
In May Edible Onion, a Philadelphia based collective that releases small run, hand-packaged records, will be releasing a compilation called A Cure For The Broken-Hearted. Each copy of the compilation will come in its very own accordion style book, filled with watercolor illustrations and information about the songs.

Pink Floyd’s milestone albums are today so embedded in the public consciousness that it’s become more necessary than ever to explore their lesser-known offerings. This can often lead to discovering some unexpected treats. Their soundtrack to the otherwise forgettable 1969 French film More is one such work. Perhaps Floyd’s last album to be imbued with the spirit of Syd Barrett, it comprises a collection of short songs and instrumental pieces, the acid-pop overtones, gentle chillout textures and generally taut construction of which offer a considerable contrast to the lengthy, plodding, half-improvised instrumentals which had become their standard fare, following the loss of Barrett’s lysergically-fuelled, wonderfully erratic songwriting. Roger Waters is the main composer and lyricist here, thankfully before his gloomy, introspective leanings really took over.
For a band with a name associated with the paparazzi there’s been little in the way of hype for London/Brighton four-piece Flashguns. The young band (they’ve not long finished their ‘A’ levels!) have been picked up by a few of the music blogs out there but have not yet been swallowed up by the music’s relentless PR machine.
Like a musical sponge the young band absorbed a wide variety of influences from The Killers to Pink Floyd via The Cars and Sigur Ros creating a gaunt, slanted indie pop that’s got more hooks than the cloakroom at a Peter Pan convention and is one of the few bands I’ve heard in twenty years that capture the pure essence of the early Smith and I think I’m already a fan.
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