Former blog-house band has fully transitioned into a sleek, urbane pop-rock outfit, taking polished cues from Steely Dan and Phoenix.

PJ Harvey Shares “The Wheel” From New Album 'The Hope Six Demolition Project' .

Motörhead were a British rock band formed in London in June 1975 by bassist, singer, and songwriter Ian "Lemmy" Kilmister, guitarist Larry Wallis and drummer Lucas Fox. The band are often considered a precursor to the new wave of British heavy metal, which re-energised heavy metal in the late 1970s and early 1980s.

Work on Beings began in February 2014, hard on the heels of successful tours of Europe and North America. It proved to be a productive period. “The ideas came effortlessly and in abundance,” vocalist Hazel Wilde says of the writing process. “At first we had no expectations, no prescribed ideas of how we wanted the songs to turn out. We were just writing and playing together because that’s what we’d always done.”
This was made possible by their setup, working in splendid isolation; writing, rehearsing and recording in their Newcastle rehearsal room meant the results were undiluted by outside influence. Imaginatively produced and mixed by guitarist Paul Gregory, it’s also his experience that helped yield such compelling results. This allows Beings to move seamlessly from airy, chiming beauty to dense, forbidding soundscapes – sometimes in the same song – while still feeling like the product of a cohesive unit, retaining the band’s spark. “We wanted it to be more raw,” Wilde says of the record. “At its darkest points, we wanted it to feel like you’d dived into the deepest part our dreams and were taking a look around. At its lightest we wanted it to feel like you were coming up for air.”
Opening song ‘Of Dust and Matter’ strikes just such a balance. The band’s most sinister moment yet, it prowls out of a burble of radio static and feedback, propelled by ominous piano chords as its menacing pulse builds to a tumbling climax of almost discordant, warped guitar parts and the fractured drumming of Ol Ketteringham. “In my greatness I vowed to destroy all I am,” Wilde sings. “It brings out the best in me.”
It’s an interesting early lyric, and it soon becomes apparent that this is a braver, more headstrong Lanterns on the Lake, a band now less about floating on water than racing across land, eager and with points to prove. Often their melancholy necessarily turns to action. “Fractured lives like faultlines, unto the breach my friends if you will” is Wilde’s call to arms on ‘Faultlines’, a critique of austerity, as the band turn in a cavalry charge with her voice as the clarion call.
Wilde’s lyrics also shudder with evocative and often surprisingly dark imagery in songs that attempt to understand the world around her, built from charged moments of universal insight. “There is a sense of the need to connect to something; the need to find meaning,” she says of the material. “There’s such frustrating injustice in the world, yet this feels like a time of disconnection where we’re encouraged to celebrate the shallow side of culture. This record carries that sense of yearning for something greater.”
This gives Beings immediacy, depth and resonance as it touches on community, love, culture, politics and self-examination, and our own place and limitations within each. “I want to walk with the brave, give me a good day, I want to feel human” Wilde sings on the graceful ‘I’ll Stall Them’, exploring the importance of connection, kinship and reconciliation.
Beings is the engrossing product of a band operating in total harmony to the point where their music creates its own idiosyncratic world whilst also distilling outside concerns into it. The horizons open to Lanterns on the Lake are now as broad as the sweep of these beautiful songs.

Another case of a great record that has never been made commercially
available on CD. Anne Briggs' debut album is the real thing. Willie 'o
Winsbury is one of the greatest recordings ever. Though some may tend to
write off the album because of the large number of a capella tracks, it is a
wonderful record that is entirely unique. Now, I'm not the kind of person to like
something just because it's different, and I will say that I enjoy the songs that
her voice is supported by guitar or bouzouki. But the a capella stuff is cool
with me too, man. Her voice is so sweet and inviting and there's some really
great stories that would be spoiled with any decoration. I can understand
those who would say that it gets a bit grating at times. It does. Anne, along
with Shirley Collins, was kinda like a mom to all the great folk singers that
came after her. She remains a hugely influential yet somewhat unknown cult
figure.

LUSH来自英国著名独立音乐大本营/唱片公司4AD。独立公司的意思是指不附庸于任何一家超级垄断唱片公司址下，完全实行自立、自主的独立操作原则；更重要的是每个独立唱片公司都有一个个性强烈的音乐指向/氛围，即其旗下的乐队/个人都有一个大概统一的音乐风格范畴；另外，这类唱片公司一般是将艺术家创作的自由度放到最大，而不会为了商业效果而去过分的约束、限制。4AD是这一领域佼佼者，它不但坚持了20年屹立不倒，不为大公司所吞并，而且始终坚持了自己独立的音乐态度。

FKA twigs Releases New EP M3LL155X
Surprise release is available now alongside mind-bending 16-minute video

The first single from Polly Jean's 1998 album 'Is ThisDesire'. Pt.2 is backed with 'The Bay' & 'Instrumental #3'.Slimline jewel case. 1998 Island release.

“Long Way Home” is the upcoming debut studio album by British singer and songwriter Låpsley. It’s scheduled to be released on digital retailers on March 4th via XL Recordings.
It comes preceded by the promotion of her debut EP “Understudy” and the smash and viral single “Hurt Me”. The album includes productions by Rodaidh McDonald, Paul O’ Duffy and BBC Sound of 2016 longlister Mura Masa.

<Water Came Down>是Rosie Lowe 于2014年9月19日发行的单曲。

Out of print in the U.S.! Final album from Siouxsie and her Banshees, originally released in 1995. Roughly half the album was produced by former Velvet Underground man and solo star John Cale. 12 tracks including 'Stargazer', 'The Lonely One', 'Falling Down' and more. Polydor.

First official Echo live album recorded in August 2001 at Paul McCartney's Liverpool Of Performing Arts. Includes 'Rescue', 'Never Stop', 'Killing Moon', 'Cutter' & more. Spinart Records.

Every generation has their own version of the blues, music that captures a sense of melancholia and provides a sonic reflecting pool for young lovers, old souls, and the eternally heartbroken. For their darkly shaded and radiant debut album Full Circle, HÆLOS have found their blues where others go to find pure, uncut joy: the dancefloor.
The London trio’s version of a night out is a million miles away from mirror balls and sweaty bodies, their rippling electronic pop conjuring the exhilarating privacy of a cavernous club’s dark pockets and the introspective comedowns that accompany rainy 5 a.m. cab rides.
Throughout the album, HÆLOS reconstruct the firmament of dance sounds past and present to construct an exquisitely elegiac mood that retains a sense of presence as it conveys the pain of emotional distance. We’re living in a time where the struggle to make human connections is hampered by our inability to unplug, and so Full Circle is a glorious, gorgeous contradiction of sorts: emotional pop that perfectly captures ageless emotional conundrums, featuring music that could only be made in the present day.
This debut album is the sound of three individuals finding common ground, for themselves and for anyone who’s ever believed that it’s impossible to move your body without listening to your own heart.