Bella Union introduce Dog In The Snow, the moniker of Brighton-based artist Helen Ganya Brown. Dog In The Snow’s Bella Union debut is ‘Vanishing Lands’; an imposing, haunting and luminous collection of songs in the darker spaces between dream-pop, art-rock and electronica, lifted by euphoric melodies, ravishing vocals and absorbing lyrics.

‘Vanishing Lands’ was initially created at Brown’s home in Brighton before co-producer Rob Flynn helped her add shifting, impressionistic swathes of colour, from the ominous chords that open ‘Light’ to the vocal eddies that close ‘Dark’.

Brown wrote 8 of the 10 songs in a 3-week spell after a period of “strange dreams.” She recalls: “Dreams in black and white. I found myself in a dreamland and discovered it was being destroyed. I chose ‘Vanishing Lands’ as an album title because it sounded suitably desolate, and lent the songs a feeling of cohesion.”

TRACK LISTING

Light
Bloom
Dual Terror
Monochrome
This Only City
Icaria
Gold
Roses
Fall Empire
Dark

A sonic cross-continental experience, ‘Mummer Love’ is the second album in the ‘Perfect Vision’ triptych collaboration between Soundwalk Collective and Patti Smith.

For this body of work, Soundwalk Collective journeyed to Africa to explore the intricacies of Arthur Rimbaud’s most obscure period. After leaving France and what he deemed the ‘Western stagnation’, Rimbaud found himself in Harar, Ethiopia - an epicentre of Sufism in Africa. Sufi practise focuses on the renunciation of worldly things, the purification of the soul and the mystical contemplation of God’s nature. A strand within the wider Islam religion, it focuses on spirituality, meditation and chanting sessions.

As with the other albums in the triptych, the Collective searched for hidden, earthy sounds that hold memories and embed existence. For ‘Mummer Love’ they also found themselves recording under the tree where Rimbaud photographed the shrine of Sheik Abadir Umar ar- Rida al Harari, the founder of the holy city Harar. “As the rain fell, I wondered if I was hearing the drops hitting the leaves the same way Rimbaud did 140 years ago,” Stephan Crasneanscki from Soundwalk Collective says. These sounds and Sufi chants are juxtaposed with Patti Smith’s poems, like the title track ‘Mummer Love’. Written to Rimbaud, Smith’s words are rooted in multiple aspects of the self: from the passion of a lover to the care of a mother and everything in between.

Further contributions to the album come from Mulatu Astatke (widely considered the father of Ethio-jazz) and Phillip Glass, who has long felt a connection to Sufi music, coming together and evoking a call and response between piano and vocals of the Sufi masters. It is simultaneously the first time Glass collaborates with Smith and so Harar becomes an extraordinary meeting place for all to celebrate the beauty of Rimbaud’s work.

‘Mummer Love’ is released around the anniversary of the death of Arthur Rimbaud (10th November 1891).

STAFF COMMENTS

Millie says: The collaboration of dreams – Soundwalk Collective and Patti Smith. Compelling instrumentals and sound recordings joined with Patti Smith’s poetic spoken word makes it work so well. Taking inspiration from Ethiopia, using Sufi music takes it to a whole new level.

TRACK LISTING

Aw Abadir
La Maison De Rimbaud
Eternity
Song Of The Highest Tower
Mummer Love
Farewell
Bad Blood
Sensation

Afghan singer Elaha Soroor and award-winning music / producer duo Kefaya (Al MacSween and Giuliano Modarelli) join forces for a mighty and mesmerizing new album, "Songs Of Our Mothers"; a fresh, vibrant take on Afghan folk music filtered through myriad forms, from spiritual jazz and dub to Indian classical music and electronica.

The album is a collection of folk songs traditionally performed by Afghan women, drawing on Elaha's own experience of fleeing Afghanistan and the struggle faced by many other female artists. The US and Western-backed regimes that came to dominate Afghanistan in the latter part of the 20th century created a climate of heightened patriarchal oppression and persecution of women.

These songs tell stories of joy, pain and resilience, passed from mother to daughter in times of hardship and oppression, whilst also celebrating femininity, sensuality and the spirit of resistance. As Elaha says, this album is for 'those women around the world whose image has been erased, and whose voice has been forbidden.'

Born in Iran into a family of Afghan-Hazara refugees, Elaha Soroor first rose to fame through the reality TV show Afghan Star. Her rising popularity in a society known for its persecution of female performers combined with her outspoken views on women’s rights led to an environment of serious personal danger and Elaha was eventually forced to flee Afghanistan.

As Elaha says: 'In the eyes of the world, Afghan identity is defined by terrorism, war, the Taliban and uneducated, domesticated women who need help. I have tried to show other associations with Afghanistan such as the beauty of my mother language (Farsi) and the diversity of our music. Although women are currently facing extreme violence in Afghanistan, I see a lot of similar problems encountered in different ways in Western countries and across the world. This is part of a universal struggle.'

STAFF COMMENTS

Matt says: So evocative, beguiling and intriging is Soroor's voice is that it had me checking the feasability and safety of flying to Afghanistan! Perfectly matched with a wide variety of instrumentals, this is my surprise hit of the week!

