Bonnie Tyler is a Welsh singer, known for her distinctive husky voice. Tyler came to prominence with the release of her 1977 album The World Starts Tonight and its singles "Lost in France" and "More Than a Lover".

Andy Stott has announced he'll be releasing a new album, Faith in Strangers, on November 17th via Modern Love. The new LP follows 2012's incredible Luxury Problems (our fifth favourite album of 2012!), and is described in a press release as "straddling analogue club music and vocal pop songs, somewhere between Ron Hardy, Prefab Sprout, Dome, Actress, Cocteau Twins and Arthur Russell."

It’s always the people in between, the ones who straddle genres, that make the most exciting music. So even as Secret Shine—in their guitars, in their harmonies—echo the sound we call shoegaze, the drift we call dreampop. they bring a level of pop smarts to their music that few of their sonic contemporaries can touch.
On the strength of last year’s reissue of Untouched comes Secret Shine’s new album There Is Only Now—on Saint Marie Records, the most vital dreampop label in the world today.
Back in the early 90’s Secret Shine got snatched up by seminal indiepop label Sarah Records, because Sarah could hear the hooks in the haze, the vitality in the vocals, so much more than a trend, so much more than a sound. It’s obvious Secret Shine grew up in love with pop, in love with ABBA, in love with the Smiths.
But oh what a sound they make. The majestic grandeur of ‘All In Your Head’ is a slow-motion fireworks display that leaves your breathless. The secret is in the keyboards, the extra layer of sound that adds a cinematic quality to the pulsing guitars, or adds early Depeche Mode popcraft to the sinister ‘Dirty Game.’ Just listen to the delirious countermelody in ‘Drift Away,’ closer to Disintergration-era Cure than anything My Bloody Valentine or Slowdive ever did.
There’s a menace, and a presence, in ‘To The Well’ that separates Secret Shine from their peers, that elevates them far beyond the faceless & the frothless into an emotional bleakness that digs under your skin. Or take the relentless heartbreak of ‘Things I Said,’ a song that proves that Secret Shine aren’t about pedal boards, they’re about what it means to be human and struggling to live.

Nilüfer Yanya is an English singer, songwriter, composer and musician.

With his self-titled debut album - across ten ice-cold and avowedly futuristic tracks - Pessimist not only seals his status as one of the most innovative and consummate producers currently drawing breath, he delivers a defining work which to us represents the culmination of nearly a decade of collective research and development in underground drum'n'bass.
In recent years many brave souls have tried to bridge the sonics and sensibilities of d’n’b and techno, but the results have invariably fallen short of aspirations. The closer we would get to this mythical fusion, the more elusive it would feel. Enter Pessimist. It is hard to think of a producer since T++ that has so radically, and successfully, reinvented/deconstructed the jungle-techno relationship. In fact Pessimist makes drum 'n bass work as techno: applying the exquisite monotone quality of the latter to the rhythmic swerve and soundsystem heft of the former. Moreover, he makes it look easy.
The perfectly formed ‘Balaklava’ 12” for BEB’s A14 sub-label in 2016 was his first work to attract serious attention outside of d’n’b circles, but the young Bristol producer’s singular aesthetic had been honed across important records for the likes of Samurai and Ingredients, and as a member of the Ruffhouse crew. Since ‘Balaklava’ the experimentation has continued apace across on EPs on UVB-76 and Osiris Music, and a remix of Schiari on Ilian Tape.
Cutting edge techno-dnb hybrids form the backbone of this showcase LP, but its make-up and its narrative are more complex than that. Make no mistake: the atmosphere throughout is paranoid, isolationist, unwaveringly dystopian. But out of this noir, smoked-out dubscape emerge a variety of things: fierce, Babylon-shall-fall jungle tear-outs (‘Through The Fog’); zoned, acidic rave (‘Peter Hitchens’); downtempo breakbeat excursions ('Glued'); sleek and rude 'Balaklava'-esque steppers ('Spirals); and passages of bleak, bombed-out industrial ambience. At times it feels like the missing link between British Murder Boys and Source Direct, or what might have happened if late 90s UK junglists had listened more closely to Chain Reaction. But really, it sounds like Pessimist and Pessimist alone.
Wide-roaming and shape-shifting it might be, but that Pessimist sound is single-minded and instantly recognisable. The ruthless minimalism, and the tension which comes of that restraint. The effortless swing and sophistication of the drum programming; the relentless and predatory, but always elegant, forward motion. The abyssal reverbs and long trails of delay. The deep and body-numbing sub-bass. The uncompromising palette of blacks and blues.

