Posts tagged ‘post-rock’

Post-Rocktoberfest 2011: UK Post-Rock Vol. 7

UK Post-Rock Vol. 7

UK Post-Rock Vol. 7

This year’s Post-Rocktoberfest festivities will include three new mix CDs! UK Post-Rock Vol. 7, presented here, consists mostly of tracks by acts that have appeared on previous UK Post-Rock compilations. UK Post-Rock Vol. 8 will consist mostly of tracks by acts that have not appeared on previous volumes. US Post-Rock Vol. 1… well, you can work that one out for yourself.

On all of these compilations, some minor post-production has been carried out, in order to provide as close to a seamless listening experience as possible. In some cases, this might mean the tracks have been topped and tailed a bit but it’s all in the interests of a pleasurable overall listening experience. If you want to hear the songs as the artists intended, go buy the original albums. Actually, you should go buy all the original albums anyway because they’re all great!

Of course, finding legit copies of the original albums won’t always be that easy. This is only partly because a lot of UKPR classics are no longer in print. It’s also because this compilation collects some pretty rare tracks from compilations, Peel sessions etc.

Click here to download UK Post-Rock Vol. 7 or click on the links in the track-list below to hear the individual songs.

1. Papa Sprain – “I Got Stop”
Included because it’s their best song and it had somehow failed to appear on any of the previous volumes.

2. Butterfly Child – “We, the Inspired”
A rarity taken from one of those Volume compilations. Remember them?

3. Pram – “Dancing on a Star”
Birmingham post-rock! A surprising amount of post-rock came out of Birmingham.

4. Broadcast – “Pendulum”
Another case in point. Sad that so many of us only recently came to appreciate Broadcast, given the tragic death of Trish Keenan. They had so much more to teach us!

5. Laika – “If You Miss (Laika Virgin Mix)”
A remix of a track from Laika’s debut album (Silver Apples of the Moon). This was created for Kevin Martin’s Macro Dub Infection Vol. 1 compilation, which was released on Virgin Records – hence the punning title.

6. Moonshake – “Coming (Peel Session Version)”
A radio session take on a track from Moonshake’s debut EP, back when they were a borderline shoegaze act. On the officially-released version, Dave Callahan’s vocal borders on the ethereal (someone in the office even misremembered that Margaret Fiedler – later of Laika – sang this one). On the version presented here, Callahan really lets rip – as does the rest of the band, for that matter!

7. Insides – “Further Distractions”
A remix of a track from the classic Euphoria album. This is taken from a rare promo 12″.

8. Bark Psychosis – “Manman”
Like the Papa Sprain track, this is a stone-cold classic that really should have featured on an earlier compilation in this series.

9. Disco Inferno – “Lost in Fog”
From the It’s a Kids World EP. DI at their most intense and chaotic.

10. Flying Saucer Attack – “My Dreaming Hill”
Their finest moment?

11. Fridge – “Lost Time”
Weird that these folks have had so much more success in their solo careers than as a group. Here they are at their lovely, melodic best.

12. Seefeel – “When Face Was Face”
Turns out that Succour is a really great album. Actually, just about everything by Seefeel is pure gold.

13. Main – “Blown”
Traces of Main’s origins in the much-loved hypno-rock act Loop are evident on this track from the early EP Dry Stone Feed.

14. The Hair & Skin Trading Company – “Highbury”
Traces of The Hair & Skin Trading Company’s origin in the much-loved hypno-rock act Loop are not at all evident on this track from their final EP Crouch End.

Click here to download UK Post-Rock Vol. 7

October 8, 2011 at 9:00 am 3 comments

Post-Rocktoberfest 2011: Kelvox1 – Grazed Red (no label) download

Kevlox 1 - Grazed Red

Kelvox1 - Grazed Red

Cambridge seems to be quite the unlikely hive of outsider musical activity right now, what with the hauntological techno of Nochexxx and his gang. Elsewhere on the Cambridge fringe, we have Kelvox1 – absolutely the finest new British post-rock band this here blog has heard in quite a few years. The band’s new album, Grazed Red, is currently available as a free (FREE!) download and it’s an absolute gem.

