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We were very pleased when we heard the first single from Bristolian Hyetal’s new album Modern Worship (out 3 July), the excellent Northwest Passage. Now he’s given us not one, but TWO great new tunes from the record, the bouncy, computerised Jam The Network and the similarly digitally busy Moving Statues:

Following a successful outing in 2012, the Independent Label Market will return to London for another whirlwind of trading, bartering and digging. 

Unlike your regular garden variety record fair, the Independent Label Market invites bosses and high-rankers from a slew of independent labels to sell their goods direct to the public. Previous years have seen the likes of R&S, 4AD, Domino, XL and Warp offering an assortment of new, vintage and rare records.

The fifth London edition of the event will take place on Saturday July 13 at Spitalfield’s Market. Over 50 labels have been confirmed, with more yet to be announced. Posters, audio equipment, screen prints, and other assorted paraphernalia for music enthusiasts will also be available to buy on the ground.

In a new development for the project, the event has been partnered with the East End Live music festival. The new one-dayer will feature performances from Charles Hayward, The Monochrome Set, Toy, East India Youth and more

The initial list of participating labels has been announced, and is included below. Head here for further information.

Participants:
4AD
Angular
Because
Bella Union
Big Dada
Brownswood
Caught By The River
Chess Club
Critical Heights
Dead O...

The Casady sisters are back to divide opinion and elicit a wide range of facial expressions with their first album since 2010's Grey Oceans, Tales of a GrassWidow.

Firstly, let's address most critics' main gripe with CocoRosie and talk about the vocals. They're odd and wildly changeable; one minute toddler, the next shrill belter, the next angelic chorister. It's not like versions of these haven't been heard, enjoyed and celebrated in other acts - Björk and Joanna Newsom are frequent comparisons - but there is something that doesn't sit quite right with CocoRosie, at least not on a first listen. And what that something is, from a listener's perspective, is suspicion.

Joanna Newsom's vocals have lost and gained her admirers in equal measure, but there has never been any doubt that they're sincere, and she was consistent and fascinating within them (until her perhaps inevitable vocal issues and consequent softening). Björk sings with her genuine Icelandic accent - who actually enjoys a fake accent? - about cutlery and balls of yarn and it's fine because it's not forced. She's delightfully mad and it's part of what makes her such a dynamic and fiercely exciting songwriter and live performer.

But with CocoRosie, it comes across as too thought-out, placed, invented, and that can prevent the sisters from seeming like real people. They displace themselves from reality, and create too wide a gap between themselves, their creative...

Named after the artiest porn film ever short, Behind the Green Door sees New Yorker Laurel Halo return to the beat-driven work of her earlier EPs on Hippos in Tanks. In contrast to the glassy ambience of lauded debut album Quarantine, Green Door finds the classically-trained producer dropping four intricate but bruising chunks of bass music, each of which takes Hyperdub

You don't have to make a classic album to make a good one. The Days Run Away, the second record from Sunderland's Frankie & The Heartstrings is never going to appear on a list beside Sgt Peppers and Nevermind, it's unlikely to be discussed by Andrew Collins and John Robb on Channel 4 clip shows, and it's probably not going to bother the top 10, though it certainly deserves to. That's not the kind of brilliant album - and it IS a brilliant album - this is. It's not going to change many lives or break many hearts, but crucially it is going to break some hearts, save a few lives, while it unshowily goes about its business of being the perfect twenty-first century indie pop record.

What The Days Run Away has in spades is charm, character, wit and heart. It's part of a grand tradition of beautifully balanced, honest indie and indie-pop that has its roots in the Eighties and The Smiths, Postcard records and C86, bloomed in the Nineties with the cuter end of Britpop and forged its own identity in the last decade or so thanks to the likes of Los Campisinos, Slow Club, Betty and the Werewolves and the Tender Trap. The kind of bands that come with hand drawn fanzines and and a reverential approach to? vinyl. The kind with the history of British alternative music stretching behind them like ghosts, the shades of Johnny Marr and Bernard Butler looking over their shoulder. In this case the latter is literally true, Butler hims...

Due to such enforced real-life distractions such as family commitments, holidays, Masters Applications and the likes of such things, this month

Unsecured on new 12"" src="http://factmag-images.s3.amazonaws.com/wp-content/uploads/2013/05/Miles230513.jpg" alt="Miles Whittaker is Unsecured on new 12"" width="685" height="365" />

If you know Modern Love, you know Miles Whittaker: working as MLZ, Millie, Suum Cuique and half of Demdike Stare, the Manchester producer has been a consistent (and consistently rewarding presence) on the label’s books.

Having recently released Faint Hearted - his first full-length as Miles - Whittaker has quietly snuck out an EP-length companion piece to the record, titled Unsecured. The collection runs to 30 minutes, and features four tracks of blasted ambient and techno. Where Faint Hearted saw Whittaker trying on an array of hats (the junglist’s cap on ‘Lebensform’; the techno-nerd’s tinfoil helmet on ‘Status Narcissism’; the ambient fan’s flowery coronet on ‘Lorian Dreams’), Unsecured is somewhat more focused in its interests. ‘Blatant Statement’ alloys crunching industrial breakbeat with some Apollo-approved synth pads; ‘Infinite Jest’, meanwhile, offers grit-flecked, greyscale dub.

Unsecured is available on 12″ now, courtesy ofModern Love. If you’ve a hankering for more blasted techno and brooding 4×4, head to our

It’s nigh-on-impossible to find anyone with a bad word to say about Spencer Hickman’s sterling reissue imprint Death Waltz Recording Co. 

Their discography is a doozy: in little over 18 months, they’ve put out a string of John Carpenter OSTs (Escape From New York, Halloween I-III, Prince Of Darkness, They Live), not to mention other archival releases from Antoni Maiovvi and Fabio Frizzi. With more discs – including their debut Hammer reissue, Harry Robinson’s Twins Of Evil soundtrack – on the boil, Hickman’s flexed his muscles on a skin-crawling cracker of a mix.

US horror magazine Fangoria have tapped up the label to produce a free-to-download mix. The 45-minute session, available to download below, is a macabre delight, oscillating from ultra-synthetic synth fare in the Howarth mould through acid through Goblin-indebted schlock rock. [via Self-Titled]

To celebrate his 53rd birthday, quondam Smiths warbler Morrissey has taken to his True To You site to launch an excoriating assault on the “pitiless atrocity of foie gras”. 

Congratulations to Prince Charles for banning foie gras from all his functions.

However, unsurprisingly, this most savage and cruel commodity continues to be the favorite “dish” of smiling mother-to-be Kate Muddleton (from whom, in fact, we expect no less.)

Foie gras production is illegal in the UK, yet the ever-so-correct Fortnum and Mason have found suppliers in France who will keep their shelves stocked – possibly with the hope that smiling Kate will wobble in and place an order for her unborn child.

Since Fortnum and Mason are now the only department store in London who are associated with the pitiless atrocity of foie gras, would you please write to them/contact them and exert pressure on them to stop selling such asavage beyond belief “product”.

Fortnum and Mason

181 Piccadilly

London W1A 1ER, England

Twitter: @FortnumandMason

http://www.fortnumandmason.com

thank you!

Interesting to see HRH Prince Charles – yes, he who craves to “appear on the front of the Daily Mail / Dressed in your Mother’s bridal veil?” – get a quiet compliment – not a courtesy extended to the recently d...

Best Fit favourite MØ paid a visit to London’s prestigious Maida Vale studios recently to cut a live session for new music torchbearer Huw Stephens, broadcast last night on BBC Radio 1.

Performing