In May 2014, three decades after the Jesus and Mary Chain first appeared on the scene in an explosion of noise, leather and attitude, it was announced that the Mary Chain, one of the most turbulent groups in pop history, would be performing their classic debut album Psychocandy live in its entirety for the first time to celebrate its thirtieth anniversary. By November 2014, the first Psychocandy shows were underway. They were both deafening and blinding, sound and light practically being used as weapons against the mesmerised crowd, and as the smoke unfurled and great tides of feedback rose and crashed everyone present surrendered to it all over again. This Deluxe package is a true collector's item chronicling the bands homecoming gig at Glasgow's legendary Barrowlands Ballroom, celebrating the tour that has propelled the band across the globe into the hearts and minds of faithful worldwide. Within the 40-page hardback book package you'll find the LP of the Pyschocandy performance cut to 180-gram heavyweight black vinyl by engineer Noel Summerville as well as the 7-track prelude set containing key singles and fan favourites including 'April Skies', 'Head On' and 'the monstrous 'Reverence' cut to a bespoke 10" entirely exclusive to the package. Also included is a CD of the entire performance, a candid interview with Brothers Jim & William Reid as well as Alan McGee about the Anniversary Tour and the future, and pages of unseen photography from behind the scenes.

Recorded during several candle-burning stints at London's Fish Factory studios in the winter of 2016, Stina and Cat were joined by acclaimed producer James Dring, whose work with the likes of Jamie T and Gorillaz made him an intriguing choice for the Scottish duo. Make no mistake though, 'Babes...' doesn't sound like anyone else but Honeyblood. The urgent lo-fi charm that defined their debut still pulses from its core. The band that burst forth from Glasgow's DIY underground scene just a few years ago, recording cassette tape releases in their bathrooms and hosting ad-hoc parties in disused hairdressers is still in tact; however, the evolution that's taken place is undeniable. An epically road-tested band and a dose of production finesse create a formidable combination. Stina's songwriting truly has found a bright new spotlight on her band's second outing. 'Babes...' is resplendent in the kind of effortless chant-a-long hooks that one by one will all soon become their own mantras. For a while now Honeyblood have been talked about as one of the most exciting new UK bands, but with 'Babes...' you just get the feeling that before long they'll be simply be known as one of the most important bands around, period.

“This is beautiful. I want YOU to do it” was the flattering instruction I got from master Phil this morning. He’s right, it is very beautiful indeed. It's an unconventional record in that it was recorded during the midst of various tours Dickson did in Europe in 2012. Most of the tracks were recorded in an apartment lobby in France that gave great reverb, and its this natural sound that helps give the record its magic. That’s not to take anything away from Dickson who plays and sings beautifully throughout. He’s basically doing your intricate, one-man, guitar plucking thing with the most beautiful of rolling guitar chords being joined by simple, unaffected vocals.
There is a folky element to Dickson’s playing but its not over-done. I’m reminded of the early guitar pluckings of James Blackshaw, the gentle evocative end of Durutti Column, and Richard Youngs's unsurpassable Sapphie. The song structures have a lot of similarities to the latter: everything is sparse and unhurried, words are few and far between - added patiently and not detracting from the swarthes of gorgeous guitar. I moaned last week at some of the flatness and dryness of James Yorkston's albums. Dickson may not have Yorkston’s lyrical dexterity but Yorkston could learn a thing or two from this album how a nicely placed reverb can elevate a nice piece to something really special.
This is a gorgeous sounding record. Fans of John Fahey will lap it up, and it also has a foggy melancholy that can only come from someone who inhabits the drizzly British Isles. I’m ashamed to be unaware of Dickson’s other work so am unsure as to where it fits against his back catalogue but this beautifully recorded live album is a triumph.

The Jesus and Mary Chain haven’t released a new album in 18 years. Last year, the band’s Jim Reid said they were working on a new album, and last month Creation Records’ Alan McGee said it would be out in March. Today, they’ve officially announced Damage and Joy, their first album since 1998’s Munki. It’s out March 24 via ADA/Warner Music. Damage and Joy was recorded with producer Youth (who also contributed bass). The album also features performances from the band’s touring drummer Brian Young and former Lush bassist Phil King. Find the tracklisting and cover art below. The first track from the album, “Amputation,” will premiere on Steve Lamacq’s BBC 6 Music radio show this evening.

Every Country's Sun takes two decades of Mogwai's signature, contrasting sounds – towering intensity, pastoral introspection, synth-rock minimalism, DNA-detonating volume – and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. Produced by psych-rock luminary Dave Fridmann, it's a structural soundscape built from stark foundations up; from a gentle, twinkling, synth-rock spectre to a solid, blown-out, skyward-thrusting obelisk. There's percussive, dream-state electronics (“Coolverine”), church organs as chariots of existential fire (“Brain Sweeties”), tremulous, foreboding bleeping – possibly from a dying android (“aka 47”). Their most transportive album yet, it also hosts their most fully realized art-pop sing-along of their storied history, “Party In The Dark,” a head-spinning disco-dream double-helix echoing New Order and The Flaming Lips, featuring Braithwaite's seldom-heard melodic vocals declaring he's “directionless and innocent, searching for another piece of mind”. This is music as a keep-out chrysalis, protective audio armor through exalting organs and portentous, dissonant guitar fuzz warping at the edges, bending the world inside-out into a reality in which you'd much rather live. The last three songs ascend into explosive exorcism, closing with the colossal “Every Country's Sun,” its searching intensity whooshing towards infinity in a dazzling cosmic crescendo.

又一支英国Post-Punk/New Wave强队，与Josef K同时隶属于Polydor厂牌。乐队总共发行三张专辑，《The Orange Juice》是乐队解散前的最后一张专辑，其中存在着《What Presence?!》这样不朽的经典。
The leaders of the Scottish neo-pop uprising, Orange Juice formed in Glasgow in late 1976. Originally dubbed the Nu-Sonics, the group comprised vocalist/guitarist Edwyn Collins, guitarist James Kirk, bassist David McClymont and drummer Steven Daly; following the formation of the Postcard label by Collins protege Alan Horne, the quartet renamed itself Orange Juice in 1979, adopting the new moniker as well as an aura of romantic innocence as a direct reaction to the increasingly macho aggression of punk.

Full Title - Underachievers Please Try Harder. Camera Obscura create lilting, sophisticated melodies that draw similarities to the work of contemporaries such as Belle & Sebastian, The Clientele or Trembling Blue Stars, but are also rooted in more classic sounds such as Nick Drake, Donovan or Petula Clark. Songs drift and linger like clouds in a summer sky, with gentle hooks and breezy vocals that stick in your head like a pleasant memory. Features 14 tracks including an Mpeg video of 'Teenager'. Digipak. Merge. 2004.