TRACK LISTING

1 Jama Narenji
2 Gole Be Khar
3 Arose Jane Madar
4 Bolbi
5 Gole Sadbarg
6 Charsi
7 Khina Beyarin
8 Do Chasmane (Intro)
9 Do Chasmane Siyah
10 Lalay Lalay

“This is our punk record,” says Ezra Furman, introducing his new album Twelve Nudes, yet another incendiary and inspiring classic from the singer/ songwriter/ guitarist/bandleader. “We made it in Oakland, quickly. We drank and smoked. Then we made the loud parts louder. I hurt my voice screaming. This was back in 2018, when things were bad in the world. The songs are naked with nothing to hide.”

Immediate proof is offered by ‘Calm Down’ (aka ‘I Should Not Be Alone’), the album’s insanely catchy opening track and lead single, bound up in a compact two minutes and 22 seconds. “’Calm Down’ is so desperate, and not what I want to say about the world,” says Furman. “I think we curate our reactions to current news because we’re overwhelmed by how bad it is, and I noticed I was suppressing how bad I truly felt. I wanted music that gave me permission to feel how it felt to live in a broken world, which punk rock does.”

Furman’s preceding album, 2018’s Transangelic Exodus, was “an angry and fearful and pent-up reaction to events too,” he recalls. “But it was a carefully written and recorded version; we took a lot of time with edits and overdubs. I knew I wanted I make this album quickly and not spend time thinking how to play the songs. Twelve Nudes is a ‘body’ more than a ‘mind’ record - more animal than intellectual., And by affirming negativity, it gives you energy, to reject stuff. There’s more space for positivity.”

Far from being defeated by a world in turmoil, Furman’s productivity has only increased the worse things have got - and he’s taken up different disciplines to boot. Between Transangelic Exodus and Twelve Nudes, the 33⅓ imprint published his deeply personal, thoughtful and incisive book on Lou Reed’s legendary 1972 album Transformer, before Furman scored the soundtrack to Netflix’s acclaimed comedy Sex Education (it aired in January 2019), which showcased the tender side of his songwriting.

But all his pent-up energy had to be channelled somewhere: hence Twelve Nudes, which Furman and band recorded in October and November 2019 before the album was mixed by the venerated producer John Congleton (Sharon van Etten, St Vincent, John Grant). Furman says the album has two spiritual heroes – the late great punk rock rocker Jay Reatard, and Canadian poet, philosopher and essayist Anne Carson. “She’s one of my top three living writers,” he says. “Anne had these visions, or meditations, to deal with the intense pain in her life, which she calls ‘nudes’, and similarly these songs are meditations on pain and recognising what’s there if you go digging around in your anger and fear and anxiety. So, my album is called Twelve Nudes.”

The positivity of negativity flows throughout the album, distinguished by sharp, lacerating observations, confessions and proclamations, with Furman the indefatigable cheerleader. “And if you’re really at the end of your rope / No you don’t take the night off/ Too many demons to fight off” he wails in ‘Transition From Nowhere To Nowhere’. The song’s slower pace and becalmed verses underlines Twelve Nudes’ musical remit - less stereotypical punk than raw, raucous rock’n’roll (as Furman points out, The Ramones’ punk classicism included songs influenced by Phil Spector ballads). Check also ‘I Wanna Be Your Girlfriend’ and ‘In America’, shaped respectively by Furman’s love of ‘50s doo-wop and Springsteen, while ‘Trauma’ is molten and leaden like Black Sabbath.

But in ‘Rated R Crusaders’, ‘Thermometer’, My Teeth Hurt’ (surely the first lyrical reference to “dental insurance”) and the 58-second ‘Blown’, punk rock’s flailing energy is alive and kicking. As the pell-mell finale memorably puts it, given our increasingly moribund and morally bankrupt society, ‘What Can You Do But Rock N Roll’?

Furman has long sought out rock’n’roll as a panacea for his ills (from ‘Thermometer’: “I got the fever at a tender young age / I joined society and drank the Kool-Aid”). He now lives in Oakland but he grew up in Evanston, a northern suburb of Chicago: at school, “I’d beat myself up for not being a successful, popular kid. I’d lose my homework, get bad grades: they’d call me a space cadet.” But Green Day’s Dookie album woke him up (“the songs were all about being maladjusted, which I began wearing as a badge of honour”), and Green Day led to The Sex Pistols, “and I was never the same again.”

Fearing for her son’s well-being, his mother bought Furman a book of Dylan songs: “I then thought, I’m going to be a good songwriter.” Lou Reed was another, “devastating” discovery, and from all these influences, Furman’s frayed, emotional brew of garage-rock took shape, backed by bands variously known as the Harpoons, the Boy-Friends and, most recently, the Visions - though for Twelve Nudes, there is no band name. “Right now, I just don’t care,” he declares. “The same as I feel about what gender pronouns people use for me.”

The issue of gender arose after Furman made a splash with his 2013 album Day Of The Dog (the last album he made this quickly, he says). Finally vindicated and verified, he started to publicly dress on the outside what he had been increasing feeling on the inside, with more frankness in his lyrics about sexuality and gender (he calls Twelve Nudes, like Transangelic Exodus, “a spiritually queer record”).

The teen angst he’d experienced, from identity crisis to buried feelings, made Furman the ideal candidate to soundtrack Sex Education, mixing older tracks with new (‘Coming Clean’, ‘Every Feeling’ and a cover of ‘Origin Of Love’ from the musical Hedwig & The Angry Inch. Ezra and band also appeared in one episode, at a school dance).

