"Expansive, inventive and weird in all the right ways" - Line of Best Fit
"Triumphant" - Fake DIY
"Fuzzy pop with big dreams" - NME

Learning To Vanish
, the debut release by Jr. Sea, is out on download & tape this week. The Line Of Best Fit are streaming it in full now


Buy Learning To Vanish
tape w/download (ltd ed. 50)
iTunes

Listen to ‘Holiday From Pain’, a new track taken from Jr. Sea’s debut release, Learning To Vanish, out next week.

Pre-order Learning To Vanish
Tape w/download (ltd ed. 50)
iTunes

Biography
Jr. Sea writes, records and produces music in a room near Sevilla. Pictures of Lee Hazlewood, unsettling sunsetting ocean-scapes, Tammy Lynn Leppert and Calvin Harris are tacked to the walls. His first interface with the world is Learning To Vanish, which absorbs eight tracks from a constantly expanding catalogue of fuzzed weirdo tensewave; homemade pop with hi-fi ambitions, waving a fist at the sun, and everything else.

Learning To Vanish was produced and recorded entirely by Jr. Sea, and then mixed by Tarek Musa. It will be released as a limited edition cassette tape and download on 7th April via Tough Love.

1. Woke Up Backwards
2. I’m Hungry
3. Holiday From Pain
4. Drowned In Paradise
5. Out of Body Auto-Reply
6. Horror of Home
7. Be Good
8. Weather System Yawning

www.learningtovanish.tumblr.com
www.facebook.com/jrsea

"Yvette are a noise-rock duo from Brooklyn who manage to turn drilling sounds and drones, the hum and clatter of machinery, into riveting entertainment."
YVETTE are new band of the day on the Guardian. Listen to two new songs below, and pre-order the album nowiTunesTough Love - limited LP

"Yvette are a noise-rock duo from Brooklyn who manage to turn drilling sounds and drones, the hum and clatter of machinery, into riveting entertainment."

YVETTE are new band of the day on the Guardian. Listen to two new songs below, and pre-order the album now

iTunes
Tough Love - limited LP





This morning The Line of Best Fit premiered ‘I’m Hungry’, the lead track from Jr. Sea’s debut release, Learning To Vanish - an 8-track cassette tape limited to just 50 copies, released 7th April via Tough Love. Learning To Vanish was produced and recorded entirely by Jr. Sea, and then mixed by Tarek Musa.
Jr. Sea writes, records and produces music in a room near Sevilla. Pictures of Lee Hazlewood, unsettling sunsetting ocean-scapes, Tammy Lynn Leppert and Calvin Harris are tacked to the walls. His first interface with the world is Learning To Vanish, which absorbs eight tracks from a constantly expanding catalogue of fuzzed weirdo tensewave; homemade pop with hi-fi ambitions, waving a fist at the sun, and everything else.
Pre-order the limited edition tape (50 copies) w/ free download HERE.
Tracklisting1. Woke Up Backwards2. I’m Hungry3. Holiday From Pain4. Drowned In Paradise5. Out of Body Auto-Reply6. Horror of Home7. Be Good8. Weather System Yawning
More Jr. Sea:www.learningtovanish.tumblr.comwww.facebook.com/jrsea

This morning The Line of Best Fit premiered ‘I’m Hungry’, the lead track from Jr. Sea’s debut release, Learning To Vanish - an 8-track cassette tape limited to just 50 copies, released 7th April via Tough Love. Learning To Vanish was produced and recorded entirely by Jr. Sea, and then mixed by Tarek Musa.

Jr. Sea writes, records and produces music in a room near Sevilla. Pictures of Lee Hazlewood, unsettling sunsetting ocean-scapes, Tammy Lynn Leppert and Calvin Harris are tacked to the walls. His first interface with the world is Learning To Vanish, which absorbs eight tracks from a constantly expanding catalogue of fuzzed weirdo tensewave; homemade pop with hi-fi ambitions, waving a fist at the sun, and everything else.

Pre-order the limited edition tape (50 copies) w/ free download HERE.