Grazed Red clocks in around the 35-minute mark but it features just two epic-length songs. And they really are songs – played by a band! In a room! This sense of organically expanded song-form immediately brings to mind Bark Psychosis’s classic “Scum” single. Kelvox1 certainly have the slow-burning moodiness to justify that comparison but nothing here is quite as dank and nocturnal as “Scum”. That is to say, the arrangements are colourful and vivid, in a fashion that recalls the electronically-enhanced-chaos-in-a-jam-room ambiance of Disco Inferno’s DI Go Pop. The sullen vocals certainly add to this.

Obviously, these comparisons put Kelvox1 very much in the UK post-rock continuum. However, where other bands with the same influences (Epic45 and Hood spring to mind) don’t really add much to the mix, Kelvox1 clearly have their own thing going on. Grazed Red is a genuinely ambitious and singular piece of work – certainly not perfect but all the better for its ragged edges.

A physical release is tentatively planned. It would be an absolute treat to own this thoroughly laudable album on vinyl. Fingers crossed!

(Note: Sorry for repeatedly misspelling the band’s name in the original version of this post. That’s what happens when you operate your blog according to a strict One Draft, No Proofreading policy.

Also, apparently you can’t download the album any more because the plan for a physical release has become a whole lot less tentative. You can still stream it, though – and you should!)

October 6, 2011 at 9:00 am 3 comments

Post-Rocktoberfest 2011: Disco Inferno – The Five EPs, Song-by-Song

Disco Inferno

Disco Inferno

To celebrate the belated official release of Disco Inferno’s The Five EPs compilation – and to beat Neil Kulkarni to it – Bubblegum Cage III hereby presents a brief song-by-song analysis of five EPs by Disco Inferno. For some really detailed information on all of these songs (and more!), take a look at this Ian Crause interview on Crumbs in the Butter.

Before delving in, though, it might be worth giving a brief explanation of why this here blog considers such and obscure band to be such an important band. It has to do with sound and music.

Didn’t John Cage once say that, in the future, music would be made using machines that could record a sound – any sound – and play it back at any pitch, for any duration? (Seriously, if anyone can find the actual quote, it would be much appreciated!) Maybe, because – in one sense – this is a typically prescient Cage quote. Essentially, it predicts sampling. On the other hand, maybe not. It’s really quite anomalous because it references music in the conventional sense. Cage tended to feel that sounds should be allowed to be themselves, without interference from composers or musicians (hence his famous “silent piece”). This philosophy opened the world up to the musical potential of non-musical sound/noise (and also prefigured any number of “abstract” musical genres – from free improv to ambient).

This is where Disco Inferno come in – they applied Cage’s all-sounds-are-musical philosophy to the traditions of rock and pop music, often pushing themselves towards total abstraction but always pulling back at the last minute. They also made the connection between sound-as-music and the sampler as musical instrument per se. Rather than using clunky sampling keyboards to do this, they used MIDI pick-ups and drum pads to control their samplers, which allowed them to literally play sounds from their immediate environment – and turn them into pop songs! Applying a basically unlimited sound palette (favouring  emotionally-evocative environmental sounds and audio puns on song lyrics) to established pop/rock practices, forms and set-ups, they created an astonishingly vivid and visionary body of work that absolutely no other band has had the courage to follow up on.

Disco Inferno - Summer's Last Sound

Disco Inferno - Summer's Last Sound

Summer’s Last Sound (Cheree, 1992)

“Summer’s Last Sound”
So, Disco Inferno were quite possibly the most truly visionary artists in the history of western popular music. Which is not to say that they were best, necessarily because one can’t help feeling they never really hit what they were aiming at. This track was probably the closest they came. It remains their most heroic achievement and their best song.

Before this EP (hardly an EP, really, as it only has two tracks), Disco Inferno were a fairly undistinguished indie trio with pronounced Factory Records influences. Inspired by the sampledelic examples of Public Enemy and The Young Gods, they decided to pool their limited resources to buy the samplers and MIDI pick-ups that were the basis of their classic sound.

From a technical standpoint, this was a nightmare. Singer/guitarist Ian Crause apparently spent quite some time trying to record just the right bird sounds to use for the guitar/sampler parts on “Summer’s Last Sound”. His instrumental parts were created by capturing MIDI data from his guitar onto an Atari ST computer, which kept crashing in response to Crause’s Durruti Column-esque cascades of notes.

