Name: Astronausea by William J. Le Petomane
Duration: 3 min 4 s
Description: Get launched into space with WJLP and Ernie. Comes with free ultra annoying video.

Lovely bass lines. Great 60's surf feel recaptured. Chris

hearty and delicious.  man i love this one.

Great Instrumental ! Your sound make me see the scene…

feels like im in a desert on the back of a horse :-)

Only commenting here because it came up on the "recommended" list... probably couldn't be bothered otherwise (Master, I'm beginning to sound like you :)

Get launched into space with WJLP and Ernie. Comes with free ultra annoying video.

Buy this track

Astronausea

The Walkabouts - "The Light Will Stay On (Demo)" taken from the upcoming deluxe reissue of their 1996 classic album "Devil’s Road" with re-worked and extended artwork plus a bonus CD containing five unreleased tracks. Coming 27.06.2014 at Glitterhouse: http://label.glitterhouse.com/upcoming.php?show=197

Info

The Walkabouts - The Light Will Stay On (Demo)

Over - Live at Studio Möllan

Damien Jurado "Silver Katherine" off 'Brothers and Sisters of the Eternal Son' out now on Secretly Canadian.

Get the album:
SC Distribution: smarturl.it/damienjurado?iQid=vevo: smarturl.it/damienjurado
iTunes: smarturl.it/damienjurado_itunes?iQid=vevo: smarturl.it/damienjurado_itunes
Amazon: smarturl.it/damienjurado_amazon?iQid=vevo: smarturl.it/damienjurado_amazon
Your local record store: smarturl.it/damienjurado_indies?iQid=vevo: smarturl.it/damienjurado_indies

Damien Jurado
Artist Page www.secretlycanadian.com/artis...
Website damienjurado.com/
Facebook www.facebook.com/jurado.damien
Twitter twitter.com/damienjurado

Damien Jurado "Silver Katherine" from 'Brothers and Sisters of the Eternal Son' out now on Secretly Canadian.

Brothers and Sisters of the Eternal Son

Silver Katherine (feat. Sisters of the Eternal Son)

Damien Jurado - "Silver Katherine"

There are strange forces at work, lurking underneath the shiny, impeccable surface of this place: Looming behind all those perfect little fence posts and neighborly smiles, there's a sense of isolation, of emptiness, a hint of claustrophobia, that fear of being in the wrong place, too far removed from where things are really happening. It's true: darkness has fallen upon suburbia. Welcome to the unadorned world of Innhverfi.

Using a play on the Icelandic words for "suburbs" and "introvert" for its title, Innhverfi is the debut solo album from Sigur Rós' and Jónsi's touring keyboard player/percussionist Óbó – in his passport it says Ólafur Björn Ólafsson –, and although comprised of no more than 7 compositions, it does run the gamut of suburban bliss turned upside down: After the LP's minimalistic opener "Úthverfi", a track that melancholically opens up after a long, immensely dark and brooding intro, that ultimately offers some respite in the form of playful Glockenspiel over layers of slow-moving sonic lava, the equally cinematic "Svartur galdur" leaves much room for Óbó's trademark baritone: Like a bespectacled puppeteer with fluffy hair, he seems to shuffle and rearrange home-recorded bits and lullaby-like DIY pieces in front of our very eyes, which can't help but follow, as we move deeper into the somewhat forlorn suburban landscape that has inspired this record. Imagine dark, wet streets, overcast little alleys, and suddenly a cat or a candle on a windowsill, breathing slowly.

Elsewhere, "Gjallarhornin" – all spoken words, piano, strings, vibraphone, rearranged like a whirlwind in slow-motion – makes way for a hopeful oomph deferred and silent-movie era melodies, while "Stilla", an instrumental, commences like early Efterklang, but there's no gaudiness on the horizon: When the subtle electronics and percussions erupt in the end, it all feels just right – if only for a brief moment. Finally, the subdued birdsong and jazz-inspired piano of "Fyrirbo∂i" underline that Ólafsson has worked on motion picture soundtracks in the past – e.g. The Good Heart, Steypa –, and before it all ends, he even throws in a foot-stompin' alt-pop song of sorts ("Rétt e∂a rangt?"). The last stop of this journey into the haunting underbelly of the suburban mind is "Gullregn": A creaking door that opens to unveil his own garden of forking paths, a place where one can still decide, shake things up, jump the fence and run, leave before it's too late. It's pure possibility, presented in a golden light.

Although Innhverfi is his debut effort as a solo artist, Óbó's musical handwriting has been all over the Icelandic map in recent years: A multi-instrumentalist and a wizard on percussions, he studied piano and later composition in various European cities and has performed and recorded with artists such as Sigur Rós, Jónsi, Emiliana Torrini, Stórsveit Nix Noltes, slowblow, Benni Hemm Hemm, múm, Jóhann Jóhannsson, Úlfur Hansson and Valgeir Sigur∂sson, to name a few.

Though few will be able to understand the lyrics in his native Icelandic, one thing is certain: Innhverfi is the very antidote to the affliction and troubles it sketches out. Turns out we've been in the right place all along.