Tracklisting
1. Woke Up Backwards
2. I’m Hungry
3. Holiday From Pain
4. Drowned In Paradise
5. Out of Body Auto-Reply
6. Horror of Home
7. Be Good
8. Weather System Yawning

More Jr. Sea:
www.learningtovanish.tumblr.com
www.facebook.com/jrsea

"Big Ups sound like the solution. Now we just need to work out what the problem is." 
BIG UPS are New Band of the Day on the Guardian, ahead of their debut UK tour next week. Buy Eighteen Hours of Static  Amazon - http://smarturl.it/eighteenhoursamazon iTunes - http://smarturl.it/eighteenhoursitunes February 24th - Start The Bus, Bristol - free entry 25th - Shipping Forecast, Liverpool  26th - Nation Of Shopkeepers, Leeds - free entry 27th - The Old Blue Last, London - free entry 28th - Bermuda Triangle, Brighton

"Big Ups sound like the solution. Now we just need to work out what the problem is."


BIG UPS are New Band of the Day on the Guardian, ahead of their debut UK tour next week.

Buy Eighteen Hours of Static
Amazon - http://smarturl.it/eighteenhoursamazon
iTunes - http://smarturl.it/eighteenhoursitunes

February
24th - Start The Bus, Bristol - free entry
25th - Shipping Forecast, Liverpool
26th - Nation Of Shopkeepers, Leeds - free entry
27th - The Old Blue Last, London - free entry
28th - Bermuda Triangle, Brighton


Taken from the album, Process by YVETTE, released on 5th May 2014 in Europe on Tough Love. Many thanks to GODMODE.


Pre-order the limited edition LP here
&&& CALL IT A PROCESS &&&
This record doesn’t exactly go down easy. Not that it’s misanthropic. Far from it. The first track says it all: YVETTE are pure pleasure. Loud and live and just bizarre. Some songs sound like the end of days, others like spells and sacrifices. It’s hard to imagine the people making this music as actual human beings with day jobs and girlfriends and health insurance. Frankly it’s hard to think or do much of anything when this record is on. The music has a way of throttling you, pinning you down, really scaring the shit out of you. Good stuff.
We are in the midst of an unfortunate Music As Term Paper era, where experimental artists don’t write music so much as theories about music. Some of that stuff is passable in a ‘sounds good drunk at a museum’ kind of way. But it’s a drag to listen to, never that rewarding to think about, and the worst kind of exclusive. Without the theory, you can’t hear their song…
YVETTE take the opposite approach. The music is not anti-intellectual, but given their emphasis on the physical, I’d say it’s anti-intellectualizing. You don’t need a theory to get this record. If anything, you need to be deprogrammed. A lot of these songs strike me as doing just that – trying to teach us how to get past our own bullshit. To forget how to listen, to remember how to hear. Move through the signifiers, the context, the endless referentiality. Melt us to the core until all we feel is the thing itself.
And so we get a song like “Attrition.” On one hand, it’s the most straightforward thing on the record. On the other, the song doesn’t feel built up so much cut in half – bones and nerves and ventricles all firing in plain sight. Like one of those human anatomy sculptures, you experience all layers, all at once. You could say YVETTE have a way of taking you out of your own skull, but if only for the sake of tidy metaphor, let’s go with the converse: YVETTE never want you to forget you are a body.
These are songs, to be sure – just not songs you merely listen to. Your entertainment is a by-product of some hidden spiritual agenda. Here I go again with the voodoo stuff. Maybe it’s because it’s all so elemental – the pummeling toms (“Carbon Copy”), the three-note cherub melody that morphs with every repetition (“Everything In Reverse”), the painful blasts of feedback (“Tempered Glass”) and sub-bass (“Absolutes”) – but these songs really do something to you. They really shake you up.
For all this talk of getting back to nature, I owe you an admission: We didn’t exactly shit this one out. The band and I recorded live in a converted auto garage, with cranky wiring and bad isolation and no chance whatsoever this would sound like a studio record. It was a cursed space, and what I witnessed those weekends was nothing short of a seance. (If you listen closely, you can hear the fallen hum.) Most songs went through eleven or twelve rounds of remixing, never to build up but to break down, to get the sound rawer, to rid the music of any and all deliberation. Call it a process, he says!
This record took over our lives for many months – the first thing we thought about when we woke up, the last thing we thought about before we went to sleep. We will not profit off this record, most people will not hear it, and of those who do, many will not like it. We could protect our egos with visions of life after death, but that’s the worst kind of hubris. The night before we turned in final mixes, I just had to know. “Why did we do this?” I asked Noah. “What are we doing?”
He couldn’t tell me. Neither could I. But such is the privilege of being a servant – of humbling ourselves before a vision much bigger than either of us realized.
-Nick Sylvester
YVETTE:Noah Kardos-Fein: guitar, vocals, electronicsDale Eisinger: drums, electronicsPROCESS:Recorded at Silent Barn, Brooklyn, NYMixed at Sound City, Brooklyn NYMastered by Sarah Register at The Lodge, New York NYProduced by Nick Sylvester

