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

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Marissa Nadler – Blue Vapor (2018)

“The eighth album from Marissa Nadler, For My Crimes, is the sound of turmoil giving way to truth. The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography. The album is set for release on September 28, via Bella Union and Sacred Bones.” Bandcamp

Bonus song: Marissa Nadler plays Fleetwood Mac and she does it brilliantly!

Thus Owls – Future/Past (2018)

“Montreal by way of Sweden art rock ensemble Thus Owls drastically up the stakes on their fourth full-length. The Mountain That We Live Upon capitalizes on the creative momentum of their previous EP to catapult them to a new level of sonic distinction. Every element of their songcraft has been honed to serve the band’s increasingly unique vision on this release.
While Portishead still echoes as a favourable touchstone, Mountain carves out a path deeper into the progressive psychedelic territory of Pink Floyd and the Savage Rose, marrying superb musicianship and bold experimentation with transcendentally memorable melodicism.” Source

This Kind Of Punishment – Out Of My Hands (1985)

Taken from:
EP: 5 By Four
Label: Flying Nun Records ‎– TKP 003
Format: Vinyl, 12″, EP

“A classic case of obscurity at the time but hosanna in the future, New Zealand’s This Kind of Punishment started as an experiment by brothers Graeme and Peter Jefferies after their earlier group, Nocturnal Projections, fell apart. Their goal was to move away from the punk-ish, more straightforward sound from the early ’80s into a self-consciously more experimental and artistic vein; at which they admirably succeeded over the course of three albums and one EP” Allmusic

Fred Thomas – Ridiculous Landscapes (2018)

“Fred Thomas had been making music nonstop for years when a seismic shift in his creative process happened in 2013. Something mystical opened up in the fall of that year and the prolific songwriter moved from his already emotionally open style into an unprecedentedly direct and vulnerable lyrical approach as well as new levels of detail-fixated production. The songs took on ​a ​new urgency​, inspired by a feeling that life was beginning afresh while at the same time a lifetime of experiences were cementing into worlds of memory.​ ​The results of that creatively eruptive time began with 2015’s critically hailed album All Are Saved, continued into the turbulent pop of 2017’s Changer and now ​float​ into Aftering, a record that feels like the final chapter of an unofficial trilogy.”Bandcamp

Herbert Bodzin – Against The Wall (1979-82)

Label: The Artless Cuckoo
Cat-Nr: TAC-004
Artist: Herbert Bodzin
Title: Revival II – The Electronic Tapes 1979-1982
Format: LP Recorded: 1979-1982, previously unreleased
Release Date: 2018

“The recordings – originally entitled “Multi Art – Electronic Sounds” – luckily survived on a cassette tape after an arsonist set fire to Bodzin’s house and burned it to the ground in September of 1986.” Bandcamp

Spiritualized – I’m Your Man (2018)

Spiritualized ‘And Nothing Hurt’ will be released on 7th September 2018 on Bella Union + Fat Possum Records. Pre-order here: smarturl.it/SPIRIT_ANH

“Lyrically, And Nothing Hurt touches on thoughts of passing time and acceptance of one’s age – never more beautifully than on Let’s Dance. “I didn’t want to be fighting against my age; it’s very much about acceptance. And not with any dissatisfaction either – I’m not raging against the inevitable. I spent a lot of time thinking about the way that the songs should hold together, trying to make the narratives make sense rather than just throwing together a couple of lines that rhymed” Source