyn based Rips have quickly built a reputation amongst NYC showgoers, winning them over with their virtuous melodies and sheer ferocity amidst an endless flurry of shows. Their songs may channel late '70s New York City bands like Television and The Feelies, but Rips propels these references into something new. Their self-titled debut, produced by Austin Brown of Parquet Courts, is eleven tracks of buzzing guitar riffs driven by a charged rhythm section, all set under lyrics that are actually worth a damn.

Rips (the record) takes cues from the moonlighting era of rock, while delivering a set of songs distinctly fit for the modern age. Once described as a “hyperreal rock n’ roll group”, the phrase “borne forward ceaselessly into the future" is more what they’re going for here.

So break an old habit. Let your hair down (or up). Rips will take you there.

Rips

Rips – Malibu Entropy

Mug Museum

No God

Wild

Cuckoo Through the Walls

Duke

Sisters

The Ponys - Lets Kill Ourselves

King Gizzard And The Lizard Wizard - Sam Cherry's Last Shot feat Brod Smith

Cannonball

DeVotchKa  stopped by the 88.1 KDHX studio in St. Louis on May 23, 2008 for a live performance. Discover more great media at http://kdhx.org


DeVotchKa "Something Stupid" Live at KDHX 5/23/08

Beach House's "Wild" off of their 4th album Bloom.
Subpop Records

Little Friends

The Last Beat Of My Heart

Cate Le Bon is an artist hailing from Carmarthenshire, rural West Wales. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day and the Mercury Award nominated Reward, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on the recent John Grant album, Boy From Michigan, or  Deerhunter's Why Hasn’t Everything Already Disappeared?  (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

New album Pompeii bears a storied title summoning apocalypse, but the metaphor eclipses any “dissection of immediacy,” says Le Bon. Sonically minimal in parts, its lyrics jog between self-reflection and direct address. Written primarily on bass and composed entirely alone in an “uninterrupted vacuum,” Le Bon plays every instrument (except drums and saxophones) and recorded the album largely by herself with long-term collaborator and co-producer Samur Khouja in Cardiff, Wales.

The songs of Pompeii feel suspended in time, both of the moment and instant but reactionary and Dada-esque in their insistence to be playful, satirical, and surreal. From the spirited, strutting bass fretwork of “Moderation”, to the sax-swagger of “Running Away”; a tale exquisite in nature but ultimately doomed (The fountain that empties the world / Too beautiful to hold), escapism lives as a foil to the outside world. Pompeii’s audacious tribute to memory, compassion, and mortal salience is here to stay.