Buy On Itunes

Óbó: Rett Eda Rangt?

Enjoy Smile Rock



Astronauts
End Codes album
Lo Recordings
6th May 2016

Dan Carney is a songwriter based in east London who releases music under the name Astronauts. He also enjoys spending time with his daughter and his partner, going for long walks, reading, writing, looking out of the nearest window, and making overly ambitious travel plans.

After the single ‘Skydive’ went viral in June 2014, the debut Astronauts album ‘Hollow Ponds’ was met with critical acclaim. This led to live performances far and wide, with Dan visiting Italy, Belgium, Luxembourg, Germany, France, and Switzerland in 2015 alone, as well as – equally thrillingly - having a song used on the BBC’s darts coverage in his native country.

Radio support also came from all over, with Radio 2 (Huey Morgan) and 6 Music (Lauren Laverne, Cerys Matthews, Radcliffe & Maconie, Steve Lamacq, Tom Ravenscroft, Gideon Coe) in the UK, to US stations such as KCRU in Los Angeles, all queuing up to broadcast Dan’s efforts to the public.

In between all of this, Dan has found the time to write and record his second full-length, ‘End Codes’. It channels the melancholic intensity and rich arrangements first encountered on ‘Hollow Ponds’ into eleven beautiful new songs, while also managing to sound more coherent and focused than its predecessor.

Lyrically, it’s Dan’s trademark intriguing blend of resignation and defiance, all delivered with a world-weary estuary twang which combines the colloquial fragility of Robert Wyatt with the eerie double-tracked smoothness of Elliott Smith. Cuts such as opener ‘Recondition’, ‘Split Screen’, and ‘Breakout’ are propelled along by a familiar sprawling, motorik intensity, simultaneously fraught and uplifting, and just repetitive enough to lodge themselves firmly in your consciousness without becoming labored or tedious.

Elsewhere, however, there’s variation and versatility in abundance. The woozy, pastoral otherness of ‘When It’s Gone’ – inspired by the cautionary paean to faded youth which adorns the grave of the Black Prince at Canterbury Cathedral - cements Dan’s status as the nearest thing Essex has got to Jonathan Wilson, while ‘Dead Snare’ mines an ominous trench of paranoia and dreamlike malevolence, dark acoustic guitar lines intertwining with creaking cello and a nagging lyric which sets out a bleak, recriminatory inner monologue.

There’s also the steady, cyclical lead single ‘Civil Engineer’, possibly the finest folk-pop song yet written about the vagaries of a career in civic planning, and the triumphant Laurel Canyon-via-Romford CSNY-style harmonies of ‘You Can Turn It Off’. Closer ‘Skeleton’, with its defiant drone-gospel coda, triumphant and boisterous over a yawning chasm of electronic sadness, channels the likes of Fugazi, Tortoise, and The War On Drugs, proving that Dan’s horizons extend significantly further than many of his supposed “indie folk” contemporaries.

Dan hopes that ‘End Codes’ will appeal to his existing small-but-probably-dedicated fan-base, while also attracting new listeners, as it’s the best thing he’s ever done. We like ‘End Codes’ very much, and we hope you do too. Dan is, as ever, available for interviews, lovingly curated playlists, and questionable sports science product endorsements.

ARTIST LINKS
www.lorecordings.com/artist/astronauts/
www.facebook.com/pages/Astronauts…71?ref=bookmarks
twitter.com/AstronautHeart

LABEL LINKS
www.lorecordings.com
www.facebook.com/pages/Lo-Recordi…/448401545307474
twitter.com/lorecordings

CONTACT
Press – John Power – john@thebestinshow.net
Radio – Sean Newsham - sean@mutante-inc.demon.co.uk
Label/licensing - Gavin O’Shea - gavin@hub100.com


End Codes

Buy on Bandcamp

Recondition

From the album Modern Country, out now on Merge Records.

Modern Country

William Tyler "Gone Clear"

Marble Sounds featuring Hooverphonic, live at De Poulains, Ancienne Belgique, Brussels.
March 2nd, 2011.

Sky High (feat. Hooverphonic)

Sea Sew

05 I Don't Know

Wunderbares Debütalbum der dänischen Künstlerin Agnes Obél das sich stilistisch zwischen Katie Melua und Feist bewegt. Agnes Obel ist dem deutschen Publikum bereits über ihren fantstischen Song „Just so“ bekannt der von der Telekom in einer ihren letzten groß angelegten Kampagnen verwendet wurde und viele Zuhörer begeistert hat – einmal gehört hat man den Song nie wieder vergessen!

Das Album zeichnet sich aus durch die markante Stimme von Agnes Obel sowie einer reduzierten Instrumentierung (Cello & Piano) die das Album zu einem essentiellen Listening Album für zuhause machen.

Agnes Obel - Beast

I like spaghetti & mellotron.
Thank you for listening.
Now go do that voodoo 
that you do 
so well.

Astronausea

William J. Le Petomane

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