Инди-рок

Data-Data-Data-Data goes the nagging needled guitar...this starts a twenty-six minute high velocity dystopian call to arms. 1978 Shot Through The 21st Century Canon (hello Savages). Ranted, chanted U.S. post-punk rock boy trio with a too smart, too cute, small "p" pop sensibility with one of those mysterious classic cover artworks that so alluringly simple it acts as a portal into a whole other dimension. The trio combines WIRE, early LIARS, with a dash of THE SCRITTI POLITTI to make their very own highly potent cocktail of the now. If this doesn't have you jumping round the room then you are already dead daddio! Record Label: Blastfirstpetit Style: Independent

"The Butterfly Ate The Pearl" is the follow up to 2008's remix and collaboration collection "Heart Of the Sun" and features nine new tracks. Co-produced with Hugo Race, the new album is another great collection of hypnotic, magical and understated songs that Degens has become known for, but with "The Butterfly Ate The Pearl" there is a more psychedelic feel and a real progression of sound and it is without doubt the most accomplished release to date. The multi-talented Andria Degens not only provides vocals, but plays a diverse range of instruments and effects including distorted and delayed dulcimers, guitar, keyboard, Indian harmonium, bass, samples, loops, pedal board, fx, vibra, bells, tambourine and sansula. She also brings together an array of eclectic musicians to elevate the dream- WILL OLDHAM (BONNIE PRINCE BILLY), JAMES BLACKSHAW, Otto Hauser (VERTIVER), Jay Darlington (OASIS, KULA SHAKER), Steve Finnerty (ALABAMA 3), to name a few. The result is a cinematic soundscape, a journey, through terrains, both familiar and unknown, with her gorgeous and heartbreaking voice leading the way, and sounding like nothing else around. Record Label: Grassgirlmusic Style: Independent

SPLIT 2ND is a 47 minute trip of screeching guitars with a scattering of hushed acoustics, electronic grooves wrestled by punchy glam rock drums, from city streets to spaced out states. Record Label: We Are Revoltin Style: Indie Rock

An album of songs from the English Civil Wars and seventeenth century to accompany The Violence. Record Label: Fika Style: Independent

the legendary multimedia artist David Lynch returns this summer with the follow-up to Crazy Clown Time, his acclaimed 2011 solo debut. THE BIG DREAM will be released July 15 on Sunday Best Recordings. The new album sees Lynch returning to primary songwriting and performance duties, writing 11 out of the album’s 12 tracks. Also included in the lineup is Lynch’s signature take on the Bob Dylan folk classic ‘The Ballad of Hollis Brown‘. THE BIG DREAM was recorded over several months at Lynch’s own Asymmetrical Studio with engineer Dean Hurley, who also contributes production and instrumentation to the album. Describing his style of music as “modern blues,” Lynch says the songwriting process for his new album was similar to his debut. “Most of the songs start out as a type of blues jam and then we go sideways from there. What comes out is a hybrid, modernized form of low-down blues.” THE BIG DREAM will be available in physical and digital formats and all including an immediate additional bonus download track ‘I’m Waiting Here‘ with Swedish singer-songwriter Lykke Li, which is streaming now exclusively on Spotify. The double-LP set pressed on Heavyweight Vinyl will be accompanied by a bonus 7” that contains the Lykke Li track on side A, and a visual etching on side B that was hand-inscribed directly into lacquer by Lynch exclusively for this release. Lynch praised Lykke Li as a natural songwriter with a great intuition for lyrics and melody: “She brought her own style to this song, which has a doo-wop sort Record Label: Pias Uk/Sunday Best Style: Independent

One of Ireland's most beloved groups Bell X1 return with their 6th Studio Album Chop Chop. Recorded in Bridgeport, Connecticut with longtime National producer Peter Katis & Thomas Bartlett (Antony & The Johnsons), the record moves the band in a bold new direction. In Bartlett's words, "From the moment I heard the demos, I knew this was a special batch of songs, nestled in the sweet spot between wistfulness and joy." Record Label: Belly Up Style: Independent

Brooklyn indie quartet A Great Big Pile of Leaves are thrilled to announce a brand new full-length studio album, You’re Always On My Mind, set for release on July 2nd through a continued partnership with Topshelf Records. The album serves as the follow up to their debut LP Have You Seen My Prefrontal Cortex? which was self-recorded and released in the summer of 2010. You’re Always on My Mind marks the band’s first full-length studio album with the backing of a label, and also their first time working with an outside producer. The band ventured from the East Coast to record the forthcoming full-length in Minneapolis last summer. They tapped Ed Ackerson (Limbeck, Soul Asylum, Polara, The Replacements) to produce the record and looked to Roger Seibel (Deathcab for Cutie, Andrew Bird, Bon Iver) for mastering. Record Label: Topshelf Records Style: Independent

Record Label: Supermusic Style: Independent

After a 6 year break, The Electric Soft Parade are back with their fourth album. Record Label: Helium Style: Independent