“This record is political,” says Furman, “but it offers an emotional reaction rather than being specific or partisan.” Furman’s Jewish identity shapes ‘Rated R Crusaders,’ triggered by the Israel/Palestine conflict and its complex web of refugee trauma. ‘Trauma’, meanwhile, seethes with the spiritual malaise brought on by watching wealthy bullies accused of sexual assault rise to power. America, Furman well knows, is balanced on a knife-edge between white male supremacy and the dream of universal opportunity; hence the references to Mexico, slave-owners and US ‘founding father’ Ben Franklin in ‘In America’. As Furman sings, reiterating the spirit of punk rock, and positivity, “Put it all in a two-minute pop song / A really-mean-it-a-lot song for America.”

“One of my goals in making music is to make the world seem bigger, and life seem larger,” he concludes. “I want to be a force that tries to revive the human spirit rather than crush it, to open possibilities rather than close them down. Sometimes a passionate negativity is the best way to do that.”

Or, in the words of the fantastic, rousing ‘Evening Prayer’ (aka ‘Justice’): “If you’ve got the taste for transcendence / Then translate your love into action / And participate in the fight now / For a creed you can truly believe.”

STAFF COMMENTS

Barry says: He's proper on one here is Ezra, smashing through this snarling, fuzzed out swathe of punky thrashers like he's never done anything else. Thoroughly unexpected, but accomplished with the sort of expertise we've seen from him in a variety of musical subjects. Another instant classic.

TRACK LISTING

1 Calm Down Aka I Should Not Be Alone
2 Evening Prayer Aka Justice
3 Transition From Nowhere To Nowhere
4 Rated R Crusaders
5 Trauma
6 Thermometer
7 I Wanna Be Your Girlfriend
8 Blown
9 My Teeth Hurt
10 In America
11 What Can You Do But Rock 'n' Roll

The city and the country both have distinct, vibrant energies - but there’s something happening in between, too. As factories give way to fields, and highways drift into gravelly roads, the friction can be palpable, the aura electric. The lines between city and country were on Jack Cooper’s mind when he named his new band Modern Nature. He took the phrase from the diaries of filmmaker Derek Jarman, written on the coast of Kent in his Dungeness cottage. Visiting Jarman’s home, Cooper was struck by what he calls a “weird mix of urban and rural” - such as the way a nuclear power station sits next to open grasslands.

On Modern Nature’s debut album, ‘How To Live’, urban and rural cross into each other. Plaintive cello strains melt into motorik beats. Pastoral field recordings drift through looping guitar figures. Rising melodies shine with reflective saxophone accents, placing the record somewhere in the Bermuda Triangle between the expansive motorik of Can, the Canterbury progressiveness of Caravan and the burgeoning experimentalism of Talk Talk’s ‘Colour Of Spring’.

STAFF COMMENTS

Barry says: Having penned a succession of hazy, indie-rock affairs, Jack Cooper (formerly of Manchester's own Trof fame) breaks out a beautiful folky wanderer, heavy on reverb and drifting guitar ambience, but maintaining the melodic leaning that has earned him so many delighted fans. This is beautiful work, and possibly my favourite of his considerable output.

TRACK LISTING

Bloom
Footsteps
Turbulence
Criminals
Séance
Nightmares
Peradam
Oracle
Nature
Devotee

‘King’s Mouth’ sees the iconoclastic outfit once again tread uncharted territory. These 12 new originals are threaded together by cinematic narration courtesy of The Clash’s Mick Jones. Additionally, the music parallels front man Wayne Coyne’s immersive art installation of the same name. Introduced in 2015, the installation has showcased its psychedelic visuals and soundscapes through North America in museums such as Meow Wolf in Santa Fe, NM, the American Visionary Art Museum in Baltimore, MD, the Pacific Northwest College of Art Portland, OR and Wayne’s own creative space, The Womb, in Oklahoma City, OK. A true handcrafted marvel, it consists of a giant metallic head that welcomes spectators inside. Once inside of the foam mouth, an LED lightshow begins in tandem with music from the album. Now, the record doubles as the sonic companion to the exhibit and allows fans to experience the aural side at any time.

STAFF COMMENTS

Barry says: The Flaming Lips are always riding the peripheries of the psychedelic indie wave, and here is no different. Beautifully psychedelic moments mix with weirdo off-piste melodies and woozy saturated pads, before culminating into huge, stadium choruses. It's a heady mixture, and one that continues to make The Flaming Lips one of the most thrilling bands around. Another classic Lips outing.

TRACK LISTING

We Don’t Know How And We Don’t Know Why
The Sparrow
Giant Baby
Mother Universe
How Many Times
Electric Fire
All For The Life Of The
City
Feedaloodum Beetle Dot
Funeral Parade
Dipped In Steel
Mouth Of The King
How Can A Head

For every sibling band forged in rivalry, many others mount an unassailable genetic argument for keeping the music in the family. The latter is assuredly the case with Penelope Isles, a brother- sister-centred alt-rock quartet from Brighton (via Isle of Man/Devon) whose debut album, ‘Until The Tide Creeps In’, is released through Bella Union.

Formed around the chemistry between dual songwriters Jack and Lily Wolter, the quartet’s expansive DIY mix of translucent dream-pop, fuzzrock guitars and indie-psych flushes comes lovingly dipped in exquisite harmonies and lustrous melodies: a combination so intuitive, you’d think it was in their blood.

