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It took Johnny Marr some 30 years of playing with The Smiths and an assortment of other bands before he finally ventured out on his own and released a solo album, last year’s The Messenger. Luckily, Marr isn’t waiting nearly as long for the follow-up. Entitled Playland, Marr’s sophomore solo record is due out October 6th via Warner Bros.
According to a press release, Marr began work on the 11-track album as soon as he had completed The Messenger. “When The Messenger came out I kept on writing,” Marr said in a statement. “I liked that the band had a momentum going on tour and a connection with the audience, and I thought that energy would be good to capture on the new record.” Recording took place earlier this spring in a London studio alongside collaborator and co-producer Doviak.
Marr said that he drew inspiration from the 1938 book Homo Ludens, which explores the concept of cultural development, and from the actual city of London. “It’s important to sound like your environment and on this record that’s London and Manchester,” he said. “The feeling of the cities and the people make it into the music.”
The press release explains that Playland involves a theme of “songs that move at the speed of life”, adding that the LP captures “the spirit that made The Messenger so memorable with energetic, post-punk songwriting complemented by Johnny Marr’s characteristic guitar style, thought-provoking lyrical ideas, and poised vocal phrasing.”
Pre-orders for the album are ongoing.

LoneLady is to release her debut album 'Nerve Up' on the 22nd February 2010 in the UK & Europe, and on the 23rd in the US. The album follows the release of a limited edition 'Immaterial' 7-inch, which is available to download for free below.
Born two miles east of Manchester city centre and having lived for 10 years right next to a motorway, the Mancunian Way, a stone’s throw from the Arndale Centre, Canal Street, all the shitty, brilliant pubs, clubs, dives, stinking canals, redbrick council estates, leafy suburbs and tarted-up ‘quarters’, LoneLady could walk around Manchester blindfolded. She loves / hates it, it is her home, so she had to record there.
A fan of first albums, believing them to be a dоcument of struggle, real-ness and wilderness, a lot of LoneLady’s favourite albums are debuts, and she didn’t want to go to London or anywhere else to record ‘Nerve Up’.
LoneLady, AKA Julie Campbell is a self-styled writer, vocalist and tight guitarist. With little more than thorny determination and a shoestring budget, she built a secluded ramshackle studio in the belly of one of Manchester’s crumbling mills and created ‘Nerve Up’ (co-produced by Guy Fixsen known for his work with My Bloody Valentine, The Breeders and Stereolab) in the span of four weeks.
The aesthetics of this ex-mill were a pure joy for LoneLady and invoked the ghosts of bands she loves ... (Joy Division, ESG, Wire, Grace Jones, The Fall, Suicide, PiL) …”grainy black and white images depicting the kind of spaces that have barely changed over the past 30 years, where ghosts stretch from the past and point to the future.”

Bobby Krlic, known by his stage name The Haxan Cloak, is a British musician and record producer.

The new Wolf Alice EP Creature Songs doesn't ever stop in its intensity. From the opening moments of 'Moaning Lisa Smile' through the guitar-heavy riffs in 'Storms' and 'We're Not the Same', it simply doesn't ever let up. 'Heavenly Creatures' offers a dark sort of intensity in its hushed vocals, foreboding lyrics, and quiet shuffling percussion. It showcases the band at their most powerful and is a sure sign of huge things to come for the band. It's out on 26 May through Dirty Hit Records.

'i am here' is a live four track ep from the mighty impressive savages. 'i am here' was recorded on the band's july uk tour on dates in tiny, heaving clubs in bristol and nottingham. the recordings capture the full scything energy and brutal power of the savages live experience in a way that makes you realise why so many people are saying there's just nothing else like them out there. for fans of delta 5, siouxise and joy division.

Earlier this year, UK pop experimenters These New Puritans treated their Field of Reeds LP to a live performance at the Barbican in London. That performance was recorded, and will now be treated to a proper release.
Like the show, the release is called Expanded. That's because it saw the group expand on their sound exponentially, performing with a 35-piece band, as well as with Elisa Rodrigues and Synergy Vocals. The set included all of Field of Reeds, along with some older material.
In a press release, These New Puritans frontman Jack Barnett said that Expanded is "as definitive as the studio album," adding, "It's like putting on a broadway show, lots of people, meetings, plans, schedules. I'm just as interested in that side of it, really."
Now that this Expanded project is ready for release, Barnett also said he can focus on the band's next proper album. "But now we've finished it and I've had a week off so I've got bored so we're starting on new stuff," he said. "But first I've got to go through all the dictaphone recordings I've amassed over the last few months, lots of me mumbling an idea at four in the morning, and sort through them and work some of them up, then we'll have a clean slate to work from."
Expanded (Live at the Barbican) will be released on October 20. The CD and digital versions of the LP will arrive via Infectious Music, with the vinyl slated for release through The Vinyl Factory.