Taken from the album, Process by YVETTE, released on 5th May 2014 in Europe on Tough Love. Many thanks to GODMODE.

Pre-order the limited edition LP here

&&& CALL IT A PROCESS &&&

This record doesn’t exactly go down easy. Not that it’s misanthropic. Far from it. The first track says it all: YVETTE are pure pleasure. Loud and live and just bizarre. Some songs sound like the end of days, others like spells and sacrifices. It’s hard to imagine the people making this music as actual human beings with day jobs and girlfriends and health insurance. Frankly it’s hard to think or do much of anything when this record is on. The music has a way of throttling you, pinning you down, really scaring the shit out of you. Good stuff.

We are in the midst of an unfortunate Music As Term Paper era, where experimental artists don’t write music so much as theories about music. Some of that stuff is passable in a ‘sounds good drunk at a museum’ kind of way. But it’s a drag to listen to, never that rewarding to think about, and the worst kind of exclusive. Without the theory, you can’t hear their song…

YVETTE take the opposite approach. The music is not anti-intellectual, but given their emphasis on the physical, I’d say it’s anti-intellectualizing. You don’t need a theory to get this record. If anything, you need to be deprogrammed. A lot of these songs strike me as doing just that – trying to teach us how to get past our own bullshit. To forget how to listen, to remember how to hear. Move through the signifiers, the context, the endless referentiality. Melt us to the core until all we feel is the thing itself.

And so we get a song like “Attrition.” On one hand, it’s the most straightforward thing on the record. On the other, the song doesn’t feel built up so much cut in half – bones and nerves and ventricles all firing in plain sight. Like one of those human anatomy sculptures, you experience all layers, all at once. You could say YVETTE have a way of taking you out of your own skull, but if only for the sake of tidy metaphor, let’s go with the converse: YVETTE never want you to forget you are a body.

These are songs, to be sure – just not songs you merely listen to. Your entertainment is a by-product of some hidden spiritual agenda. Here I go again with the voodoo stuff. Maybe it’s because it’s all so elemental – the pummeling toms (“Carbon Copy”), the three-note cherub melody that morphs with every repetition (“Everything In Reverse”), the painful blasts of feedback (“Tempered Glass”) and sub-bass (“Absolutes”) – but these songs really do something to you. They really shake you up.

For all this talk of getting back to nature, I owe you an admission: We didn’t exactly shit this one out. The band and I recorded live in a converted auto garage, with cranky wiring and bad isolation and no chance whatsoever this would sound like a studio record. It was a cursed space, and what I witnessed those weekends was nothing short of a seance. (If you listen closely, you can hear the fallen hum.) Most songs went through eleven or twelve rounds of remixing, never to build up but to break down, to get the sound rawer, to rid the music of any and all deliberation. Call it a process, he says!

This record took over our lives for many months – the first thing we thought about when we woke up, the last thing we thought about before we went to sleep. We will not profit off this record, most people will not hear it, and of those who do, many will not like it. We could protect our egos with visions of life after death, but that’s the worst kind of hubris. The night before we turned in final mixes, I just had to know. “Why did we do this?” I asked Noah. “What are we doing?”

He couldn’t tell me. Neither could I. But such is the privilege of being a servant – of humbling ourselves before a vision much bigger than either of us realized.

-Nick Sylvester

YVETTE:
Noah Kardos-Fein: guitar, vocals, electronics
Dale Eisinger: drums, electronics
PROCESS:
Recorded at Silent Barn, Brooklyn, NY
Mixed at Sound City, Brooklyn NY
Mastered by Sarah Register at The Lodge, New York NY
Produced by Nick Sylvester

Yesterday CYMBALS shared the opening track from their new album The Age Of Fracture. ‘Winter ‘98’ is available to stream now via The Guardian.

