Do Fat Dogs Get to Heaven? – by Tha Dogg (feat. The Great Dane Bowers)
A former child actor, Tha Dogg uses his music to enact hissing revenge on those casting agents who passed him over for the 1985 incarnation of The Milky Bar Kid. This is a concept album, with fat dogs a keening allegory for children polluted by E numbers, their tongues lolling as melted chocolate cascades through their teeth and down their chins. Dane Bowers aids Tha Dogg in putting his confectionary demons to rest via a series of two-step hiccups. Chillingly unessential.
Artwork and Concept by Jack, Creative Director

The Difficult Second Album – by Steppy Lookin' Toe
From behind the bins of South Wales, Steppy Lookin' Toe scratches outs its primitive rhythms on thin layers of tracing paper and cooking foil as a means of lowering costs. The frugality behind these recordings is almost pre-decimal as Steppy Lookin' Toe’s lead singer wails out oblique sections from Ivor the Engine. First single ‘Whose Coat Is That There Jacket?’ recalls nothing so much as a colliery town enveloped in a thick layer of soot as a Volvo estate performs ‘donuts’ in a deserted car park. Bewhiskered futility.
Artwork and Concept by Anthony, Joint MD

Act Like You Know It – by Jagged Flow
From the minimalist front cover through to the even more minimalist beats, Jagged Flow’s 27th album goes where no other album has ever gone before – to Loughborough. With wind-flattened hair and fat fingers, its intoxicating negation of melody, harmony and lyrics challenges the listener to find sense and meaning in a musical dustbowl where tumbleweed spells out our deepest disappointments. This is the sound of young Dublin doing its tax returns three days late.
Artwork and Concept by Mal, Manager Brand & Marketing

Meat Meat Meat - by Glauk
This album chillingly recreates the distant cries of a thousand pensioners presented with their heating bill at the turn of the millennium. Emerging from the blunt side of the French 'apres-vague' scene, Glauk's work draws on the post-political practices of filmic montage to create an incoherent musical frieze that tells us less about life in the 21st Century than we could ever hope to know. All human life was here. But not any more. Music as a spreadsheet.
Artwork and Concept by Eric, Programme Manager

Trevor Sorbie Free Haircut – by The People’s Choice
Dermatological in outlook and execution, this sophomore album from New Zealand alarmists The People’s Choice has torn blistered strips thorough the local music scene. The lead single, ‘Giant Feet Squashing Bombolonis’, has been number one in The Auckland Crucial Ten for over two years now. Like a bad case of disco plaque, this album with corrode your teeth and knit your tongue to your gums as your soul flees on a child’s stolen BMX. Disinfected.
Artwork and Concept by Nick, Project Manager

Bike Strike – by Kickstart the Bishop
Bike Strike is the latest brilliant release from the work pony that is KTB (headed up by Amy Forde, aka The Doktar). Whilst being in keeping with the experimental nature of previous work, this album is recorded entirely in the medium of mime. Believe me when I say that this stuff is going to rock live. Unfortunately the rights for all live performances of this ‘maxi-EP’ have been sold to an inmate on death row in Texas and so audiences will have a hard time finding tickets.
Artwork and Concept by Eamonn, Editor 58

Running on Luck – by Wet Denim!
A trembling debut whose fingernails are chewed down to ragged stumps. The arching wave on the front cover edges towards the rim of Brighton - the very site of its musical gestation – like a watery homing pigeon on its return journey. The album flits between yearning country & western and eye-wobbling drum ‘n’ bass, spitting out fractured lyrics while rhythms hold their arms in slings. This is the sound of Sussex being shoehorned into the roundabout at Old Street as every star in the sky switches itself off.
Artwork and Concept by Dudley, Business Analyst

Hunt Down the Hypocrites – by The Catholic League of Decency
This album was composed entirely in binary with the rudimentary middle eights being sketched out by randomly tapping a miniature robot dog and basing chord sequences on its intermittent yapping. First single ‘The Glowing Orange Plastic Head of David’ staples the old to the new with pungent unease, howling in the wilderness as waterfalls run backwards and time implodes. This is the sound of youth dissolving in the middle of a supermarket as shrugging Russians amble past towards the checkout.
Artwork and Concept by Jon, Technical Manager