PiL managed to avoid boundaries for the first four years of their existence, and Metal Box (issued in the U.S. as Second Edition) is undoubtedly the apex. It's a hallmark of uncompromising, challenging post-punk, hardly sounding like anything of the past, present, or future. Sure, there were touchstones that got their imaginations running -- the bizarreness of Captain Beefheart, the open and rhythmic spaces of Can, and the dense pulses of Lee Perry's productions fueled their creative fires -- but what they achieved with their second record is a completely unique hour of avant-garde noise. Originally packaged in a film canister as a trio of 12" records played at 45 rpm, the bass and treble are pegged at 11 throughout, with nary a tinge of midrange to be found. It's all scrapes and throbs (dubscrapes?), supplanted by John Lydon's caterwauling about such subjects as his dying mother, resentment, and murder. Guitarist Keith Levene splatters silvery, violent, percussive shards of metallic scrapes onto the canvas, much like a one-armed Jackson Pollock. Jah Wobble and Richard Dudanski lay down a molasses-thick rhythmic foundation throughout that's just as funky as Can's Czukay/Leibezeit and Chic's Edwards/Rodgers. It's alien dance music. Metal Box might not be recognized as a groundbreaking record with the same reverence as Never Mind the Bollocks, and you certainly can't trace numerous waves of bands who wouldn't have existed without it like the Sex Pistols record. But like a virus, its tones have sent miasmic reverberations through a much broader scope of artists and genres. [Metal Box was issued in the States in 1980 with different artwork and cheaper packaging under the title Second Edition; the track sequence differs as well. The U.K. reissue of Metal Box on CD boasts better sound quality than the Second Edition CD.]

Bella Union are thrilled to announce the release of The Other I, the new album from 2:54, which will be available 10th November.
Even before Colette and Hannah Thurlow wrote their new album, the London-based sisters’ atmospheric, imaginative and thrilling vein of rock music under the name 2:54 was already a force to be reckoned with. But the events that tested their commitment and resilience have upped the ante, to produce the magnificent drama and beauty of The Other I. From the expansive, tempo-shifting opener ‘Orion’, and the pining roots of ‘The Monaco’ to the ambient haunts of ‘Tender Shoots’ and the shape-shifting tour de force of ‘Raptor’, the album significantly widens the net beyond the achievements of 2:54’s self-titled debut. The Other I is all the stronger for Hannah and Colette’s hands-on approach to production while Colette’s lead vocals show a striking versatility. The album’s emotional terrain has been carved from circumstances out of their control but equally their sisterly bond.
As Colette explains, the album’s title was inspired by a favourite poet, Percy Shelley, “a rousing romantic, politically charged, a proto-punk of sorts. He called his friend and muse Elizabeth Hitchener the ‘sister of my soul, my second self.’ These lines kept returning to me last year and from there I arrived at ‘The Other I’. The Other I is an enquiry into the duality of the human experience – the division between the self that pounds on like a juggernaut in your head, and the self you present to the world. The idea extends to Hannah and I, to our sisterhood. We know intrinsically what the other thinks and feels, music is just another language we use to communicate.”
Written in Paris and London, the album was recorded at Bella Union’s East London studio before the Thurlows and Alex Robins decamped to North London’s Fish Factory to complete it alongside co-producer and mixer James Rutledge, who’s worked with the likes of Radiohead and Fever Ray. ‘In The Mirror’ and ‘Sleepwalker’ are cited as key entry points to the album’s core values, while lyrically ‘Orion’ sets the scene for the album’s adventures. ‘Raptor’ is the album’s brilliant finale, with its simmering intro, hypnotic flow, thrilling coda and rallying mantra: “Calling, I’m calling, I’m calling, I can hear it / You don’t know us / One more turn and then I’ll go / The end, the end, the end is close.”
The Other I will be released 10th November on Bella Union.

同为4AD公司旗下的仙乐派乐队，这张Spooky 专辑里的 Take (典型的Cocteau Twins吉它音色和节拍！) 、Untogether、Monochrome等曲目清晰地反映出了Cocteau Twins 对她们音乐取向潜移默化的影响力。

Since forming in Leeds in 2009 Submotion Orchestra have carved out their own special place in the UK's ever-changing musical landscape. The 7 piece band's fusion of bass heavy electronica, jazz, soul and much more besides has made them a favourite of the likes of Gilles Peterson, Trevor Nelson and Jo Whiley, whilst their live show has seen them play festivals around the world and sell out venues such as London's famous KOKO.
Now following two critically acclaimed albums, Finest Hour and Fragments, Submotion Orchestra return bigger, brighter and bolder than ever with Alium; their first album for Counter Records. Released on November 3rd, Alium sees the band in an expansive mood as the interplay between their electronic and acoustic sounds has become more natural than ever, whilst Ruby Wood's vocals continue to find new levels of emotion.
Written over two years in the remote Welsh countryside with just 'passing sheep and a rusty ping-pong table for company' and recorded in Brighton, Alium has been a true group effort with every band member involved in the writing and recording process, something that is reflected in the album's varied nature.
From neon synth strafed opener 'Awakening', to the bruising 21st century soul of 'Time Will Wait', the tense cinematic drama of 'Bring Back The Wolf', 'The Hounds’' late night/early morning jazz workout and the unashamedly big pop moment that is 'Trust Lust', Alium may be a dazzlingly eclectic record showcasing the band’s myriad talents, but thanks to producer Ruckspin's deft touch remains a satisfyingly coherent whole.
With a busy summer schedule that will see the band play over a dozen festivals in 7 different countries and a full UK tour lined up for later in the year Alium looks set to cap a triumphant year for the band as they continue to push the boundaries of what an ‘electronica’ band can and should be.

Import only two-disc set. 25 years ago, the Au Pairs were post-punk pioneers, pushing at the boundaries of feminism, anti-Thatcher campaigning and angular guitar music. Today, they’re acknowledged by the likes of Frank Ferdinand and the Killers as one of the most influential bands in British rock history. This definitive collection of their albums, BBC sessions and other rarities explains why. 42-tracks in all. Castle. 2006.