A few chords of ‘Winter 98’ were first heard closing the short film with which CYMBALS first announced The Age Of Fracture. The film, in keeping with the literary inspiration running through the album, was centred around an original poem from British poet and novelist Joe Dunthorne, author of Submarine.

Pre-order The Age of FractureiTunes
Limited edition gatefold double vinyl (pink)

CYMBALS tour in February
Feb 4th - Electrowerkz, London
Feb 6th - Limelight, Belfast
Feb 7th - Workman’s Club, Dublin
Feb 8th - Cyprus Avenue, Cork


NEW TRACK: AUTOBAHN - ‘Force Fed’

'Force Fed' is taken from AUTOBAHN's debut 3-track 12” EP.

Buy the limited edition 12”
Buy on iTunes

Tour Dates
16 November - Leeds, Brudenell Social Club **EP LAUNCH**
05 December - London, Sebright Arms w/Eagulls
06 December - Cardiff, Moon Club w/Eagulls
19 December - Manchester, The Castle w/Loom

www.facebook.com/autobahnmusik
www.twitter.com/autobahnmusik
www.instagram.com/autobahnmusik

Listen to the new CYMBALS single, Erosion

'Erosion' is taken from CYMBALS' new album, The Age of Fracture, out on 27th Jan (EU)/4th Feb (N.A.)

Pre-order The Age of Fracture
iTunes
iTunes (bonus edition)
limited edition double gatefold lp on colour vinyl

CYMBALS will launch their album with a headline show in London in February.

2nd Feb 2014 - Electrowerkz, London - tickets


Fresh from dropping ‘Goes Black’ last month, NYC quartet Big Ups return with ‘Wool’, the next cut to whet appetites ahead of debut album, Eighteen Hours of Static, due for European release on 13th January 2014 on CD, digital formats and limited edition green vinyl. Dead Labour handle the US release. Premiered by Stereogum, ‘Wool’ seethes with a slow burning intensity, building towards a bilious climax. The track is peppered with a youthful exuberance and reckless abandon while still holding true to a melodic song writing core, coming across how Fugazi would sound if MacKaye loosened up and kicked back with a beer from time to time.
Pre-orderLimited edition green vinyl LP - Tough Love ShopiTunes

Fresh from dropping ‘Goes Black’ last month, NYC quartet Big Ups return with ‘Wool’, the next cut to whet appetites ahead of debut album, Eighteen Hours of Static, due for European release on 13th January 2014 on CD, digital formats and limited edition green vinyl. Dead Labour handle the US release.

Premiered by Stereogum, ‘Wool’ seethes with a slow burning intensity, building towards a bilious climax. The track is peppered with a youthful exuberance and reckless abandon while still holding true to a melodic song writing core, coming across how Fugazi would sound if MacKaye loosened up and kicked back with a beer from time to time.

