Vince Clarke No. 1 Against The Rush.

Liars' No. 1 Against The Rush was the initial fully-sculpted piece unfurled from their ambiguously entitled forthcoming full-length WIXIW and it remains its outstanding oeuvre both immediate and enduring. However here to rub some grubby house womp over its previously unassuming electronica stylings is Depeche Mode originator and fellow Warpster Vince Clarke, whose radical overhaul exudes ominousness; representative of a restless tide of hedonism-geared headfuck to keep feet chained to the imperceptible dancefloor enshrouded in dimness below and ecstasy bathing in dilated pupils until withered and prune-like. Clarke's rework – and this rather more paranoiac deconstruction courtesy of Matmos – feature alongside non-WIXIW track We'll Never Learn on the flipside to a limited 12" pressing of the single, signed copies of which may be preordered here as of immediately.

Liars play next weekend's Field Day; WIXIW is released June 4th...

On the Horizon: Oh So... She's So Rad.

Dunked in a pool of cultural awareness beyond their native isles by Kiwi introvert Pip Brown, graduates of that institutionalised Red Bull Music Academy seen at umpteen festivals although seemingly irrelevant to every She's So Rad make an audacious and immediate claim to the accolade of the Antipodean territory's bestest band with this newbie, Confetti. An inviting splurge of synths are shoehorned into a woozily bleary whoosh of a pophit that demands infatuation on first exposure. No messing from Aucklanders Jeremy Toy and Anji Sami thus far it'd seem... Celebrate this one below.

She's So Rad's Soundcloud.

Interview: Answers from the Ether, Anywhere.

With The Mars Volta reconvened and readied for the touring of a new LP, and At The Drive-In reformed needless to say Cedric Bixler-Zavala's being kept as busy as that wonderfully ridiculous barnet of his is bananas. He's also in on this one: the sort of supergroup to come together after a SPAR cider too many in some Butlins chalet come sunrise, Anywhere also comprises legendary Minutemen bass monger Mike Watt and onetime Sleepy Sun-shine Rachel Fannan although to further dislodge Bixler-Zavala from focal point, we thrust some inquisitions over in the direction of fellow project progenitor Christian Eric Beaulieu. Here he discusses his subjective perceptions of Anywhere as an entity, finding time for the thing amid the most hectic of schedules, and making sure a record sooner or later came out of the whole process...

Live: "Backwards & Fowards Over The Years". The Zombies, Jazz Café.

As the aroma of elaborate stodge pummels the nostrils upon entrance, cascading down from the sterile balconies above the ambience within this slipshod Camden haunt is incontestably more Café than it is in any way Jazzy. The 'Jazz Café' represents a pseudo-plush, plastic-floored temple of nothingness geared toward a generic nondescription and on a night upon which Elvis Costello almost sells out the Royal Albert Hall and the impatiently awaiting here conglomerated stutter stilted qualms over a lack of programmes as Billy Ocean blares over the PA, it's one belonging to some remote aeon and a rather inspiring one at that. For The Zombies too are of distant epoch; perhaps a time when this NW heckhole may have been considered in some way chic. A London borough off any form of pace whether regarding music or modus vivendi; whatever, if this month's Camden Crawl fumbled for a palpable pulse Colin Blunstone and Rod Argent – both at the ripe ol' age of 66 – inject intrigue and energy into their psychedelic pop blowout whilst contemporaries may opt to bloat foreheads with botox and forearms with substance significantly more perilous. Certainly witnessing them right here; right now may accentuate an emphasis on the inescapability of withering with age – Argent later alludes to the passing of original guitarist Paul Atkinson – although The Zombies are doing so with dignity, grace, and some bloody great hits.