Crisp and woozy, blissful and biting, it’s an album deepened by shared experience: experiences of, in Jack’s words, “leaving home, moving away, dealing with transitions in life and growing up. We are six years apart, so we had a different experience of some of this, but we share a similar inspiration when writing music. Family, leaving home, disconnection and connection all ring bells!".

TRACK LISTING

Chlorine
Round
Not Talking
Underwater Record Store
Three
Gnarbone
Leipzig
Looking For Me Eyes First
Cut Your Hair
Through The Garden

So... The Soft Cavalry. What is it? A happy accident? A lovers’ story? A crisis of faith? In reality, it’s all of these.

For Steve Clarke, The Soft Cavalry’s self-titled debut album is equally a labour of love, and the first record he’s masterminded from start to finish, with invaluable contributions from his wife, Slowdive’s Rachel Goswell, on co-vocals and spiritual/practical guidance, and Steve’s brother Michael, who produced the record.

The band’s music is a particularly British brand of intense cinematic drama. Melodic and timeless, the album lands in the atmospheric dimensions between Pink Floyd, Talk Talk and Mansun. A record radiating midlife crisis but equally enormous elation; a helix of fear and hope, aching for resolution. A record Steve emphasises that he “needed” to make.

The Soft Cavalry is also that rarity: a musical project that began life on an industrial site in Reading.

Additionally, the album is a way of rewriting a man’s narrative, and proof that relative late bloomers (Steve was in his late thirties when he made the album) can make the record of their dreams.

In 2014, Steve was stuck. Divorced since 2011, the intervening three years had been, “a haze,” he admits. Since the late nineties he’d played bass and sung backing vocals in bands (both studio and live) and sessions, while also working as a tour-manager. His new assignees were reformed Home Counties faves Slowdive.

“I was hungover in the back of my van trying to work out how I was going to fit all the band’s gear into this confined space whilst I still had all of mine from the show that I’d played in London the night before,” he recalls. “The second of two sold-out shows at Hammersmith Apollo with David Brent!”

On that industrial site in Reading, Steve was introduced to Rachel. A year later, they were living together in Devon, before marrying in 2018. Rachel not only, “turned my world upside-down,” but unwittingly provided, “the catalyst,” for The Soft Cavalry. “I’d always had ideas but never felt that anything I had to say was worthy of anyone’s attention, let alone my own,” he says. “I wish that I could have done this fifteen years ago but, in reality, I simply couldn’t have. But I’m not one to overly wallow. I’d rather plough the various levels of confusion into songs.”

The Soft Cavalry is equally an exercise in creative and personal therapy. The first songs Steve wrote for the album were less about confusion than Rachel-inspired paeans to fate, love, new beginnings: ‘Passerby’ (“Waters break and we are born restlessly into the arms of this unknown”), with Rachel’s gorgeous lead vocal underlining the arrangement’s Slowdive-adjacent ethereality, and ‘Spiders’ (“strand of woven thread / Could be the start of something beautiful?”), a starker, shivery ballad with a feeling of suspended animation. But as Steve opened up, the past began to seep in; years of frustration, anxiety and confusion.

“I was wide eyed and unrealistic,” he remembers. “Never expecting my many flaws and doubts would ever catch up with me. Inevitably they did.” He cites his upbringing, in the Midlands with church-going parents. His father’s law work encompassed, “handling the aftermath of death and marriage breakdowns. When I was nine, we moved to Amsterdam where they ran a rehab centre - as you do! We lived on the top floor of an old Dutch building with recovering heroin addicts living below us. From a young age, I saw what life was like for others.”

When Steve next wrote about Rachel, the title ‘Never Be Without You’ - the album’s one clear moment of AOR pop levity – sounded lovey-dovey but the song evoked, “the bumpy start to our relationship. While other relationships were falling apart.”

Rachel: “Steve was like a tornado when we first met. And I already had a son. Things were complicated.”

The Soft Cavalry is something of a life’s work – a chance for redemption, a heart-to-heart with the self. ‘Bulletproof’ addresses, “struggle and fear, and making sense of it in your head.” ‘Only In Dreams’ admits, “accepting you’re not the finished article that you’d like to be.” Two brooding epics were fired by his Christian upbringing: ‘The Velvet Fog’ - “my doubts with faith, but not being able to shake off my past, even today” - and ‘The Ever-Turning Wheel’: “always trying to thumb my way back to something I had when I was younger, something simpler.”

If the album has a theme, reckons Steve, “it’s recovery versus new doubt. I’m there, in the middle. The word that kept coming back to me was ‘resilience’. With the right mentality and people around you, especially family, we get through, and find a level of hope.”

Even what Steve calls the “post-apocalyptic” scenario of ‘Careless Sun’ (“all we can do is wait for the banks to burst and baptise our abandoned fear”) finds room for optimism. “It’s like, how the hell is this all going to pan out?” he says, meaning our current political and social malaise. “But you have to muddle your way through, and find peace at another level.”

The Soft Cavalry became something of a conversation, even couple’s therapy. Steve, says Rachel, “is always writing, his head always full of lyrics.” Rachel, says Steve, “reins me in when I get obsessed. She’s a good editor. She says my songs can still work without sections of words, that leaving spaces is OK.”

