Actually I cum with the intro of this song

Amazing track, great atmosphere created in the track, keep up that very creative work there. Lots of respect. Cheers Ray !

synth pop

Taken from the album "Stars Are Our Home."
Out now on Slumberland Records (US) and Sonic Cathedral (UK)

Order the digital download from iTunes: http://smarturl.it/bhb-itunes
Order the LP/CD: http://smarturl.it/bhb-album

more info: www.blackheartedbrother.com
Black Hearted Brother Official Facebook: https://www.facebook.com/blackheartedbrother

It was Alfred Bester, if I recall correctly, who called 'the stars my destination', in his brilliant novel of the same name from 1956. Long considered a libertarian science fiction classic, it's also notable for featuring one of the very first accounts of synaesthesia in English-language fiction. This might be drawing a particularly long bow, but the title of Black Hearted Brother's debut, "Stars Are Our Home", immediately brought Bester's book to mind – and there's definitely something of the synaesthesic experience about this album, overflowing with enraptured, glowing textures, flaring white light like magnesium, in consort with brilliant red-blue waves of psychedelia.

Of course, the first thing that might crane your head towards "Stars Are Our Home" is the group's membership: Neil Halstead, the éminence grise behind Slowdive and Mojave 3; Mark Van Hoen, an original member of Seefeel, subsequently working solo and as Locust; and Nick Holton, the main mover behind Holton's Opulent Oog, and member of Coley Park, who have released albums on Halstead's Shady Lane label. They had previously converged on Halstead's 2001 solo album, "Sleeping On Roads," though Van Hoen also co-produced Mojave 3's "Out Of Tune" (1998), "Excuses For Travelers" (2000) and "Spoon & Rafter" (2003), while Holton took up production duties for Halstead's "Palindrome Hunches" (2012). Van Hoen and Halstead go back much further still, to 1992, when they were in Seefeel and Slowdive respectively: 'Mark taught Neil much that was electronic and ambient music.'

You could hear that education bearing fruit with Slowdive's late-period masterpiece, 1995's "Pygmalion." In some ways, "Stars Are Our Home" echoes that album's experimental process, if not the outcome, as Black Hearted Brother are a very different, distinctive beast, often indulging in what Halstead, self-deprecatingly, describes as 'a lot of very long and indulgent space rawk.' And indeed, that space-rock drive is writ loud and clear on the album's opening title track, an instrumental bliss-out that navigates through ocean-tides of FX-drenched guitar. But there's a lot more to it: 'The idea was to just make a record that was in some ways "unedited",' Halstead continues. 'To not worry about a particular sound or style, but to just go with the flow. We all make quite focused records individually so, as Mark says, it's our "guilty pleasures" album.' That seems about right, except with "Stars Are Our Home," the outcome is no guilt, all pleasure.

'Neil and Nick had, I think, started a few months before they asked me to join the party,' Van Hoen recalls. 'I think they had a few songs on the go, and needed an extra hand to add a few funny noises and generally add to the chaos – or maybe bring some order to the chaos.' Van Hoen has picked up on the dialectical nature of "Stars Are Our Home" here, its "order" and its "chaos": it's a rich, compelling album full of unexpected twists and turns, at times overloading the sensorium with so much material you're drenched in noise, but it'll just as quickly flip back on itself and drift through a glazed-eye, agrarian moment of acoustic melancholy (see the start of "Time In The Machine", which, as if to prove my point, takes less than a minute to build into a clangorous, droning monster).

