Week End.

From the album, Bazaar, out now. 

Order CD, LP, Tape, Digital - http://polyvinylrecords.com/bazaar


Order on Polyvinyl

Wampire - Wizard Staff

Real Estate - Fake Blues

Oblivion

seventeen

More info: http://www.dominorecordco.com/pbvsgrremixesnews
Buy: http://po.st/PBVSGRRemixes
Streaming services: http://po.st/PBVSGRRemixesStream 

PBVSGR Remixes

Mr Noah

Panda Bear - Mr Noah (Container Remix)

Spotify:http://spoti.fi/1hCqLro
iTunes: http://apple.co/1gH9f4G

The Drums - There Is Nothing Left (TOKiMONSTA Remix)

breathein+out

LOK! - IS IT POSSIBLE SLOWED (Prod. LOK!)

All songs written by Dan Snaith.
Luke Lalonde sings 'Jamelia'.
Kyle Brenders plays soprano saxophone and bass clarinet on 'Kaili', 'Leave House', 'Hannibal'.
Colin Fisher plays tenor saxophone on 'Kaili', 'Leave House', 'Hannibal'.
Rob Piilonen plays flute on 'Kaili', 'Leave House', 'Hannibal', 'Jamelia'.
Steve Ward plays trombone on 'Sun', 'Kaili', 'Leave House', 'Hannibal', ' Jamelia'.
'Odessa', 'Kaili', 'Leave House', ' Lalibela', 'Jamelia' mixed by David Wrench at Bryn Derwen Studio.
'Found Out' and 'Hannibal' mixed by Jeremy Greenspan at Pistacho Studio.
'Bowls' mixed by Jeremy Greenspan and Dan Snaith.
Mastered by George Graves at Lacquer Channel Mastering.
Photography and art direction by Jason Evans. www.thedailynice.com
Design by Matthew Cooper and Jason Evans.

Odessa

"Different Now" is the first single from Chastity Belt's highly anticipated I Used to Spend So Much Time Alone, out 06/02/17 on CD, LP, digital, and cassette from Hardly Art records. Pre-order the album today from flyt.it/usedtospend

Follow Chastity Belt on Twitter: https://twitter.com/CHAST1TYBELT
Follow Chastity Belt on Instagram: https://www.instagram.com/chazzybelt/
Like Chastity Belt on Facebook: https://www.facebook.com/chastitybeltmusic/

I Used to Spend So Much Time Alone

Chastity Belt - "Different Now"

iTunes pre-order: http://smarturl.it/cagetropical
Bandcamp pre-order: https://frankierose.bandcamp.com/album/cage-tropical

After spending years as a major presence in Brooklyn’s thriving music scene, Frankie Rose relocated to her familial home of Los Angeles for 18 months with the intention of establishing yet another moment in her storied indie rock métier. Gradually, she found herself short on sleep, funds and optimism. "I moved to LA, drama ensued and I ended up on a catering truck. I was like, how can this be my life after being a touring musician and living off of music. I had really lost my way and I thought I was totally done."

Through sleepless nights of listening to broadcaster Art Bell’s paranormal-themed archives, Frankie’s thoughts had turned to "who am I, I’m not cut out for this business, it’s not for me." She continues, "I was literally in my room in L.A., not knowing how I was going to get out. But out of it all, I just decided to keep making music, because it is what I love and what I do – regardless of the outcome."

Towards the end of her time spent in Los Angeles, Frankie reached out to Jorge Elbrecht (Tamaryn, Gang Gang Dance, Violens) and began sketching what became the basic outline of what felt like a new album. Then, rather fortuitously, Frankie ended up back in Brooklyn with the realization that "in the end, I’m on my own. I have to do these things on my own."

The months that ensued meant basically working with no budget and finding ways to record in-between days. This time enabled Frankie to experiment musically with a variety of people that ultimately changed the way she worked. "I got a lot of input from people like Dave Harrington (Darkside), who was helpful reconstructing the songs, adding dynamics and changing up the rhythms."

The result of this existential odyssey is Cage Tropical, Frankie’s 4th album. It is awash with vintage synths, painterly effects pedals, upside down atmosphere and reverberating vocals. It evokes a new wave paranormality of sorts that drifts beyond the songs themselves. "My references aren’t just music," says Frankie, "I love old sci-fi. They Live is one of my favorite movies ever, same with Suspiria. 80’s sci-fi movies with a John Carpenter soundtrack, with silly synths – that makes it into my file, to the point that I’ll write lyrics incorporating that kind of stuff. It’s in there."

Beginning with the shimmery, cinematic and percussive sparkling of the album’s opening track "Love in Rockets," the song’s refrain of "a wheel, a wheel of wasting my life: a wheel, a wheel of wasting my time" immediately alludes to those darker circumstances that led to the creative origins of Cage Tropical."It’s all essentially based on what happened to me in Los Angeles and then a return to Brooklyn," says Frankie. "Misery turned into something good. The whole record to me is a redemption record and it is the most positive one I’ve made"

 "I feel like I am finally free from worrying about an outcome. I don’t care. I already lost everything. I already had the worst-case scenario. When that happens, you do become free. In the end, it’s about me rescuing myself via having this record."

Cage Tropical

Buy LP/CD

Frankie Rose - Trouble

The first single off our new record "Cañón" out October 11th.

Don’t Say Shit You Don’t Mean

-Description

Here is a Japan’s Hollo-Fi BOYS AGE new song styled that Japanese-Style cosmic horror. The poetry world of this song is influenced by the old folklore and the mystery story of Japan and this is a fantasy literature or a weitd fiction by Boys Age. So only now, Boys Age sing in Japanese. In my opinion , the essence of cosmic horror is... It’s not the madness world of dread. It’s madly genuine love. Boys Age sing the purest love in the solar system on his songs.

ボーイズエイジの新曲は純和風コズミックホラーを題材にしていて、日本の伝承/怪奇譚に影響を受けています。これはバンドによる純和風幻想小説あるいは怪奇小説であり、だから今回は日本語で歌われます。ボーイズエイジの考えに於いては、コズミックホラーの本質は恐怖に狂気的世界ではありません。それは狂おしいほどの純粋な愛なのです。

-Lyric

からたちの傍で姫は待つ　泡立つ闇の海仰ぎつつ
あの星の界に蛞蝓(ナメクジ)が住まう
彼は鬼の様な角を持ち　沸き立つ皮下に星を抱いて
この惑星の空　翼足で覆うように

そうだ　探している　姫を探している
彼女は待っている　もう一度

からたちの傍で姫は泣く　風月(ふげつ)の調べの報せに咽(むせ)ぶ
「もうすぐあの牛が迎えに来てくれる」
星々を掻き取りながら　蛞蝓(ナメクジ)は色彩に揺れる
「間も無く罷り越しましょう」

そうさ　待っている　彼を求めている
近づいてる　もうそこに

暗い夜空で　彼は探していた
彼女は待っていた　悠久の果てに
無窮の途(みち)を　溶け合って
深潭の遠(おち)に　沈んで行く

蛞蝓の嫁(Phantasm Gem)

This one is from January 2011 around the same time as a few of the EP songs. it's not exactly finished, the lyric is rough, but I still enjoy what it is and eventually this song lead to other tunes on the EP and on Shields that I'm happy with. It's a wintery New York song to me, it reminds me of home. And at this particular moment I miss home, and I feel like I should be there after all that's happened recently. So there it is. 

Not Coming Back

'Former Warnings Cluster', the new single by Eades.
Out now on Heist or Hit.

Listen: http://heistorh.it/FormerWarningsCluster

Oblivion

Wakes (US)

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