If only the makers of Emoji would make a record, we could have explained this one a lot better. ⚫️... also available on 💿.

The English band’s nervy debut blazes through scraps of jazz, funk, krautrock, dub, and punk. More than a canonized style, it’s their level of control that sets them apart.

Ladies and Gentlemen We Are Floating in Space is the third studio album by English space rock band Spiritualized, released on 16 June 1997.

Suede is the debut album by English alternative rock band Suede, released in March 1993 on Nude Records. At the time the fastest-selling debut album in British history, Suede debuted at the top of the UK Album Chart, won the 1993 Mercury Music Prize, and is often credited with starting the Britpop movement. The sound of the album has been compared to The Smiths and the early David Bowie era.

The Vaccines have shared 10 rare and unheard tracks with this week’s issue of NME.
‘Isolation’ (Recorded in RMS rehearsal space and Justin’s bedroom, London, May 2012)
‘If You Wanna’ (Recorded in The Grove rehearsal space and Justin’s bedroom, London, May 2009)
‘Panic Attack’ (Recorded in RMS rehearsal space and Justin’s bedroom, London, September 2011)
‘Delicate’ (Recorded in RMS rehearsal space and Justin’s bedroom, London, May 2012)
‘Wreckin’ Bar (Ra Ra Ra)’ (Rec. in Ritz rehearsal space and Justin’s bedroom, London, July 2010)
‘I Wish I Was A Girl’ (Recorded in RMS rehearsal space and Justin’s bedroom, London, March 2012)
‘Wetsuit’ (Recorded in The Grove rehearsal space and Justin’s bedroom, London, May 2009)
‘Nørgaard’ (Recorded in the basement at Red Light Management, London, May 2010)
‘No Hope’ (Recorded in RMS rehearsal space and Justin’s bedroom, London, October 2011)
‘Runaway’ (Recorded in Deluxe rehearsal space and Justin’s hotel room, Melbourne, January 2012)

"It felt like we were in a movie that had a totally implausible ending..."
Slowdive's second act as a live blockbuster has already been rapturously received around the world. Highlights thus far include a festival-conquering, sea-of-devotees Primavera Sound performance, of which Pitchfork noted: "The beauty of their crystalline sound is almost hard to believe, every note in its perfect place."
"It was just nice to realise that there was a decent amount of interest in it," says principal songwriter Neil Halstead. The UK shoegaze pioneers have now channelled such seemingly impossible belief into a fourth studio opus which belies his characteristic modesty. Self-titled with quiet confidence, Slowdive's stargazing alchemy is set to further entrance the faithful while beguiling a legion of fresh ears.
Deftly swerving what co-vocalist/guitarist Rachel Goswell terms "a trip down memory lane", these eight new tracks are simultaneously expansive and the sonic pathfinders' most direct material to date. Birthed at the band's talismanic Oxfordshire haunt The Courtyard - "It felt like home," enthuses guitarist Christian Savill - their diamantine melodies were mixed to a suitably hypnotic sheen at Los Angeles' famed Sunset Sound facility by Chris Coady (perhaps best known for his work with Beach House, one of countless contemporary acts to have followed in Slowdive's wake).
"It's poppier than I thought it was going to be," notes Halstead, who was the primary architect of 1995's previous full-length transmission Pygmalion. This time out the group dynamic was all-important. "When you're in a band and you do three records, there's a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record."
Drummer and loop conductor Simon Scott enhanced the likes of 'Slomo' and 'Falling Ashes' with abstract textures conjured via his laptop's signal processing software. A fecund period of experimentation with "40-minute iPhone jams" allowed the unit to then amplify the core of their chemistry. "Neil is such a gifted songwriter, so the songs won. He has these sparks of melodies, like 'Sugar For The Pill' and 'Star Roving', which are really special. But the new record still has a toe in that Pygmalion sound. In the future, things could get very interesting indeed."
This open-channel approach to creativity is reflected by Slowdive's impressively wide field of influence, from indie-rock avatars to ambient voyagers - see the tribute album of cover versions released by Berlin electronic label Morr Music. As befits such evocative visionaries, you can also hear Slowdive through the silver screen: New Queer Cinema trailblazer Gregg Araki has featured them on the soundtracks to no less than four of his films.
"When I moved to America in 2008 I was working in an organic grocery store," recalls Christian. "Kids started coming in and asking if it was true I had played in Slowdive. That's when I started thinking, 'OK, this is weird!'"
Neil Halstead: "We were always ambitious. Not in terms of trying to sell records, but in terms of making interesting records. Maybe, if you try and make interesting records, they're still interesting in a few years time. I don't know where we'd have gone if we had carried straight on. Now we've picked up a different momentum. It's intriguing to see where it goes next."
The world has finally caught up with Slowdive. This movie could run and run...

