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Various: Dark Was The Night

Passion Pit: Sleepyhead (EP track)

Betty & The Werewolves: David Cassidy 7”

Crystal Stilts: Love is a Wave 7”

Sin Fang Bous: Clamour (album)

Nodzzz: s/t (12” LP)

Love Is All: A Hundred Things Keep Me Up At Night (album)

Sons of Noel and Adrian: A Wreck Is Not A Ship (track)

Slow Down Tallahassee/ Standard Fare: split 7”

Piney Gir & The Age of Reason Of All The Wonderful Things (single)

Navvy: Idyll Intangible (album)

Various: Cathedral Classics Vol 1 (Sonic Cathedral comp)

Fanfarlo: Reservoir (album)

Camera Obscura: My Maudlin Career (album)
 

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Please note: If submitting demos or self financed releases - we currently have a backlog of such material. It could be some time before your item is reviewed.
 


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Album Review

The Ladybug Transistor
Can't Wait Another Day Fortuna Pop!

Article written by Ged M
Nov 4, 2007.

Like the ravens in the Tower and the City of London, as long as Gary Olson remains, the Ladybug Transistor are safe. He’s an ever present, his rich baritone one of the distinctive voices in indiepop, while the band has undergone personnel changes; Sasha Bell has gone, Jeff Baron is concentrating on The Essex Green and, sadly, this is San Fadyl’s last appearance before his untimely death in April this year from complications brought on by severe asthma.

Kyle Forrester – who has done a brilliant job on these bold string arrangements – and Ben Crum from Great Lakes have joined Ladybug while there are guest appearances from the likes of Jens Lekman, Kevin Barker and Alasdair MacLean from The Clientele. That makes for a concentration on areas of common interest and a more diffuse listening experience where previous Ladybug albums had greater range. ‘Here Comes the Rain’ is the early 70s Trader Horne track that was also on the Green UFOs EP of cover versions while ‘Three Days From Now’ is some of their trademark melodic chamberpop. Jeff Baron graces three great sounding tracks, the pick of which is the warm and dreamy 70s rock of ‘Terry’, sounding like it could have been part of the Midnight Cowboy soundtrack. Gary’s wondrous trumpet playing and Scott Walkerish tones shine throughout but especially on the opening track, ‘Always On The Telephone’. The bright jangly guitar sound of that song puts you in mind of the Go Betweens but the squalling sax break suggests the inspiration of Kevin Ayers, on whose excellent Unfairground album the Ladybugs – and Mr Olson in particular – worked.

Six albums in, Can’t Wait Another Day develops the Ladybug’s earlier indiepop and psychedelic sounds towards a sound which is more classic baroque pop, with a glorious melancholic lilt and the sort of impressive crooning you thought was lost decades ago. While it’s too rooted in the 70s to reach the heights of albums like the gem studded Albemarle Sound, imho, it strengthens their reputation as purveyors of intricately arranged and stately pop songs.

Links: http://www.myspace.com/marlboroughfarms

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