As Steve assembled songs, his invited friends - keyboardist Jesse Chandler (Mercury Rev, formerly Midlake), guitarist Tom Livermore, drummer Stuart Wilkinson and multi-instrumentalist/album producer Michael helped mould the record’s breathtaking sonics. Says Steve, “I’d grown up with guitar bands and I didn’t want it to be overly guitar-y. We evolved things by trying out ideas. We’d build things up, and then strip them back, and build them again.”

As the album progressed, Rachel formed Minor Victories in 2016 while Slowdive had a gap in the schedule, alongside similarly holidaying members of Mogwai and Editors, for a self-titled album that she and Steve contributed vocal melodies and lyrics to: “it got the cogs turning on a writing and lyrical level, and gave me a certain amount of self-belief,” he says.

After he and Rachel finished their album, Steve found a name for it, out of thin air: The Soft Cavalry. “I can’t explain its literal meaning,” he says. “It just made sense.” Might Rachel be the cavalry? "Maybe! It would be subconscious, but that makes sense too, strangely.”

STAFF COMMENTS

Barry says: While the interplay between Steve Clarke and Rachel Goswell's vocals are indeed a stunning addition to the overall vibe, it is the songwriting and progressive culmination that really shine through. Think the space-rock atmospheres and chord changes of Porcupine Tree / Steven Wilson mixed with the hazy saturated aesthetic of shoegaze. Properly lovely.

In 2017, Alexandra Sauser-Monnig began recording a set of songs about a breakup that had yet to happen. Her partnership had drifted into a comfortable state of indecision, stalling when it came time to make big life moves or chase new horizons. She had the sense that she needed to slip the relationship in order to pursue everything else life might have in store—more music, more adventures, a general sense of the unknown. Those feelings drifted steadily into a set of songs that lamented the inevitable loss but, more important, outlined the promise of the future. Recording the ten tracks that became her stunning solo debut, Dawnbreaker, under the new name Daughter of Swords gave Sauser-Monnig permission to go.

Dawnbreaker began as the first phase of Sauser-Monnig’s return to music after stepping to the sidelines for the better part of a decade. Her college trio, Mountain Man, rose to quick acclaim for their peerless harmonies around 2010, but the friends slowly drifted apart, following their own interests to different coasts and concerns. While working on a flower farm as a farmhand, though, Sauser-Monnig realized that she missed the emotional articulation she found in writing songs and singing them and resolved to start again. She pieced together an album just as Mountain Man—now newly gathered in the fertile Piedmont of North Carolina—began to regroup for its second LP, 2018’s aptly named Magic Ship. Working with Sylvan Esso’s Nick Sanborn, Sauser-Monnig shaped what began as quiet reflections into confident compositions, crackling with country swagger and a sparkling pop warmth. They were, after all, preemptive odes to the next phase of life.

Calling the ten tunes of Dawnbreaker breakup songs is to hamstring them with elegiac expectations, to paint them as sad-eyed surrenders to loss and grief. Sure, there is the gentle opener “Fellows,” a hushed number that explores the turmoil of being unable to reciprocate the feelings of a wild and shy, tall and fine man. And there’s the blossoming country shuffle of “Easy Is Hard,” where Sauser-Monnig stands in the yard and sees her lover leave, his taillights fading into the night sky; she can’t sleep, so she gets up to turn the lights and stereo on, to “feel my soul coming down.”  Even there, amid the throes of a life convulsion, there is a wisp of hope and possibility, framed by the way “the dim light change[s] into dawn, rosy blue, pink  fawn.” The very heart of Dawnbreaker is not the impending breakup that inspired many of its songs but the sense of liberation and breaking out that the breakup inspired.

Buoyed by the insistent patter of a drum machine and rich acoustic guitars,
Sauser-Monnig finds herself in search of new thrills during “Gem,” whether pondering the fleeting nature of existence at a waterfall’s edge or watching the shapes of mountains seemingly dance beneath her headlights. The muted, harmonica-lined boogie of “Sun” begins with a vulnerable confession, a revelation of loneliness; it is, however, a low-key anthem for the open road, about giving oneself over to the infinity of solitude and an endless strip of asphalt. Sauser-Monnig captures these scenes with a painter’s eye and delivers them with a novelist’s heart.

There’s no better testament than “Shining Woman,” where Sauser-Monnig portrays a ropy woman navigating her “steel steed” up and down the bends and passes of California’s fabled Highway 1. She openly marvels at that spirit and strength, wishing that for her own life. With Dawnbreaker, she has found it in some measure—the joy of something new, the excitement of risk. Though Sauser-Monnig nearly recorded these songs as barebones folk ballads, she reimagined them with Sanborn and a top-tier crew of North Carolina friends, like fellow Mountain Man singers Amelia Meath and Molly Sarlé, bandleader Phil Cook, and guitarist Ryan Gustafson. These vivid settings highlight the emotional contours of these songs, revealing the complexity that comes with knowing that, in order to live, you sometimes have to let something as strong as love go.

At the start of “Human,” the undeniable climax of Dawnbreaker, Sauser-Monnig wakes up early and finds her lover in bed. She slips out of the room, watches the sun rise alone, and has herself a long think amid nature’s frozen splendor. What does it mean to leave? What does it mean to stay? Is she wrong, and is he right? As the piano rises and her voice multiplies, coming in now from all sides, she admits something crucial to herself: “You can’t will a love to life/But you can do the loving thing: Make like a bird and fly.” It is a moment of reckoning with one’s own liberation, of realizing that sometimes a profound loss is the only way to gain something else. That is the lesson of Dawnbreaker, an intimate document of what it means to set oneself free.