Birmingham's 'baggy-rock' revivalists back with 2015 album of sun-drenched, psych-influenced grooves

Bonny Portmore (From Turn) Soundtrack album for sale by Laura Marling was released May 13, 2014 on the Republic/AMC/Turn label. Bonny Portmore (From Turn) Soundtrack CD music contains a single disc with 1 songs.

Goat Girl are a post-punk band from South London. Their initial lineup consisted of lead vocalist and guitarist Lottie Cream, guitarist and occasional lead vocalist L.E.D., bassist Naima Jelly and drummer Rosy Bones.

The origin of this collaboration began two months prior to the Fukushima disaster in Japan. Dakota Suite had been touring Japan with their friends from the Japanese band called ‘vampillia’ and had been in several coastal locations in Wakayama as well as places near to Fukushima. The tsunami was very upsetting for Chris Hooson and David Buxton from Dakota Suite who then set about making music to reflect this overwhelming sadness and loss for Japan.
They approached Vampillia to work on these somber reflective songs for the sea. Vampillia is next alternative music from Osaka. Guitar, Noise guitar, Bass, Piano, Classical Strings, Velladon on Opera, Mongoloid on the dark metal vocals alongside twin drummers Talow the Tornado (NICE VIEW, TURTLE ISLAND) and Tatsuya Yoshida (RUINS).
From this lineup of 10 (sometimes more) comes experimental and beautiful dark music. Besides the new work with Dakota Suite, they have previously collaborated with acts such as µ-Ziq, Merzbow, Nadja and Lustmord. Their intense experimental style is the perfect fusion with the Dakota Suite aesthetic.
The songs came from a desire to reflect the phases of the disaster, the rising violent seas, the destructive power and loss preceding sorrow at the devastation which followed. Chris Hooson was haunted by images of floating pieces of wood which had once been someone’s ancient dwelling. The music Dakota Suite & Vampillia have recorded on The Sea is Never Full seeks to provide a mechanism to deal with this pain cathartically.
Various short pieces were passed between Dakota Suite and vampillia, who added strings and the distinctive throat singing of ‘mongoloid’ from vampillia. Japanese throat singing speaks to an ancient method, called rekukkara. It is tonal rather than melodic. As Hooson says „It seemed an appropriate way to convey the sadness we felt at the horror of Fukushima, which knows no words to express it accurately.“
After basic recording had been completed, David Buxton, in an act of pure genius, took apart every note of the music and created a two-part suite. It is hard to convey the seismic shift in this project after David presented this music in the form that it now stands. Hooson on his Dakota Suite band colleague Buxton “It has been the highlight of my recording career so far and David would not like the attention I give him, but I believe that this work in particular deserves to be heard as it is a work of beautiful and tragic choreography, it is a tribute to his mastery of music.”
This type of art cannot be written or envisaged, it can only be received and interpreted. Listening to this project continues to engender enormous sorrow in the listener, but the true beauty of such art is that it can take this sorrow as a cathartic force to help one manage these feelings. The Sea Is Never Full marks another momentous release for Karaoke Kalk. Together with Vampillia they have sculpted a truly epic record spanning musical styles from ambient and experimental to post-rock and neo-classical. Suffice to say, the result has nothing short if a breathtaking emotional impact.