So, there's a whole lot going on in these grooves, and plenty of it's unexpected, or from unexpected sources. The trio plays fast and loose with what listeners might consider their pre-ordained 'roles'. 'Primarily the songs themselves were started either by Nick or Neil individually,' Van Hoen explains, 'but then edited, developed and generally messed around with and rendered almost unlistenable by either myself or the others. The roles were not always clear cut. Sometimes Nick would be playing keyboards and synths, and myself guitars.' Lyrics on the record feel like another texture, another layer: sometimes they're invocatory chants, sometimes Halstead's and Holton's voices are ghosted by electronic manipulation, as on "Oh Crust". Often there's more going on than at first glance, and an index of the album's lyrical concerns runs to 'romance, sci-fi, places to go on holiday, real UFO abduction, the duality in the meaning of words, lament for the loss of psychedelic freedoms by the masses…'

"Stars Are Our Home" is brave and beautiful, mysterious and resonant. Its experimental edges never forget the importance of the pop moment; the best way to bring people around to your way of hearing is to seduce their ears, and there's seduction plenty here, pure pop like "Take Heart", the Other Green World of "I'm Back", the closing driftwork that is "Look Out Here They Come". A real head-wrecker of an album. And what does the future hold? The trio speaks as one: 'Black Hearted Brother will grow and mature into something very sophisticated in the coming years. A kind of comedic-space-rock-dancehall outfit to define a zeitgeist for the 22nd century, if you like.' Ha, yeah – amen, brothers!

Black Hearted Brother - This Is How It Feels (Single Edit)

From Silent Lion's forthcoming EP, due out early 2014. 
Produced by Zach Shipps /// written by SiLi

Stolen In The Heat Of The Moment

'Kelly' is taken from American Wrestlers self-titled album, in stores April 7th (US)/27th (EU) on Fat Possum Records

Pre-order the album with an instant grat of 'Kelly' from iTunes - http://smarturl.it/AmericanWrestlers



American Wrestlers -  Kelly

new single from new Dick Diver album Melbourne Florida. Album will be released on vinyl, CD and digital by Chapter Music on March 6, 2015 for Australia, New Zealand and Japan.

Pre-order Melbourne, Florida and get Waste The Alphabet via

itunes.apple.com/au/album/melbour…rida/id947586646
http://chaptermusic.com/store/dick-diver/melbourne-florida/
chaptermusic.bandcamp.com/album/melbourne-florida

Listeners outside Aus, NZ & Japan head to troubleinmindrecs.com/ for your copy.

www.facebook.com/dickdiverband
www.twitter.com/dick_diver

Buy from Chapter

Dick Diver - Tearing The Posters Down

First mp3 single from Holographic Violence, Grave Babies' third full-length LP and second for Hardly Art.

Pre-order Holographic Violence
Hardly Art: hardlyart.com/shop/gravebabies.html
iTunes: https://itunes.apple.com/us/album/holographic-violence/id989018429
Amazon: http://amzn.com/B00WRPMGWG

hardlyart.com/gravebabies.html

Follow Grave Babies on Twitter: twitter.com/gravebabies 
Like Grave Babies on Facebook: https://www.facebook.com/pages/Grave-Babies/194986180531506
Follow Grave Babies on Instagram: instagram.com/gravebabies/ 

Follow Hardly Art on Twitter: twitter.com/hardlyart
Like Hardly Art on Facebook: facebook.com/hardlyarttrecords      
Follow Hardly Art on Instagram: instagram.com/hardlyartrecords


Holographic Violence

Eternal (On & On)

Grave Babies - "Eternal (On & On)"

Vomit Covered Denim Jeans, by Elijah Kealy.

this album was created in only a few weeks, with each song being made in one day. I set out to record, produce and master each song in less than 24 hours, some only being a 2-3 hour long session. I wanted to make a project that was more creatively fulfilling for me and this definitely did that and helped me to not be as much of a perfectionist and to just have fun.

All tracks were written, recorded, produced, and mixed by Elijah Kealy.
All instruments and vocals by Elijah Kealy.

Standin' Around

Contact is from The Blue Swell out May 6, 2016.