STAFF COMMENTS

Barry says: Gorgeous, softly-sung vocals, tenderly plucked guitar and understated percussive drive (is that a CR-78 I hear?), all working together to make Sauser-Monnig's gorgeous artistic vision a reality. Perfect hazy summer songs.

TRACK LISTING

1 Fellows
2 Gem
3 Fields
4 Shining Woman
5 Grasses
6 Easy
7 Rising Sun
8 Long Leaf Pine
9 Human
10 Dawnbreaker

When the three founders of Jambinai decided to, “communicate with the ordinary person who doesn't listen to Korean traditional music,” few outsiders anticipated an extra-ordinary fusion with metal, post-rock and noise. “Most people expect Asian traditional music to make something smooth for yoga or meditation,” says band spokesman Lee Il-woo. “We wanted to break all of that.” Even fewer would have predicted that the likes of Jambinai would play the 2018 Winter Olympic Games closing ceremony in their home city of Seoul, accompanied by a troupe of geomungo (Korean zither) players - an audio-visual spectacle that such an occasion demanded. Now comes ONDA, their spectacular new album on Bella Union.

Says Lee, “Onda means ‘come’ in Korean. The title track has the lyric, ‘At the end of your darkness, pain will turn into the shining stars and it’s going to come to you.’ I want to cheer people up when they hear that track. Onda also means ‘wave’ in Spanish, and I also want to say the third big wave of Jambinai is coming!” The first big wave arrived in 2010 after traditional music students Lee (guitar and piri, a bamboo oboe), Kim Bo-mi (the bow-stringed haegum) and Sim Eun-young (geomungo) joined forces and released the Jambinai EP. The trio’s debut album Différance won Best Crossover Album at the 2013 Korean Music Awards, triggering several overseas tours and the second wave of Jambinai - an international deal with Bella Union and a second album, A Hermitage. At the time, Lee cited the influence of bands like Metallica, Mogwai and Sigur Rös, but such was the trio’s energy levels, they seemed to draw more on thunderstorms, tidal waves, volcanic eruptions, blizzards and desert winds – a force of nature more than a band.

It’s hard to believe but ONDA is even more dynamic and rhythmic, with the permanent addition of Jaehyuk Choi (drums) and B.K Yu (bass), fixtures of Jambinai’s live band since 2017. The way the quintet “sticks together like gears of a clock or machine,” says Lee, is celebrated on ‘Square Wave’, a breathtaking example of Jambinai’s ability to alternate between ambient serenity and molten ferocity.  ‘Square Wave’ is also one of several ONDA cuts to feature vocals. “Voice and lyrics have strong energy, they can touch someone's heart directly more than instruments,” Lee explains. “Also, most people don’t know Korean, so they hear our voices as sound rather than meaning. We needed more sounds on this album.”

Not that the instrumental tracks are any less momentous. Take the opening ‘Sawtooth’ (featuring Hwiseon Choi on yanggeum, a hammered dulcimer), because Lee thinks the band’s constantly shifting dynamic, “resembles the sawtooth waveform of electronic sound.” Other ONDA song titles are similarly revealing. ‘Event Horizon’ was suggested by a Jambinai fan to represent the music’s, “strength and chaos”, though the haunting folk instrumentation is never swept aside by the energy on display. ‘Sun. Tears. Red’ is one way to describe Jambinai’s emotional as well as visceral impact, punctuated here by hollering, anguished voices. Says Lee, “I saw a documentary about Korean independence against Japanese imperialism. I wanted to express the soldiers’ fear when they greet the rising sun, preparing to battle for freedom even though they knew they were going to die that day.”

13 minutes long, ‘In The Woods’ is the album’s lengthiest epic, originally recorded for Jambiani’s 2010 EP and now rearranged for the expanded quintet, plus guest traditional singer Bora Kim. The inspiration here is environmental pollution, soundtracked by eight minutes of mournful ambience that slowly builds to a shattering climax. “The earth is in serious pain,” Lee concludes. ONDA ends on a thematic note of drama and redemption. In ‘Small Consolation’, says Lee, “a person leads their weary body to a distant glow, which is small consolation. But when they get there, it turns into a big light, big consolation and happiness.” The closing title track comes in two parts: a calm prelude (featuring Lee on saenghwang, a tall reed mouth organ) before the euphoric main course, graced by choral grandeur. Once the music dies away, the feeling is one of blissful exhaustion.

Says Lee: “After Jambinai’s US tour of 2017, I travelled the country for a month. I was worried about my future and the music because I had quit my job for the band but we didn’t have much money and the tour was tough and tiring for everyone. But when I visited the Grand Canyon, Mother Nature cheered me up and it was felt like she was telling me, “you are doing really well. Back in Korea, I wrote more songs with confidence and happiness.”

The third wave of Jambinai is here. Come (Onda) join them for the ride of your life…

STAFF COMMENTS

Barry says: Since their 2016 outing, 'A Hermitage' Jambinai have woven the traditional sounds of South Korea through their music, combining the haunting sounds of the traditional instruments with crushing post-metal dynamics and tender instrumental delicacy. Finely treading the line between simmering, gloomy unease and euphoric spine-tingling highs, Jambinai continue their legacy with yet another killer LP.