"Honey Locust Honky Tonk" is a compact wonder and so varied, tuneful, graceful, magnificent and ebullient that you'll be forgiven for thinking that ROBERT POLLARD has saved his best for his own album. Slicker in some ways than recent GUIDED BY VOICES efforts, though not without its own down-home charm, its seventeen songs still whiz by in 34 minutes, stridently showcasing POLLARD's songwriting mastery with some of the best tunes he's ever penned. The longest, the semi-stately album closer "Airs" clocks in at just over three and a half minutes, but most are in the two or two and half minute range typical of POLLARD's attenuating genius. "I'm not afraid to be immature, to make a fool of myself," he recently offered as a reason why he's been able to continue writing music at such a high level for so long. "I'm not afraid to look insane." The only thing crazy about a song like "It Disappears In The Least Likely Hands (We May Never Not Know)" is its slightly loopy title. The song itself, a chugging Heroes-era BOWIE anthem whose entire lyrics are contained in the title, is a marvel of both concision and affect, featuring the full force and range of POLLARD's voice, which has never sounded better. Sure, it's an over-used trope of rock bios to say that such-and-such or so-and-so "has never sounded better," but that doesn't make it not true. (Two can play at the double negative game!) For any other guy whose reunited band has just finished putting out four full albums and an EP in eighteen months, the release of yet still again another solo album might seem excessive, to say the least, but "Honey Locust Honky Tonk" sees POLLARD on top songwriting form. He's done it again, folks. "Honey Locust Honky Tonk" is as sweet and as sharp as anything ROBERT POLLARD and friends has ever produced. Bite it and see. Style: Independent

“A glittering setlist” METRO / “New Order played the ultimate set” Artrocker. Tracklist: 1. Elegia 2. Regret 3. Isolation 4. Krafty 5. Here To Stay 6. Bizarre Love Triangle 7. 586 8. The Perfect Kiss 9. True Faith 10. Blue Monday 11. Temptation ENCORE 12. Transmission 13. Love Will Tear Us Apart Record Label: Pias Uk/Sunday Best Style: Independent

One of the most acclaimed Russian indie acts in recent years, Motorama are a five-piece from Rostov-on-Don. They actually sound more Nordic than like a band from the Southern river-port of Russia. Vigorously mixing the aesthetics of new wave and post punk and infused with intelligently buoyant flair, their songs are also full of dreamy pop tunes, danceable beats and monotone vocals. Big fans of Factory Records artists and American bands such as Xiu Xiu, The Flaming Lips and The Strokes, they also grew up listening to The Coral. Their fan base stretches from Russia, through the Baltics, Germany & Greece to South America and beyond. After the release of their second album 'Calendar', their debut 'Alps' (that has never been officially released), recorded in 2010 in Rostov-On-Don, is their second full-length for Talitres. This one comes with three bonus songs. Record Label: Talitres Style: Independent

Get ready for an album of mayhem in the company of some of Japan’s finest rockers. Record Label: Jpu Records Style: Indie Rock

After the release of 2010's "Ship of Light" producer Marko decided to strip the band right down and start afreshfot this, their fourth album. Having met the intriguing Swedish vocalist Johanna Kalén in Stockholm and loving her utterly beautiful voice, he then drafted in his English friend, and honourary Finn, Anthony Bentley. Having written a bunch of new songs they decamped to Brooklyn, Berlin, Stockholm and Porvoo to record, finishing up back in Helsinki. Opening gently with "Restless Feet" and "Under Friendly Fire" the album takes you through to "Mountains Only Know", the title track "The Long Lost Friend" culminating in the hard-edged motorik gospel groove seven and a half minute version of the single "Tree House". Between 2004 and 2010, HUSKY RESCUE released three full-length albums and a remixes/rarities compilation, as well as a plethora of singles and EPs on UK's Catskills Records. Record Label: El Camino Style: Independent

Karen Gwyer - a US-born Londoner - makes slow-burning and sexy "bath house". Needs Continuum - her debut album, following a 2012 EP on fellow No Pain In Pop artist patten's own Kaleidoscope label - is a thrillingly unique and intuitive experience. Composed and recorded in the months before the birth of her first child, the record is both a product and champion of immutable, organic cyclical rhythms and disorientating psycho-physical disequilibria. Amongst idiosyncratic, treacle-thick reinterpretations of classic house and digital-psychedelia there are elements of Fuck Buttons or Cabaret Voltaire, fellow Ann Arborite Laurel Halo's deconstructed-Detroit King Felix project, and Arthur Russell's emotionally excavating avant-disco. Reference points are dropped throughout, yet it's simultaneously clear the singular influence on the record is Gwyer herself. As per the title's neat phrasing, the record is a bridge between memory, experience and a lifetime-wide progression; a defining record of a period rendered in sublime and original musical form. So who better to explain than Gwyer herself..? : Me: My childhood was spent first in Iowa, then Ann Arbor, Michigan. Both my parents were cellists, and I spent many hours as a kid sat in empty concert halls during their rehearsals, which I loved. I plugged away at the cello, violin, then the viola for years, but it was all a bit half-hearted, as I was busy barking up other trees. Amidst all the Brahms, Chopin and Shostakovich at home, I think I horrified my folks when I started watching The New Dance Show, a low-budget house music dance program on Detroit TV. It was the late 80s and early 90s, and the show featured local dancers busting some serious moves to heavy house and techno classics (now). You couldn't see or hear anything like that on MTV, which back then was still all music all the time, and it was the start of a huge love of techno and dance music. The seeds of the Midwest noise scene were beginning to sprout when I was in high school, and that was all very wild and heady. But I was desperate to get out of Ann Arbor, and I moved to New York at 17 to find the last vestiges of that era of house culture being buffed away, to be replaced by years of tepid guitar-themed tedium. Eventually winding up in London, I finally came back around to making music. Fast-forward a few years, and I was operating under the looming deadline of childbirth during the making of this album. The months just before having my little boy were so loaded with anticipation, nerves and thrill. I went into overdrive recording, just trying to make something that measured up to the significance of the start of a new life. Or lives, actually. Record Label: No Pain In Pop Style: Independent

