The Beautiful New Born Children Bee and Flower Dakota Suite Danielson Edison Woods ERK Experimental Pop Band Extra Fantastic Plastic Machine Friends of Dean Martinez Hauschka Jon Rauhouse Kingsbury Manx Knife In The Water Laila France Larmousse Le Hammond Inferno Lilium Los Fancy Free Mapstation Maxwell Implosion Mek Obaam Mina Moe Jaksch Music A.M. Namosh Olympic Lifts Pat C. Pop Tarts Radio 4 Rephill Salaryman Savoy Grand Schneider TM Seachange Sophia Soul G and Tony Match St Thomas Stereo De Luxe Sufjan Stevens Tarwater The Album Leaf The Roughnecks Toby Dammit Tonetraeger Torpedo Boyz To Rococo Rot Trash Money Woven Hand 22 Pistepirkko
	The Kingsbury Manx THE KINGSBURY MANX's debut album is so good that when they first emerged in the US - with no fanfare, no history and no baggage - no one believed they had made it. THE KINGSBURY MANX takes in such a stunning blend of pastoral influences - dare we say Simon & Garfunkel, Beach Boys, Pink Floyd, The Association, The Velvet Underground, The Byrds, just for starters - and yet it manages to sound utterly timeless, utterly of its time, and utterly essential to all those who value music above all else. THE KINGSBURY MANX's music seems to register a gentle wonder at the beauty of the world in all its details. They seem to have an innate ability to open their eyes to the splendour of their surroundings, reflected in their communication of life's minutiae through their delicate musical filigrees. Their second album "LET YOU DOWN", like its predecessor, never stoops to excessive preciousness and has a firm grasp on dynamics. In fact, there is little doubt that the band are actually capable of rocking out, it's just that they do it with a unique restraint. The songs on "LET YOU DOWN" are more developed, and, in truth, they are possibly even more exquisite than their debut's, "turning stones to gems" (as they put it in Simplify). Characterised by a spacious, almost spatial sound, tracks like the title track, Baby You're A Dead Man and Simplify glisten like dew at dawn with sparkling guitars, while Et Tu Kitte and Sleeping On The Ground capture the bucolic and intimate charm for which they were praised last year. Rustic Stairs, meanwhile, captures an almost aquatic character that may well have been shaped by the miserable rainstorm that flooded the studio the night they recorded it, whilst Patterns Shape The Mile is probably the most upbeat track the band have so far recorded, ironic since the song started out as one of their most downbeat until they took it in to record. "By that time we were sick of the slow & quiet," says the band, something made evident when the big, white noise guitars answer the line "I'll stay quiet" at the end of the second verse. Sick of the slow and quiet? Say it ain't so? More info (external link)