It was all worth it. “Summer’s Last Sound”, as previously noted, is Disco Inferno’s finest moment. But it’s also perhaps the quintessential DI moment. It’s the perfect encapsulation of the band’s incredibly vivid, almost unbearably bittersweet mixture of pastoral beauty and urban dread, where the two opposing elements become inextricably entwined, staggering along together, never quite collapsing into total chaos.

For a really detailed look into this song, some speculative transcriptions of the words and some recent input from Ian Crause himself take a look at this post on Sit Down Man, You’re a Bloody Tragedy.

“Love Stepping Out”
More of the bittersweet same on the B-side. Not quite as effective as “Summer’s Last Sound” (the sequenced acoustic guitar samples are maybe a little stiff) but pretty bloody beautiful all the same.

Disco Inferno - A Rock to Cling to

Disco Inferno - A Rock to Cling to

A Rock to Cling to (Rough Trade, 1993)

A Rock to Cling to”
There’s long been a bit of confusion about the track-list of this EP (again, more of a single, really). It begins with a short song with vocals and ends with a long instrumental track. Many sources have listed “A Rock to Cling to” as the latter, rather than the former but that’s incorrect (aside from anything, Crause clearly sings “I still need a rock to cling to” on the first song). Hopefully, the official release of The Five EPs will have cleared up this confusion once and for all.

In any case, “A Rock to Cling to” sounds like a partial step back to the early Disco Inferno sound and it lacks the vividness of the Summer’s Last Sound tracks. It is very beautiful though and makes genuinely haunting, very subtle use of the band’s samplers. The B-side, on the other hand…

“From the Devil to the Deep Blue Sky”
This one is almost like a show-reel for Disco Inferno’s unique rock-band-through-MIDI-into samplers set-up. It really is extraordinary – working wonderfully as a demonstration of the band’s techniques and as a piece of music. Still, without Ian Crause’s flat, bitter little voice cutting through the swirling cascades of sound, it really just tells one side of the story.

Disco Inferno - The Last Dance

Disco Inferno - The Last Dance

The Last Dance (Rough Trade, 1993)

“The Last Dance”
This is one of the more commercially viable tracks on the five EPs (alongside “It’s a Kids World”). Ian Crause was often photographed wearing a New Order T-shirt and that band’s influence is strongly felt here (DI even brought in New Order’s engineer to work on this EP). Lyrically, “The Last Dance” is even more of a statement of intent than “Summer’s Last Sound” – laying out Crause’s resolutely atheistic and forward-looking bruised romanticism in the clearest possible terms (“In the end it’s not the future but the past that will get us”). Musically, the track features some truly astonishing moments, like when the snare drum finally kicks in or when Crause’s guitar bursts into peels of echoplexed exultation. Bloody gorgeous, basically.

“D.I. Go Pop”
DI Go Pop the album represents DI at their most their most chaotic and “DI Go Pop” the song does the same. It really does sound like a discoteque on fire.

“The Long Dance”
Basically a longer and rather different mix of “The Last Dance”. Actually, it sounds like it might be a completely different vocal take. Those “moments” discussed above hit home a bit harder on the shorter version.

“Scattered Showers”
Sounds very much like a better-recorded version of the sound explored on DI Go Pop (the album). Guitars, samples, beauty, chaos. You know the score by now. Crause’s chiming Vini Reilly-esque guitar anchors it all, which sets the scene very nicely for the next EP…

Disco Inferno - Second Language

Disco Inferno - Second Language

Second Language (Rough Trade, 1994)

“Second Language”
This EP features some of Crause’s finest guitar playing and this song is perhaps the single best demonstration of his nimble and expressive style. The over-the-top tremolo moves at the song’s climax are bananas.

“The Atheist’s Burden”
Disco Inferno’s sense of humour has rarely been remarked upon but it’s there for anyone to hear – hell, the band’s deeply ironic name should be a dead giveaway. “The Atheist’s Burden” starts off as one of their goofiest numbers, with Crause using his guitars to play pan flute samples over a clod-hopping four-on-the-floor beat. But as he narrates a typical DI story of one man’s oscillations between cynicism and wonder, things start to get much deeper and end up really uncannily beautiful and touching.

“At the End of the Line”
A highpoint – the bit where a massively time-stretched Wilhelm scream kicks in is absolutely chilling. Really sounds like a person drinking in the beauty of the world, just as it all falls to pieces.

“A Little Something”
Booze seems to have played a major roll in every stage of the DI story. Hear, Crause sounds rueful but resigned on the mater” “If I get a little something/I can sleep”. He is, of course, accompanied by a cavalcade of clinking, slopping audio puns.