TRACK LISTING

1 Sawtooth
2 Square Wave
3 Event Horizon
4 Sun. Tears. Red
5 In The Woods
6 Small Consolation
7 ONDA Prelude
8 ONDA

The Peyote Dance’ is the first in a triptych of albums to be released by Bella Union over the next year titled ‘The Perfect Vision’, which take their inspiration from the writings of three emblematic French poets: Antonin Artaud, Arthur Rimbaud and René Daumal and their necessity to travel to different lands to acquire a new vision and perspective on themselves and artworks. Perhaps a perfect vision, it is one that allowed them to transcend forms and borders, both physical and mental. 

Recorded in the Sierra Tarahumara of Mexico, Abyssinian valley of Ethiopia and Himalayan Summit of India respectively, the central idea is that each landscape holds sleeping memories that are the witness of human passage. Each album retraces the poets’ footsteps, channelled through on-location recorded soundscapes and musicalities, with Patti Smith revisiting the words that have been inspired by the landscapes.

The triptych marks a new chapter in the collaboration between Soundwalk Collective and Patti Smith, who first worked together on ‘Killer Road’ in 2016.

‘The Peyote Dance’ focuses on a brief part of Artaud’s life, when he travelled to Mexico City in early 1936 to deliver a series of lectures at the University of Mexico on topics including Surrealism, Marxism and theatre. In the summer, he travelled by train towards the Chihuahua region and by horse to the Tarahumara mountains with the help of a mestizo guide, which the album’s opening track, recited by Gael Garcia Bernal, evokes. Artaud was drawn to the story of the Rarámuri: Native Indian people who live in the Norogachi region of Mexico’s Copper Canyon, the Sierra Tarahumara. One of Artaud’s goals was to find a peyote shaman who could heal him; allowing him to recover from an opioid addiction.

During his stay, encountering the Rarámuri Indians and peyote shamans of Tarahumara and engaging in ceremonies, Artaud had a transcendental experience which resulted in the book ‘The Peyote Dance’. For the eponymous album, Soundwalk Collective and Patti Smith revisited writings from the book and other texts written after Artaud’s return to France, where he remained in a mental asylum in Rodez undergoing electric shock therapy. During this dark period, the encounter with the Rarámuri stayed with him as his last significant, happy experience. The final track on the album is a poem written by Patti Smith in homage to Artaud’s last hours in Ivry.

TRACK LISTING

1. Una Nota Sobre El Peyote
2. Indian Culture
3. Tutuguri: The Rite Of The Black Sun
4. Tutuguri: The Rite Of Black Night
5. The New Revelations Of Being
6. Alienation And Black Magic
7. Ivry
8. Basalówala Aminá Ralámuli Paísila

Even this far into the 21st century, the recent social media furore surrounding US congresswoman and free-style dancer Alexandria Ocasio-Cortez illustrated that the spectacle of someone dancing without compunction can still ruffle the right (and alt-right) feathers. In which case, all hail the third album from Toronto’s ardent, art-dance sibling trio Doomsquad. Let Yourself Be Seen is the most assertive, ambitious, groove-sodden declaration of intent yet from Trevor, Jaclyn and Allie Blumas: the sound of dancefloor believers and thinkers firing on all personal and political fronts, at a time when we need it most.

Even if Doomsquad never lacked the courage of their convictions, Let Yourself Be Seen ups the stakes. On 2016’s Total Time, the trio issued invitations to free your mind, body and spirit over dirty bass-lines and hypnotic disco jams. And yet, their reliance on unspoken sibling intuition left them fearing that much of its “message and meaning” had gone unheard. Thus, the trio took a more forthright approach for their third album, aiming to “crystallise what Doomsquad is and what it means to us. What we always knew but put at the forefront of this record is that Doomsquad is a project of protest, catharsis and emotional and spiritual reconnection through music and, especially, through dance-music culture. It’s about activating the body on the most fundamental level, into states of change, release and reunion.”

Richly steeped in the influences of acid house, West African disco, spiritual jazz, NYC no-wave and new-age ambient music, Let Yourself Be Seen hums with a sense of vigorous, invigorating purpose. After the overture of ‘Spandrel’, ‘The General Hum’ sends out a buoyant new-wave rallying cry for maximised engagement just when the world seems intent on stifling it. “Is there a place for spirit anymore?” it asks. Kicking in with a percussive bustle that all but defies you to try and stand still, ‘Aimless’ answers in the affirmative.

Elsewhere on the album, Doomsquad’s own dynamic thematic engagement alights on subjects ranging from formative influences to modern societal struggles and eco-crises. ‘Let It Go’ grapples with the challenges of social change at 140BPM, climaxing with a scalding guitar solo to match the heat of its questioning thrust. The mellifluous ‘Emma’ reflects on early-20th-century anarchist and activist Emma Goldman; ‘Dorian’s Closet’, meanwhile, honours New York drag queen Dorian Corey. “Let Yourself Be Seen was fuelled by the inspiration of outsider artists and thinkers before us,” say the band. “Through these songs, we get to glorify some of our heroes.”

Doomsquad's intent to carry their heroes’ “messages of empowerment, release and spiritual self-determination” to new audiences peaks on the title-track, where the album’s disparate parts build to a disco inferno with a call to “Let yourself be seen!” ‘The Last Two Palm Trees in LA’ offers an empathetic take on a similar theme, based on the acceptance of ageing, before ‘Weather Patterns’ steers a reflection on unity in the face of global crisis to a buffeting crescendo with a thrilling urgency.