Pre-order
Limited edition green vinyl LP - Tough Love Shop
iTunes




TLV068: AUTOBAHN - AUTOBAHN 1. - 12”/digital EP
'Seizure' is the lead track taken from AUTOBAHN's debut 3-track 12” EP, released on 11th November.
Pre-order the limited edition 12” here - toughloverecords.bigcartel.com/product/t…pre-orderPre-order on iTunes - itunes.apple.com/gb/album/autobah…ngle/id718862141
PRESS RELEASEOn 11th November, Leeds-based five-piece AUTOBAHN announce themselves to the world with their unapologetically sinister and aggressive self-titled debut EP. A record for, and of, the night, AUTOBAHN conjure the dystopian nightmare world of 80s post-punk across three unrelenting tracks. Consider them Leeds’ very own Lost Boys, cloaked in feedback, showing their teeth. Despite forming in February 2013, and playing their first gig just months ago, they appear eerily fully formed.
The group - a bunch of unknowns - have notched up word-of-mouth acclaim for their handful of visceral live shows, appearing on stages with the likes of Merchandise and Eagulls. While those bands are appropriate touchstones for those new to AUTOBAHN, if you look closer you’ll notice in their velvet jackets and puffed shirts a stargazing glamour at odds with their peers.
On the surface, AUTOBAHN are a classic modern day punk band. But dig a little deeper and there’s a colourful underbelly to their sonic ambitions, vivid like a new bruise. Their name’s a reference to Kraftwerk, hinting at a European intensity, while tracks like the scabrous ‘Lost Tongue’, are transgressive in the same way as early Public Image Limited. What’s more, there’s real catharsis at the heart of these songs: the opening track, ‘Seizure’, is about having a small fit in Brighton., while all the lyrics point to a very millennial sense of helplessness. AUTOBAHN 1. , then, is a bacchanalian trawl through the psyche, kind of unhinged, and staring right through you.
They have announced a UK tour with dates supporting Girls Names and the aforementioned Eagulls, as well as a special EP launch show at Brudenell Social Club, Leeds. Dates are as follows:
24 October - Sheffield, Bungalows and Bears w/Girls Names29 October - Leeds, Brudenell Social Club w/Girls Names02 November - Brighton, Green Door Store w/Girls Names16 November - Leeds, Brudenell Social Club **EP LAUNCH**05 December - London, Sebright Arms w/Eagulls06 December - Cardiff, Moon Club w/Eagulls
www.facebook.com/autobahnmusikwww.twitter.com/autobahnmusikwww.instagram.com/autobahnmusik

TLV068: AUTOBAHN - AUTOBAHN 1. - 12”/digital EP

'Seizure' is the lead track taken from AUTOBAHN's debut 3-track 12” EP, released on 11th November.

Pre-order the limited edition 12” here - toughloverecords.bigcartel.com/product/t…pre-order
Pre-order on iTunes - itunes.apple.com/gb/album/autobah…ngle/id718862141

PRESS RELEASE
On 11th November, Leeds-based five-piece AUTOBAHN announce themselves to the world with their unapologetically sinister and aggressive self-titled debut EP. A record for, and of, the night, AUTOBAHN conjure the dystopian nightmare world of 80s post-punk across three unrelenting tracks. Consider them Leeds’ very own Lost Boys, cloaked in feedback, showing their teeth. Despite forming in February 2013, and playing their first gig just months ago, they appear eerily fully formed.

The group - a bunch of unknowns - have notched up word-of-mouth acclaim for their handful of visceral live shows, appearing on stages with the likes of Merchandise and Eagulls. While those bands are appropriate touchstones for those new to AUTOBAHN, if you look closer you’ll notice in their velvet jackets and puffed shirts a stargazing glamour at odds with their peers.

On the surface, AUTOBAHN are a classic modern day punk band. But dig a little deeper and there’s a colourful underbelly to their sonic ambitions, vivid like a new bruise. Their name’s a reference to Kraftwerk, hinting at a European intensity, while tracks like the scabrous ‘Lost Tongue’, are transgressive in the same way as early Public Image Limited. What’s more, there’s real catharsis at the heart of these songs: the opening track, ‘Seizure’, is about having a small fit in Brighton., while all the lyrics point to a very millennial sense of helplessness. AUTOBAHN 1. , then, is a bacchanalian trawl through the psyche, kind of unhinged, and staring right through you.

They have announced a UK tour with dates supporting Girls Names and the aforementioned Eagulls, as well as a special EP launch show at Brudenell Social Club, Leeds. Dates are as follows:

24 October - Sheffield, Bungalows and Bears w/Girls Names
29 October - Leeds, Brudenell Social Club w/Girls Names
02 November - Brighton, Green Door Store w/Girls Names
16 November - Leeds, Brudenell Social Club **EP LAUNCH**
05 December - London, Sebright Arms w/Eagulls
06 December - Cardiff, Moon Club w/Eagulls

www.facebook.com/autobahnmusik
www.twitter.com/autobahnmusik
www.instagram.com/autobahnmusik



Girls Names cover Brian Eno’s ‘Third Uncle’ for a forthcoming 12” and digital EP.

Pre-order the 12” here.

Big Ups will release their debut LP, Eighteen Hours of Static, via Tough Love Records in Europe on January 13th, 2014. Dead Labour will release in the US. Listen to the first single, ‘Goes Black’, below.
 BiographyBrendan Finn, Joe Galarraga, Amar Lal, and Carlos Salguero Jr. met whilst learning about specifications of Cat 5 cables in New York City. Shortly after, they formed a band. Big Ups blend punk, post-punk, metal, and indie rock into a salty mash that gets stuck to the roof of your mouth. At their brightest, they have been likened to The Descendents, but at their sludgiest, they call to mind bands like Pissed Jeans and The Jesus Lizard, albeit with an Albini-esque metallic clang.