Disco Inferno - It's a Kid's World

Disco Inferno - It's a Kid's World

It’s a Kid’s World (Rough Trade, 1994)

“It’s a Kid’s World”
A rare example of Disco Inferno transparently sampling other people’s music – notably Iggy Pop’s “Lust for Life” and the “Dr. Who” theme. Lyrically, it’s a very apposite foreshadowing of the demonization of youth that has blighted British life over the last decade or so.

“A Night on the Tiles”
Booze again. The most chaotic DI moment since “DI Go Pop” (the song). Totally insane use of an Edith Piaf sample.

“Lost in Fog”
Fucking hell, what a way to end! A similar sci-fi narrative to “At the End of the Line” but with that track’s chiming musical clarity replaced by a dense… well, fog of sound. Towards the end, it sounds like Crause is using his guitar to destroy an upright piano. Which, in a sense, he probably is.


Like all Bubblegumcage III posts, this was typed in a hurry by a junior staff member, who then passed it on to an intern who pretended to to (but clearly did not) proofread it. After that, the post was passed on to this here blogs senior editorial team for approval, before being run by a team of extremely expensive lawyers. It was only at this point that someone saw fit to comment: “Didn’t you publish this exact post three years ago?” Oh, yeah.

Still, it’s interesting to see the changes that three years can make to a person’s opinions (and yes, yes it really is just one person, of course). “The Last Dance” better than “Summer’s Last Sound”? Really? Actually, in some cases, it’s interesting to see how little these opinions have changed. Look at the bits on “A Rock to Cling to” and “Scattered Showers” –  practically the same wording!

In any case, it seems that Bubblegum Cage III (albeit in its previous incarnation) really did beat Neil Kulkarni to it! Of course, his article will probably be a lot more thought through and well written than anything you’ll see around here. A link will be posted as soon as his thing goes online.

Edit: Here‘s the link to Neil Kulkarni’s excellent piece:

October 2, 2011 at 8:00 pm 3 comments

Seefeel – Seefeel (Warp) LP

Seefeel - Seefeel

Seefeel - Seefeel

Well, here it is – the new, self-titled album from re-formed UK post-rock legends Seefeel, featuring a new version of the single “Faults”, as well as the widely-circulated MP3 preview “Dead Guitars”. The advance buzz created by those tracks suggested that Seefeel would either be absolutely phenomenal or a little bit samey. Both tracks implied a new formula at work, mixing slow-motion cyber dub riddims with viciously granulated guitar textures and over-modulated bass charges. A fantastic formula – one that produced thrillingly original and eerily beautiful music – but a formula, all the same.

The full album doesn’t entirely dispel the fears of samey-ness but it does allow listeners to see and hear this formula in its correct context. As with Oval’s O, the limited sound palette may prevent this album from gaining immediate classic status but – frankly – there’s nothing else standing in the way. Aside from anything, the material here is incredibly strong, with Sarah Peacock’s wraith-like (but in no way insubstantial) vocal melodies branding a number of songs indelibly on the listener’s memory.

Perhaps more to the point, Seefeel also features a number of drum-free abstract passages that lend a palpable sense of dynamism to the overall work, preventing any hint of monotony from ever setting in. In fact, this album is probably more varied than the band’s classic debut, Quique, which similarly explored a specific set of processed guitar textures over the length of an entire album. Clearly, this new record is simply an example of Seefeel doing what Seefeel does best. And tracks like “Rip-Run” are as good as anything the band has ever released.

Spoiler alert: there’s very little chance, even at this early stage, that Seefeel won’t be in Bubblegum Cage III’s top ten albums of 2011. It’s that good.

The official release date seems to be January 31st, when you should be able to buy it from Boomkat.

January 29, 2011 at 9:09 pm 6 comments

Yet More Papa Sprain (and Butterfly Child)

Butterfly Child - Tooth Fairy

Butterfly Child - Tooth Fairy

Nice little post on H.ark! records from Friendsound.

January 23, 2011 at 1:05 pm 2 comments

Mix CD: Dream Rock & Noise Pop 1985-93 (Vol. 2)

Dream Rock & Noise Pop Vol. 2

Dream Rock & Noise Pop Vol. 2

Some time around Christmas, the original Dream Rock & Noise Pop compilation went fully (or at least partly) viral. This strange occurrence seems to have had its origins in a re-blog posted by a Tumblr site dedicated primarily to post-punk. From there, things went a little bonkers.

