“I need that catharsis of screaming about these things over and over again. “I’m not one to write about situations/emotions that I haven’t lived through,” remarks frontman/guitarist David Schellenberg. Across songs like the title track, “Invalid” and “Fade Out,” the trio of David Schellenberg (Guitar / Vocals), Rory Ellis (Bass) and Dan Unger (Drums) use their visceral art punk approach to explore themes related to coping with the illness of a loved one, the dark side of creativity and dealing with toxic friendships. Winnipeg’s Tunic explores that darkness on the band’s new album Exhaling.

And judging by the the emotional brawn and hardcore might of the three-piece Tunic, it can get very very dark. New single from Winnipeg, Manitoba noise rock trio The Vacant Lots - Into The Depths (Cold Cave Deep Speed Remix) Pictures on Silence - Pictures on Silence /EP/ Soft Kill turn both songs into their own gothy, morose post-punk style, and the legendary Jerry A fits right in. They released the 'New Age' cover back in May, and we're now premiering the 'Fatigue' cover. Probably the coolest project we’ve ever been part of.' If that wasn’t bucket list enough, Mackie from Blitz who also did all those original drawings for the 7” covers stepped up to do the art. 'I’m pretty sure I told him 'yeah, you put that together and we’re down' and within a couple days it was confirmed. 'After we posted the 'New Age' cover, Mark Rainey from TKO / Cascade Record Pressing reached out with the insane idea of recreating the 7” with Jerry A (Poison Idea) doing vocals for 'Fatigue,'' Soft Kill tells us. The 'Fatigue' cover features guest vocals by Jerry A from Poison Idea, with drums by Adam Bulgasem (Black Mountain, Dommengang, Holy Sons). They're covering both songs from the classic 1983 single 'New Age' and its B-side 'Fatigue,' and it'll include artwork by original Blitz bassist Mackie, who also designed the artwork for Blitz's first three singles. City on November 20 via Cercle Social Records/Cobraside), but first they're releasing a tribute 7' to UK punk/Oi! vets Blitz on TKO Records. Portland post-punks Soft Kill are releasing their new album Dead Kids, R.I.P. Pale Blue Eyes will be accompanied by a bespoke Pale Blue Ale from South Devon’s New Lion Brewery. Cauty and Drummond are, of course, also know for their work with The KLF and The Justified Ancients Of MuMu. Pale Blue Eyes are further sponsored by Devon’s Green Funeral Company, who are also part of Callender, Callender, Cauty & Drummond Undertakers, the funeral directors for the MuMufictation afterlife memorial programme. The single is being released with financial support from Devon’s New Lion Brewery and GroCycle mushrooms. Our debut album is ready and recorded, waiting to go…” “It’s down by the River Lud, just south of Dartmoor here in Devon, where we’ve been working away. “We’ve recently been building our own studio,” says PBE singer/guitarist Matt Board. Side AA is an emotive, wide-screen sci-fi ballad, like these kids have somehow gained access to the wondrous Felt’s wondrous Primitive Painters, or something.

The single’s side A is clean-lined, mechanised pop – like the Bunnymen’s Will Sergeant firing up at his most raga-frenetic and then joining Neu! for a journey to the far side of the pop Moooooonnn. The single was mixed and mastered by Dean Honer (The Moonlandingz, Róisín Murphy, I Monster, Human League, International Teachers of Pop). Herbert & Murphy = a match made in heaven.Pale Blue Eyes are a new horizon-wide pop group based in the remote rural hinterlands of South Devon.

The simple romantic sadness of 'The Closing of the Doors' ends the album with a wistful sigh. The near-tribal and humorous 'Rama Lama (Bang Bang)' turns Murphy's vocals into a rhythmic instrument itself, while the title track takes a wobbly approach to melody. The music is incredibly varied, from the finger-snapping deep jazz of 'Sinking Feeling' to the wild New Orleans-on-acid of 'Night of the Dancing Flame.' But Murphy really gets going with three stunning tracks in a row: first, the sweetly romantic and sunny 'Through Time,' then the straightforwardly funky house 'Sow Into You,' and finally, 'Dear Diary' returns to romance, if slightly more attenuated and more danceable, with her vocal range going from vulnerable to powerful. Herbert's glitchy melodies (on the mysterious and dense 'Leaving the City,' for example) leaves Murphy's vocals front and center, emphasizing the eccentric quality of both artists. And the resulting album, _Ruby Blue_, shows both of them at their best. Róisín Murphy moves out of the shadow of Moloko (ignoring the fact that she was Moloko's main draw and her powerhouse vocals were saddled to silly lyrics) and into her own spotlight, with Herbert jazz-glitch production gives her work more depth.

Roisin murphy ruby blue rar