TVAM – Narcissus (2018)

“TVAM, aka Joe Oxley, is one of those post-Internet ‘bedroom producers’ that we’ve heard all about for the last five year. He may be mysterious. He may only exist through blurry photos attached to press packs. But ‘Psychic Data’, his debut record, is a proper, rabid statement. The anonymity that proliferates so-called ‘bedroom projects’ – particularly the post-Ariel Pink dream-pop that flooded the Internet in the early 2010s – is wholly absent from ‘Psychic Data’. It’s a cold-blooded flank of digital brutalism, an industrialised pop record that throbs and pulses with an infectious, entrancing haze that’s instantly addictive. Not just a fantastic record, but a cutting, self-aware exploration into guitar music’s toxic obsession with the past.” Source

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Robbie Fulks & Linda Gail Lewis – I Just Lived A Country Song (2018)

“Fulks put together a top-notch studio band for these sessions (including stellar guitarists Scott Ligon, Redd Volkaert, and Danny B. Harvey), and the audio is clear, loud, and suitably unfussy. Linda Gail Lewis may share top billing on Wild! Wild! Wild! with Robbie Fulks, but she’s not playing second fiddle to anyone; they both deliver the goods here, and if you don’t believe a 71-year-old woman can make a great rock & roll record, this album will show just how wrong you are.” Source
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Node – Shinkansen North (2018)


“Synth supergroup Node doesn’t do things by halves. So when they decided to perform a rare concert in London in 2015 they chose, none other, than the auspicious Royal College of Music. It’s almost certain that these hallowed halls have never seen such an assemblage of vintage and modular synthesizer gear before. Although this could be said, most likely, about anywhere else one could imagin…Why bother in this world of computers and plugins? Well simply because they can…” Bandcamp

Mythic Sunship – Elevation (2018)

“Danish psych-rockers Mythic Sunship looked to the cosmic journeying of ’70s Krautrock and free jazz scenes as well as the volume of early proto-metal for a sound that hedged toward the heavier side of exploratory instrumental rock. The band created sounds that were dark and druggy, tending toward long-form jams that melted guitar riffs into a stew of echoes, eventually branching out to include explosive saxophone in their swarms of feedback.” Source

Dave Davies – Cradle to the Grave (2018)

“The original recordings for ‘Decade’ were unearthed by Davies’ sons Simon and Martin from “under beds, in attics, in storage”, and have been newly mixed and mastered. Some of the musicians who contributed to tracks include longtime Kinks drummer Mick Avory, who appears on ‘If You Are Leaving’ and Dave’s nephew, Phil Palmer, a guitarist who’s worked with Dire Straits, Eric Clapton, Roger Daltrey and many others.” Source

Peel Dream Magazine – Qi Velocity (2018)

“Peel Dream Magazine is the nom de plume of New York City-based musician Joe Stevens…Stevens harkens back to the early 1990s, when The Velvet Underground resurged as an inspiration to a new set of bands wielding synthesizers, off-set guitars, and a political bent. The Peel Dream experience is defined by a gentle, fuzzy psychedelia — a hypnotic bit of mod-ish lo-fi pop, recalling the best of early Stereolab, Lilys, and other shaggy haired kids with vintage fuzz pedals, slim trousers, and good record collections. Stevens conjures a distinctly 90s vision of the 60s. Not the actual 60s, mind you, but perhaps a 60s daydreamed about from the creature comforts of a suburban living room. An abstraction. Shag carpet turned to bowl cut. Jean jackets — disaffected but wholesome youth. It’s not irony, exactly. It’s the love that comes from loving. And a bit of whimsy. It’s the 90s, again. Post-post.” Source

Marie Davidson – Work It (2018)

“Marie Davidson’s new album turns the mirror on herself. “Working Class Woman” is the Montreal-based producer’s fourth and most self-reflective record: it’s a document of her state of mind, a reflection of the past year she’s spent living in Berlin, and a comment on the stresses and strains of operating within the spheres of dance music and club culture. Drawing on those experiences, as well as an array of writers, thinkers and filmmakers who’ve influenced her, Davidson’s response to such difficult moments is to explore her own reaction to them and poke fun. “It comes from my brain, through my own experiences: the suffering and the humour, the fun and the darkness to be Marie Davidson.” It’s an honest document of where she currently stands. As she puts it, “It’s an egotistical album – and I’m okay with that.” Buy Here