Embarrassingly, the onset of bonkersness happened to coincide with the Bubblegum Cage III Sub-Committee on Mix CDs issuing its official report on Dream Rock & Noise Pop Vol. 1. The report stated: “It’s alright, I guess but a few of the songs on the second half are a bit shit, aren’t they?” It continued: “Compared to the blog’s signature UK Post-Rock compilations, this seems a bit thrown together. And besides, isn’t this what they call ‘shoegaze’ – a term which most reputable sources define as ‘post-rock with all the good bits taken out’. ” Who writes this stuff?

Never mind. A subsequent Sub-Sub-Committee’s report on the report stated that this judgement was “a bit harsh, really” but also decreed that a second volume would have to be carefully compiled, to address some of the problems that had arisen with the first one. A Sub-Sub-Sub Committee was formed, to oversee the compilation of the compilation and mere weeks later, the track-listing for Dream Pop & Noise Rock 1985-1993 Vol. 2 was finalized. Who says that pointless bureaucracy is slow-moving and inefficient? Not ’round these parts it ain’t!

Anyway, the members of this Sub-Sub-Sub Committee unanimously agreed that the first half of Vol. 1 was actually pretty killer. Consequently,  most of the artists represented there reappear on the new volume. This is no mere re-run, though. Some big names that were conspicuous by their absence from the first volume finally show up on Vol. 2. About time too! You have to wonder why Swervedriver got left off the first time around. And Sonic Youth, for God’s sake! What band could be more central to this loose continuum of raucous, dreamy and immersive indie/avant rock bands from both sides of the Atlantic (circa 1985-93) ?

Actually, there’s a sorta good-ish reason for SY’s initial exclusion. The original compilers were trying to prevent overlap with a mix CD of late-80s/early-90s US indie rock, which was being compiled at the same time. This was also the reason that sublime tunes like Drop Nineteens’ “Winona” and Ultra Vivid Scene’s “Special One” got left off Vol. 1. Luckily (or not, depending on how you look at it) the indie rock playlist was accidentally deleted and that whole project was abandoned, which has facilitated the creation of an extremely tight second half of this compilation (something, you’ll remember, that was sadly lacking from the previous volume).

You may notice that this super-tight second half (again, conspicuously) avoids a few of the central acts from the British shoegaze scene. In fact, the compilation, as a whole, largely avoids shoegaze per-se. The Sub-Sub-Sub Committee made considerable attempts to engage with some of the more generic shoegaze bands (these compilations being essentially an ongoing investigation into the origins and nature of that very genre) but the results were largely negative. Chapterhouse? Hopelessly derivative! Adorable? Anything but! Moose? Actually, not that bad! (Srsly: “Suzanne” stands up pretty well, even when you play it right after My Bloody Valentine’s singularly mind-bending “Don’t Ask Why”.)

For the most part, though, Vol. 2 is very much the mirror image of Vol. 1 – same artists, different songs. If there’s a Vol 3., it’ll explore much further afield, honest – but there are mixed feelings among this here blog’s vast bureaucracy about whether there should be a Vol. 3. On the one hand, nobody wants the Bubblegum Cage III to become a mere repository for mix-tapes. On the other, somebody has to make a compilation featuring “Tomorrow’s Tears” by Cranes. Great song but so, so easy to forget about until it’s too late.

Whatever happens, the third volume still isn’t going to feature Seefeel, Papa Sprain, Flying Saucer attack or any of the other dreamy avant rock acts that have featured on Bubblegum Cage III’s UK Post-Rock compilations. Again, this is all about avoiding overlap and redundancy.

In conclusion then, what the Sub-Sub-Sub Committee has come up with (in its infinite collective wisdom) is a collection of stuff that isn’t quite post-rock but isn’t quite shoegaze. In terms of quality, it should be every bit as good as any of the UK Post-Rock compilations. Still, it’s hard to get away from the suspicion that it’s fundamentally not as interesting as any of the volumes in that series. The chances are you were already familiar with some, if not most, of the artists featured on the Dream Rock & Noise Pop compilations. The UK Post-Rock comps, on the other hand, are likely to represent an undiscovered world of strange and marvellous wonders, for most listeners. And for that very reason, this here blog is giving all of y’all the opportunity to download every single bloody one of those magnificent post-rock mixes, directly from this very post. Scroll down for the links.