You're on some kind of specialty
You wanna use my energy
Halfway gone with the radio on
But you're all wrong and the plummet's long

Do you wanna know what's real to me?
You got a patent on frailty
Halfway blissed but you're gonna miss
How you're sickened, all your weekends
Ha Ha

We made contact
Tell me did you mean that
I need to understand
I need to understand
I need to understand

Yesterday I could barely stay
Awake at all am I slipping away
Breathing fumes I can hardly use
Did we ever? I remember
Ha Ha
Ha Ha

We made contact
Tell me did you mean that
I need to understand
I need to understand
I need to understand

We made contact
Tell me did you mean that
I need to understand
I need to understand
I need to understand
I need to understand
I need to understand


The Blue Swell

Beverly - Contact

Third single and title track from The Goon Sax debut album Up To Anything.
The album Up To Anything is released on vinyl, digital and CD by Chapter Music on Friday March 11, 2016 Out Apr 8 in UK). Pre-orders available now (including instant downloads of this track plus previous singles Sometimes Accidentally and Boyfriend):

Chapter: http://chaptermusic.com/store/the-goon-sax/up-to-anything/
Digital: http://radi.al/UpToAnything
Bandcamp: https://chaptermusic.bandcamp.com/album/up-to-anything

www.facebook.com/thegoonsax
www.chaptermusic.com/artist/the-goon-sax

The Goon Sax - Up To Anything

Four new tracks released as an EP titled 'Low Slow Needle'. Available as a free download. With special thanks this EP is dedicated to Weo.

released 17 October 2011 

The Underground Youth - Midnight Lust

We were all knocked out by the Frankie Rose and the Outs album from 2010, the effortlessness of its gorgeous girl-pop mantras, the intimate immensity of its Spector-esque walls of reverb, the beauty of a song sung sweetly over the most graceful two-chord vamps. But are you ready for the new Frankie Rose? – her transformation into a wholly other kind of pop, the reverie and revelation of "Interstellar," an album that floats free of its maker’s history – time spent with Vivian Girls, Dum Dum Girls, Crystal Stilts, and creator of one of the most breathlessly compelling girl-pop albums of the past few years – and offers the listener something strangely other, as alien as it is familiar, as compelling as it is enchanting.

Talking with Frankie about the record, it’s clear she was itching for a new start. The first big indication – production by Le Chev, remixer supreme (for Lemonade, Narcisse, Passion Pit, and Frankie’s own “Candy”), an ensemble member of Fischerspooner, etc. “We recorded the record in a private studio dubbed The Thermometer Factory in Park Slope. I wanted this record to be totally different and in so doing I knew I had to work with someone who would lend fresh ideas and know how to make sounds that I wouldn't know how to make. I wanted to make a particular record and I knew Le Chev would be the one who could help me do it.”

So, out with the reverb of the Frankie Rose and the Outs, and in with something altogether more glam, glittering, shivering. On "Interstellar" Frankie takes the lessons learned with her debut album – like reverb as the holy route to pop-grandeur, scaling a wall of teenage tears – fully digests, and transfers those skills into the brave new world mapped out by ten new songs. In its place is the confident swagger of a singer and auteur fully aware of how to build the simplest of pop moves into aching, full-blown melodramas, how to grab hold of an emotion and ride its darker waves. “I always have a big picture in mind,” Frankie reflects. “I knew I wanted a HUGE sounding record. Big highs, big lows, and clean. There is no fuzz on this record. I knew I wanted to make a streamlined, spacious record with big choruses that sometimes referenced 80s pop.” But that referencing never swamps the melodies: this record isn’t a retro trip. If anything, it liberates sounds familiar from that decade and gives them new context, breathes life into clay golems of sound that too often become basic, pre-set triggers.

On "Interstellar," Frankie Rose goes epic, goes widescreen.

Out February 21 on Slumberland Records in US, Canada, Asia, Oceania.
Out March 19 on Memphis Industries in Europe.


Frankie Rose - Night Swim

produced by Jason Balla and Gabe MG. Mastered by Mike Bridavsky.

Leggy Singles

Not What You Need

Formed in January 2009, Girls Names quickly garnered recognition outside of the confines of their hometown of Belfast with the release of their eponymous debut EP in 2010 through New York's Captured Tracks. A mini-album through London imprint Tough Love soon followed, setting the foundations for their critically acclaimed debut LP Dead To Me, released in April last year again by Tough Love in Europe and cult West Coast label Slumberland Records in the US. 