Daughter has unveiled a partnership with Square Enix, publisher of award winning and best selling videogame franchises such as Final Fantasy and Tomb Raider, to create an original musical score for their highly anticipated new game Life Is Strange : Before The Storm. The entire soundtrack entitled Music from Before the Storm will be released digitally on September 1, 2017. The game also includes three songs from Daughter’s back catalogue.
Before The Storm is the prequel to Life is Strange, the hugely successful BAFTA award winning narrative driven game released in 2015. It was a boundary breaking videogame, with principal characters drawn from real life facing everyday issues, touching upon difficult situations such as bullying, suicide, teen pregnancy as well as tackling the complexities of love and friendship. The original game was celebrated for the strength of its music, and Daughter’s involvement in the next instalment is a brilliant continuation in the franchise’s development.
“We are so proud to have written the soundtrack for Life Is Strange: Before The Storm. It was our first experience working on an original soundtrack, and we are so honoured to have been given the opportunity to work with the team,” remarks Daughter singer Elena Tonra. “We loved the story on first read as it centres around realistic female lead characters who are emotional, intelligent, sensitive and badass in equal measure. I think the characters themselves have really inspired the soundscapes we have created. It was a pleasure to be involved.”
“We wanted to have fun with this project so we made something we felt could be a soundtrack for the characters in the game themselves. It was also important for us to make sure this collection of songs and pieces of music stood on their own so we really went that extra mile. We hope players and non players alike will equally enjoy it,” notes founding member Igor Haefeli.
Life Is Strange: Before The Storm is set in Arcadia Bay, three years before the events of the first game in the series. Players will take on the role of a rebellious 16 year old Chloe Price who forms an unlikely friendship with Rachel Amber; a beautiful and popular girl destined for success. When Rachel’s world is turned upside down by family secret, it takes this new found alliance to give each other the strength to overcome their demons.

This extended album of Wild Beasts new album Boy King features a ‘Boy King Trash’ companion piece, comprised of exclusive material including demos, previously unheard acoustic versions and aural sketches assembled by the band, housed in a card wallet with 12-page lyrics booklet.
Where 2014's Present Tense album found Wild Beasts in reflective mood, absorbing a fascination with online culture and electronic music, Boy King has them, as Tom Fleming puts it, "back to being pissed off". The quartet’s ever-present knack for sensual melody via Hayden Thorpe and Fleming's dueting vocals, Ben Little's sinuous guitar groove and Chris Talbot's potent rhythm section carries in Boy King an aggressive, snarling and priapic beast that delves into the darker side of masculinity and Thorpe's own psyche. As Hayden himself says, "After five records there had to be an element of 'what the fuck?'".
A newfound creative friction between Thorpe and Fleming proved key to unleashing the unique pop sensibility of Boy King - Fleming’s more visceral experimentation unlocking new dimensions in Thorpe’s own writing. After spending a whole year finessing this new found impetus in East London, the band emerged with a collection of songs ready to take to Dallas and producer John Congleton (St. Vincent, Swans, The War on Drugs). Both Thorpe and Fleming credit that trip to Dallas with teasing out the raw power of Boy King. In the studio, the band kept up the intensity of the office hour routine they'd employed during writing sessions and, they say, responded well to Congleton's sober discipline. "He made us get in there, get on and do it," Fleming says. "English politeness never featured."
The raw pop of Boy King's songs are the perfect foil to Thorpe's libidinous lyricism: "it became apparent that that guitar almost became the character within the songs, that phallic character, the all-conquering male," he says. "I'm letting my inner Byron fully out, I thought I'd tucked him away, but he came screaming back like the Incredible Hulk." Here lies Boy King's greatest success. Between the slide of prowling aggression and interior darkness, there are glorious, gorgeous moments. It’s yet another incomparable Wild Beasts record; a visceral, sensual and jolting body of work that acts as a remarkable soundtrack to the early 21st century male malaise. Or as Thorpe puts it: "I think Boy King is an apocalyptic record. It's about swimming in the abyss. When you think about sex, you've got to think about death, they're one and the same.