The hugely anticipated second full length album from Loyle Carner, following on from his fantastic debut which made our top ten records of 2017.
‘Not Waving, But Drowning’, Loyle’s new album, gives yet more evidence - as if it were needed - of his razor-sharp flow and his unique storytelling ability. Yes, he can rap, but he allies that with the sensitivity of a poet, the observational skills of a novelist, and warmth of your best friend. The album opens with ‘Dear Jean’, a letter to his mother in which he’s telling her that he has found the love of his life, “a woman from the skies”, and he’s moving out.

Whirlpool is the debut album by British shoegazing band Chapterhouse. The album was reissued in 2006, on the label Cherry Red, with seven bonus tracks taken from three EPs (Freefall, Sunburst, and Pearl) released in the same time frame as the album. The Cherry Red reissue also included, for the first time, lyrics to all of the songs. The album spent 3 weeks in the UK Album chart in 1991, peaking at number 23.

Souvlaki is the second studio album by the English rock band Slowdive. Recorded in 1992, it was released in the UK on 17 May 1993 by record label Creation, then on 8 February 1994 in the US.

Damage and Joy is the seventh studio album released by The Jesus and Mary Chain, planned for release on March 25, 2017. It is the group's first album in eighteen years, and marks the group's first collaboration with producer Youth.

ZP Theart - Vocals
Herman Li - Guitar
Sam Totman - Guitar
Diccon Harper - Bass
Didier Almouzni – Drums
Vadim Pruzhanov - Keyboards, Piano

Jim和William Reid兄弟出生在苏格兰寒冷的东Kilbride。 年少失业的他们，厌恶80年代早期的音乐，于是在1983年他们俩录制了自己的小样， 但没有哪个唱片公司愿意理睬他们。当时他们把自己的乐队叫“草莓声明”。

1984年 THE JESUS AND MARY CHAIN 初步成型，由Jim担任主唱，William弹奏吉他， 招来的Douglas Hart演奏三弦贝斯，Murray Dalglish演奏两件套的鼓。 他们闯入一些音乐会自称是暖场乐队，在Glasgow的Nightmoves 俱乐部首次演出。 因不满音响师的取笑，打碎其设备，成为头条新闻.他们被强行逐出，随后被保镖殴打。 直到他们演出多次才不用在场地周围晃来晃去。

1984年5月乐队在伦敦亮相谋求发展。Bobby Gillespie建议他们送一份样带给 Creation 公司的老板Alan McGee。 那时候Alan McGee为新音乐开设了一个演出场所。在听过小样后， McGee邀请他们在1984年6月9日进行首场音乐会，给另一支乐队的暖场。 就在为数不多的听众面前，他们演出了十分钟，却从此开始了受到人们的注意。 当他们用Bobby Gillespie代替Murray Dalglish后，McGee把 JAMC 签到自己的独立厂牌Creation， 而后发表了首张单曲Upside Down,很快登上英国独立榜榜首，销量35000张，单曲中喃喃而语的唱腔， 坚实稳固的鼓点，尖长的回授音效给人们极深刻的印象。不过他们却时常惹麻烦，在德国乐队成员被捕， 在英国被指控持有毒品，25分钟尖刻的审查引发了在伦敦实验艺术中心的青年人骚乱。 媒体关注着他们发展，唱片公司也有意与他们签约。 但是合约上却提议为商业而改变他们当时身着黑色皮衣，黑色太阳镜， 杂乱发型的形象。他们拒绝接受，于1985年1月转签华纳下属的独立厂牌 Blanco y Negro 。 第二首单曲“Never Understand”固化了乐队的音响特色，一场在伦敦工艺学校的演出最后引发骚乱， 乐队把自己锁在换衣间，乐迷破坏演出场所，在街上狂奔。警察到处追随他们。“Jesus Sucks” 作为第三张单曲。然而，华纳公司的技工拒绝印刷它，认为它过于猥亵或亵渎神明。 当他们在85年11月发表首张唱片 Psychocandy 时，报刊杂志赞颂它有如呼了一口新鲜空气。 回授音效，简洁上口的旋律，松弛单纯的节奏也不同于当时的其他唱片。 JAMC给人的感觉是嘈杂散乱却十分吸引人，配上那些孩子般荒谬可笑的歌词，但它确实很新鲜。那些癫狂而又和谐的，几乎有些迷幻般的猛烈，被Melody Maker杂志的读者公认为八十年代的最佳专辑。