Girls Names return in 2012 and are hinting at a slightly different direction and its all the more positive for it. This new single titled ‘A Troubled See’ makes up one half of a 7” split with label mates Weird Dreams. The release will be available from Tough Love records on 25th June and Slumberland Records the following day. The track itself has a wonderful simplicity, an endearing guitar hook that pulls the hip muscles back and forth yet staying that side of the dirty track where it’s ok to hang out. The band will also be playing a handful of shows in May including a performance at Primaverafestival in Barcelona. 

After a successful tour of Europe in October last year supporting stand alone single ‘Black Saturday’, Girls Names began to hint at a possible directional shift away from their often misperceived surf and indie-pop roots into something more a kin to Krautrock and Psychedelia. Indeed, the band has expanded to a four-piece and has spent the last six months in virtual seclusion honing and developing a more progressive and expansive sound, feeding on the darker sides of Echo and The Bunnymen, Spacemen 3, The Birthday Party and David Bowie's Low. 

So here we are in 2012 and Girls Names are going to come out of hiding with a sophomore record and right now ‘A Troubled See’ is as solid an introduction to the forthcoming chapter as you’re going to get.

Release/catalogue number: SLR 176

Girls Names - A Troubled See

Sock it to Me is the brand new LP from Colleen Green, and her first for Hardly Art. 

Sock it to Me

Time in the World

Colleen Green - "Time in the World"

"I Want to Go" digital single b/w "I Can Help" taken from the PDA LP: http://bit.ly/14zrr6f

PDA is out 7/9 on Mexican Summer. Pre-order on LP / CD / MP3 http://bit.ly/10HPfk4

Also available on iTunes:
http://smarturl.it/PartTime_IWantToGo

and on Amazon:
http://amzn.to/19lWLt0

Part Time - I Want to Go

Don't Give Up

Slumberland began operations in 1989 as a collective effort consisting of members of DC area bands Velocity Girl, Big Jesus Trash Can/Whorl, Black Tambourine and Powderburns. We were inspired by such musical happenings as C86, early Creation, Postcard, K, Bus Stop, lower East Side noise, and also the renegade art aesthetics & methods of people like Cage, Burroughs and Duchamp. The explosion of punk had left behind a thriving network of 'zines, labels and distributors and we felt that there was room for our noise-loving, pop-obsessed aesthetic. While there were loads of US indie labels releasing a steady stream of 7"s, there wasn't much pop going on. Notable exceptions included Bus Stop, K and Picture Book, and we hoped to join that group and help chisel out some space for melodies amongst the noise.

Early releases from Velocity Girl, Whorl and Black Tambourine struck a note, and we found like-minded popsters getting in touch from all over the world. As we expanded the label roster and our own horizons, the goal was always to share great songs and interesting sounds from a range of styles. Our first burst of activity through the 1990s and early 2000s brought seminal records by legendary bands like Stereolab, Rocketship, The Ropers, Lorelei, The Aislers Set, Hood and Boyracer.

By the mid 2000s we were seeing a resurgence of interest in guitar pop and the start of the ongoing vinyl revival: the perfect environment for Slumberland! We launched into our latest phase of activity with as string of classic releases from The Pains of Being Pure At Heart, Crystal Stilts, Frankie Rose, Veronica Falls, Allo Darlin', Joanna Gruesome and so many more.

2025 is our thirty-sixth (!) year we are still at it, ploughing our own furrow and bringing you unique, genre-defining (and genre-defying!) releases from bands like The Laughing Chimes, Humdrum, The Cords, Autocamper, Jeanines, The Umbrellas, Neutrals, Artsick, Kids On A Crime Spree, Papercuts, Lightheaded, Tony Jay, Chime School, Lunchbox and many, many more. Indie fashions come and go but we're still thrilled by great songs and the new ways that pop can be rejuvenated to fit the times.

Girls Names - A Troubled See

Slumberland Records

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