In the meantime, you can click here to download Dream Rock & Noise Pop 1985-1993 Vol. 2 in its glorious entirety or right-click (ctrl-click on the Mac, yo) to snag the individual tracks you want from the track-listing below.

1. The Jesus and Mary Chain – “Some Candy Talking”

2. Spacemen 3 – “Losing Touch with My Mind”

3. My Bloody Valentine – “Emptiness Inside”

4. A.R. Kane – “Suicide Kiss”

5. Sonic Youth – “Teen Age Riot”

6. Loop – “Black Sun”

7. The House of Love – “I Don’t Know Why I Love You”

8. Ride – “Drive Blind”

9. Cocteau Twins – “Iceblink Luck”

10. Lush – “De-Luxe”

11. Ultra Vivid Scene – “Special One”

12. Pale Saints – “Sight of You”

13. My Bloody Valentine – “Don’t Ask Why”

14. Moose – “Suzanne”

15. Swervedriver – “Rave Down”

16. Drop Nineteens – “Winona”

17. The Boo Radleys – “Rodney King (Song for Lenny Bruce)”

18. Slowdive – “When the Sun Hits”

And here are those UK Post-Rock compilations…

UK Post-Rock Vol. 1
Featuring Disco Inferno, Butterfly Child, Insides, Laika, Moonshake, Flying Saucer Attack, Bark Psychosis, Scorn, God and Main.
Click here to download UK Post-Rock Vol. 1

UK Post-Rock Vol. 2
Featuring Papa Sprain, Flying Saucer Attack, Bark Psychosis, Disco Inferno, Moonshake, The Third Eye Foundation, Experimental Pop Band, Pram, Fridge, Techno Animal and Piano Magic.
Click here to download UK Post-Rock Vol. 2

UK Post-Rock Vol. 3
Featuring Disco Inferno, Transformer, Adventures in Stereo, Stereolab, Snowpony, Moonshake, Scala, The Third Eye Foundation, Movietone, Papa Sprain, Bark Psychosis, Scorn, Terminal Cheesecake, Main and The Hair & Skin Trading Company.
Click here to download UK Post-Rock Vol. 3

UK Post-Rock Vol. 4
Featuring Bark Psychosis, Disco Inferno, Hood, Amp, Moonshake, Flying Saucer Attack, The Hair & Skin Trading Company, Long Fin Killie, Papa Sprain, Butterfly Child, Piano Magic, Spoonfed Hybrid and Earwig.
Click here to download UK Post-Rock Vol. 4

UK Post-Rock Vol. 5
Featuring Insides, Long Fin Killie, Telstar Ponies, Disco Inferno, Papa Sprain, Epic45, Scorn, Seefeel, The Third Eye Foundation, Ice, Terminal Cheesecake and Bark Psychosis. This is the least downloaded of all the UK Post-Rock comps but it’s actually one of the best. Don’t sleep on this one! In fact, you should probably START WITH THIS ONE!
Click here to download UK Post-Rock Vol. 5

UK Post-Rock Vol. 6
Featuring Deadstock, Locust, Ian Crause, Broadcast, Bows, Screeper, Echoboy, Electrelane, Bovine Over Sussex NE, Rothko, Juicy Eureka, Experimental Audio Research, L i ght, Crescent and The Third Eye Foundation.
Click here to download UK Post-Rock Vol. 6

Phew, what a big pile of awesomeness for you dig through! If, in the process of doing so, you find any links that take you to the wrong place, or simply don’t work, please mention it via the usual channels. Oh and if your music is included on any of these compilations and you don’t want it to be, just get in touch and it will be removed before you can say “What an unusually efficient example of old-school bureaucracy!”

Bubblegum Cage III: Bringing wonder back to the Internet, one hastily written, poorly proofread post at a time.

January 17, 2011 at 9:00 am 18 comments

Dept. of OMFG!

Disco Inferno - The 5 EPs

Disco Inferno - The 5 EPs

Later this month?

Seefeel - Seefeel

Seefeel - Seefeel

February 2011!

Disco Inferno – “Summer’s Last Sound”

Seefeel – “Faults”

November 20, 2010 at 9:00 am Leave a comment

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