The record was recorded by Charles DeChants in the rock ‘n’ roll labyrinth known as Excello Recording in Brooklyn over three days. The album is one characterised by aggressive mood swings. The band slows their usual frantic pace on the burner ‘Wool’ – a song about dealing with suffering. They toy with dynamics on white-knuckle grip of ‘TMI’, ‘Little Kid’, and ‘Fresh Meat’. But not to worry – the mania is still there; first single ‘Goes Black’ and ‘Atheist Self-Help’ demand attention with their searing guitars and colossal drums. Lyrically, the album is a meditation on “truth, faith, and science” (the record’s title is a reference to Carl Sagan’s Contact), but like all the best bands, Big Ups don’t necessarily have all of the answers, but they’ll keep asking the right questions…
CMJ shows in October15th - OhMyRockness showcase @ Cameo (early), NYC15th - Ipsum Magazine presents Unofficial show @ Shea (late), NYC17th - Panache showcase @ Baby’s Alright, NYC

Big Ups will release their debut LP, Eighteen Hours of Static, via Tough Love Records in Europe on January 13th, 2014. Dead Labour will release in the US. Listen to the first single, ‘Goes Black’, below.




Biography
Brendan Finn, Joe Galarraga, Amar Lal, and Carlos Salguero Jr. met whilst learning about specifications of Cat 5 cables in New York City. Shortly after, they formed a band. Big Ups blend punk, post-punk, metal, and indie rock into a salty mash that gets stuck to the roof of your mouth. At their brightest, they have been likened to The Descendents, but at their sludgiest, they call to mind bands like Pissed Jeans and The Jesus Lizard, albeit with an Albini-esque metallic clang.

The record was recorded by Charles DeChants in the rock ‘n’ roll labyrinth known as Excello Recording in Brooklyn over three days. The album is one characterised by aggressive mood swings. The band slows their usual frantic pace on the burner ‘Wool’ – a song about dealing with suffering. They toy with dynamics on white-knuckle grip of ‘TMI’, ‘Little Kid’, and ‘Fresh Meat’. But not to worry – the mania is still there; first single ‘Goes Black’ and ‘Atheist Self-Help’ demand attention with their searing guitars and colossal drums. Lyrically, the album is a meditation on “truth, faith, and science” (the record’s title is a reference to Carl Sagan’s Contact), but like all the best bands, Big Ups don’t necessarily have all of the answers, but they’ll keep asking the right questions…

CMJ shows in October
15th - OhMyRockness showcase @ Cameo (early), NYC
15th - Ipsum Magazine presents Unofficial show @ Shea (late), NYC
17th - Panache showcase @ Baby’s Alright, NYC

The Fly have today premiered a new track from the forthcoming record from Moon King, Obsession. 'Big Dumb Blue Angel' is perhaps as direct as anything the band have so far put their name to. Under two minutes long, it's driven by a sharp vocal melody and shrouded in the buzzsaw of distinctly post-punk guitars and a pointed metallic rhythm section. It's a telling snapshot of Obsession - melodic yet visceral, insistent yet ambiguous - revealing the compelling dichotomy at the heart of Moon King.
Taken from the album Obsession, released 23rd September.
LP pre-order - smarturl.it/moonkinglpiTunes pre-order - smarturl.it/moonkingitunes

The Fly have today premiered a new track from the forthcoming record from Moon King, Obsession.

'Big Dumb Blue Angel' is perhaps as direct as anything the band have so far put their name to. Under two minutes long, it's driven by a sharp vocal melody and shrouded in the buzzsaw of distinctly post-punk guitars and a pointed metallic rhythm section. It's a telling snapshot of Obsession - melodic yet visceral, insistent yet ambiguous - revealing the compelling dichotomy at the heart of Moon King.

Taken from the album Obsession, released 23rd September.

LP pre-order - smarturl.it/moonkinglp
iTunes pre-order - smarturl.it/moonkingitunes