The World Is A Beautiful Place And I Am No Longer Afraid To Die has pulled together an undeniably solid indie rock album on this debut LP of theirs. Whenever, If Ever is the bands debut full length. After two EPs and a Split it was about, tbh! Recorded by Ryan Stack at Format Audio and Chris Teti at Silver Bullet Studios, this record features ten absolutely fantastic tracks that we cannot stop listening to. Record Label: Topshelf Style: Indie Rock

Record Label: Cherry Red Style: Independent

LIGHTNING DUST - the duo comprised of Amber Webber and Josh Wells - tends to thrive in the spirit of change. 2007's self-titled debut was a hushed, intricate folk affair, while 2009's "Infinite Light" found a middle ground between SUICIDE and FLEETWOOD MAC era pop. So when they geared up to make the music that would become "Fantasy", the pair was looking for a new sonic stamp. LIGHTNING DUST's third proper full length finds its inspiration in skeletal synth pop,modern R&B beats, the films of John Carpenter and - in accordance with LIGHTNING DUST's only longstanding rule - absolute minimalism. The core of "Fantasy" lies as much in the songwriting as in its sonics, and begins with tools familiar to Webber and Wells: her acoustic guitar and his Wurlitzer piano. They worked to distill the arrangements to just the few key elements that were necessary to make the feel right, and through countless hours of labor in The Balloon Factory - their Vancouver studio - the songs found their way to a sonic palette more squarely electronic than either expected. The first product of this experiment was "Never Again" which was previously featured on a 7" in 2011 and now closes the new album. It is a menacing, almost gothic electro-pop churner, marching from an oscillating beat to an anthemic thunderstorm of synth textures. Like many of its cohorts, the song came together slowly: beginning with a barebones acoustic demo and honed through their new sonic prism, "Never Again" became not only a bouncing synth opus but a thesis statement of sorts for "Fantasy". Knowing now where they were going, the path began to take shape. The duo was keen to use a purely synthetic palette for "Fantasy", but instead of toiling away in front of a computer, Wells armed himself with an MPC 2000 - a cumbersome, outdated machine, but one that proved to be the perfect tool to keep the spirit of absolute minimalism alive in their new musical terrain. The time-honored producer's weapon of choice became Wells' entrance to the world of programming, one that empowered him to work by feel alone. Webber, meanwhile, mined the freedom she felt singing along to records as a child, and strove to write vocal melodies and sing with a more extroverted pop sensibility. The hooks are apparent, and Webber sings with a self-assurance that belies the extent to which "Fantasy" marks a new, uncharted sonic space for the band. By beginning at the end, LIGHTNING DUST has delivered an album that informs their sound in remarkable new ways. "Fantasy" is a hypnotic, exciting record, recklessly new without sacrificing the rich atmosphere that makes LIGHTNING DUST who they are. "Loaded Gun" is a robotic riot grrrl anthem, while "Agatha" stands tall as an ominous lullaby. "Fire, Flesh and Bone" recalls the best cinematic new wave ballads, while acoustic heartbreaker "Moon" makes the rest of the world disappear. And so while LIGHTNING DUST's destination was never an exact place, "Fantasy" is as vivid a place as you've ever imagined. Style: Independent

Buffalo based indie-punks, Lemuria, announced their newest full-length record, The Distance is So Big! The new LP will be put out on Bridge 9 Records, and will consist of what I’m sure will be a collection of really awesome, catchy songs. Lemuria has put out loads of different releases since their inception in 2004. Since the release of their critically acclaimed LP Pebble in January of 2011, Lemuria has released two 7 inches, making The Distance is So Big their first large body of work in over two years. Record Label: Bridge Nine Style: Indie Rock

Limited repressing of 150 copies! After deleted for more than 15 years here is the repressing of their 2 cult albums from 1984 (Hope Like A Candle) and 1986 (Five Minutes after I Die) . Hope Like A Candle was the first and Five Minutes After I Die the third BLACKHOUSE release, focusing on rhythmical noise and a pure feedback driven beat with enlightening vocals. BLACKHOUSE are the grandfathers of Rhythmic Industrial and as most fans still say: HOPE LIKE A CANDLE and FIVE MINUTES AFTER I DIE are their best two albums ever! Record Label: Dark Vinyl Style: Independent