1986年
“Nervous Exhaustion”导致了一重要巡演的取消。而“Some Candy Talking” 因被认为与毒品有关而在电台禁播。 在制作第二张专辑 DARKLANDS 之前，鼓手 Bobby Gillespie 离队组建了另一支乐队PRIMAL SCREAM。从那以后 JAMC 主要成分仍是Jim和William两兄弟, 另外吉他手Ben Lurie一直与他们合作，三人都创作歌曲，由Jim和William轮番演唱，并在他们伦敦自己的录音室（The Drugstore)制作唱片.

1987年
在“April Skies”中，人们注意到他们那特有的回授音效渐隐，而显露出浓重美妙的旋律伴以忧郁的赞美诗，这首作品顺利进入十佳。“Happy when it rains”可爱之极，最近被Garbage乐队翻唱。“Darklands”单曲进入前五名，尽管它略显粗糙，但仍佐证了Reid兄弟已成为严肃认真的音乐家。然而，Darklands美国巡演被阻碍不能进行。Jim Reid因用麦克攻击乐迷而在多伦多被捕，在交了多少保释金后被释放。Dolly Parton 邀请乐队参加流行的电视节目。

1988年
一张B面歌曲的选集Barbed Wire Kisses登上十佳专辑榜，89年让人难以置信的专辑Automatic铺路。

1992年
乐队开始巡演，多方面的系列变化已验证乐队接近极限。他们仍带来单曲， “reverence ”。而新唱片命名为Honey`S Dead 。这无疑是乐队展现才华最充分的一张专辑。随后他们与Dinosaur Jr 、 My Bloody Valentine 、Blur 共同举行了声名狼籍的 Rollercoaster 巡演，然后参加第二届Lollapalooza音乐节。

1993年
The Sound of Speed发行，其中包括"Snakerdriver"( 被选在Brand Lee 的电影“乌鸦”原声配乐里），进入排行前三十位，同名电影原声大碟升到15位。

1994年
由Reid兄弟制作（尽管他们原来希望由Lee Hazelwood担当）的专辑Stoned And Dethroned出版。William特地请来他的女友Hope Sandoval（Mazzy Star的主唱）参与演唱。Pogues乐队的Shane MacGowan也参与其中。随后乐队在美国巡演，又一次出现在David Letterman Show节目中，并与Radiohead，Sheryl Crow一起在西雅图演出。

1995年
在AMERICAN旗下推出一张EP，部分新作和B面作品。这些作品后来大都收录在专辑MUNKI中。

1998年初
JAMC 结束了与华纳的合作签回英国本土的 Creation 公司，而在美国将合约签给了SUB POP。随后他们发表单曲了Cracking Up和 I love Rock`n`Rock两支单曲，并开始巡回演出。

1998年
新专辑Munki出版，其中Hope Sandoval和Vanilla Reid(Jim和William的妹妹）参与演唱，Terry Edwards演奏管乐。在英国与The Kings Of infinite Space一起巡演，而后一个夏天参加各种音乐节（Glastonbury/Phoenix/ T In The Park/Belicassim）。又受John Peel的邀请，和suicide一起参加在南部海滩举行的Meltdown音乐节。 在巡演中，由Jim担任主音，William和Ben弹奏吉他，Phil King是贝斯手，Nick Sanderson(偶尔被Geoff Donkin代替）为鼓手。然而在美国巡演的几场演出后，William决定离队，巡演在他离开后继续进行。

1999年
JAMC 的存在已经成为模棱两可的事，虽说他们的唱片仍旧在影响着很多乐队，同时也有难以计数的乐迷在期待着他们，但是 JAMC 似乎已经完成了他们的使命，无须正式宣布解散了。William Reid 已录制了他的个人专辑，准备单飞，预期1999年发行。而Jim 和Ben为自己的新乐队命名为tv69，并和贝斯手Romi Mori一起排练。

全球众多的乐迷似乎在内心深处也会盼望Reid兄弟能再度合作，毕竟THE JESUS AND MARY CHAIN这个名字对我们来说是个绝对光彩夺目的焦点。

Hate Rock 'n' Roll is the third compilation of B-sides and rare tracks by Scottish alternative rock band The Jesus and Mary Chain. All songs written by Jim Reid and William Reid, except where noted.