The result is an album for fraught political times, charged by the impetus to bring “music back to the body”. Close-to-home influences on that score include Tanya Tagaq and Peaches, both of whom Doomsquad have toured with; further afield, Peter Gabriel, Diamanda Galás, Genesis P-Orridge and Underworld numbered among inspirations. Meanwhile, as the trio’s creative process took them from a lakeside cabin to a studio in Toronto, they benefited from the input of kindred spirits such as Ejji Smith, whose virtuoso guitar-shredding propels ‘Let It Go’. Israeli jazz composer Itamar Erez adds watery synths to ‘Emma’, while a key studio collaborator was producer/artist Sandro Perri, whose credits include Barzin.

TRACK LISTING

1 Spandrel
2 General Hum
3 Aimless
4 Let It Go
5 Emma
6 Spandrel II
7 Dorian's Closet
8 Let Yourself Be Seen
9 The Last Two Palm Trees In L.A.
10 Weather Patterns

Hannah Cohen has arrived home. From the title of Hannah Cohen’s new album to the depth and beauty of the music, the Woodstock, NY-based singer-songwriter’s third album ‘Welcome Home’ displays a new level of confidence and comfort with the many creative tools at her disposal. Cohen’s remarkably evocative voice is surrounded by dreamy, swooning incantations, from the rippling ‘This Is Your Life’ and the slowburning, forthright statement of ‘All I Want,’ to the soul swagger of ‘Get In Line’ and dramatic vocal leaps of ‘Wasting My Time’.

TRACK LISTING

This Is Your Life
All I Wanted
Dissolving
Holding On
What's This All About
Old Bruiser
Get In Line
Wasting My Time
Return Room
Build Me Up

“If you stick to just what you know, your music, your art or whatever your situation is becomes stagnant,” say Denmark’s Lowly. “And we wouldn’t like to miss out on anything, just because we felt too comfortable.”

A band unafraid to reach beyond their comfort zone, Lowly thrive on the embrace of doubt and curiosity. An inquisitive spirit drives the quintet’s second album, which evolved from an open-ended process in large spaces, from lost factory halls to water towers. Released via Bella Union, ‘Hifalutin’ brims with suggestive discoveries from its title onwards. The result is the work of five people expressing themselves freely as a tight collective: focused, yet fertile with possibility.

Warmly received in Pitchfork, Uncut and elsewhere, Lowly’s debut album, Heba, was a feast of dramatic dream-pop. Yet ‘Hifalutin’ is more ambitious still. The album was primarily recorded in a 150 square meter warehouse, just outside the city of Aarhus. Band members recorded their parts as individuals and as a group; meanwhile, the producer, Anders Boll, placed microphones in nooks and crannies of the enormous space, all the better to highlight the dynamics between the band members.

“We dared to be even more curious,” explains guitarist and singer Nanna Schannong, “and started recording without knowing where we would end up. This curiosity released a huge amount of trust and confidence between us: we became much more tolerant of each other's diversity, and dared to give each other space. It also meant that some sketches suddenly became two pieces… or, that eight to nine different pieces suddenly found themselves in one song.”

A willingness to turn their backs on accepted frames of practise, for both recordings and performances, has characterized Lowly since their formation in 2014 at the music academy in Aarhus, Denmark, where they studied different subjects but forged a unique chemistry out of contrast.

As synthesizer player Kasper Staub reflects, “We want to give doubt, and curiosity, a voice. It is needed in a world characterized by obsession and goal-orientated living. You don’t need to know the answer in advance to express yourself. If we don’t allow ourselves to forget the goal, we risk missing all that we did not already know.”

An invitation sent from and to curious minds, ‘Hifalutin’ is luminous modern pop at its most delicate and robust, assertive and open-ended.

STAFF COMMENTS

Barry says: Lowly skilfully craft a rising cacophony of echoed dream-pop, hazy electronics and smooth synth swells. Carefully layering together elements into a poppy but satisfyingly weird whole. Think of Efterklang in their more introspective moments mixed with the modern nu-dance stacked synth throbs and Bjork's off-piste vocal style and you're at least part of the way there. Really beautiful, immersive stuff.

TRACK LISTING

Go For A Walk
Stephen
Baglaens
Staples
I
In The Hearts
Out Beyond
Children
Ii
Delicate Delegates
Selver
12:36
Iii
Wonder

Fresh off the back of her critically-acclaimed album ‘My Name Is Safe In Your Mouth’, Liela Moss presents a beautiful collection of rain-themed cover versions.
In her own words: “Maybe because I’m a bit neurotic about tidying, sorting and indexing things in my life, I thought that creating sets of cover versions would be a good thing to record this year. I began making lists and categorising things that are related in my mind but nobody else’s! I might do a collection about Weather, Elements, Utensils (watch out for that one)... Stuff that is so everyday that we forget to stop and give it a kiss. I wanted a plaything, for new ways of production. Making these covers has been a learning exercise and a way to pay homage to songs that have haunted my childhood, including the title which waves a little hello to luscious Karen Dalton.”

TRACK LISTING

Here Comes The Rain Again (Eurythmics)
I Can’t Stand The Rain (Ann Peebles)
It’s Raining Today (Scott Walker)
Prayers For Rain (The Cure)

“What came before you is why you’re here now,” declares the man born Eric Brandon Pulido. “So embrace both the past and the present.”

The current frontman of Texan legends Midlake embraces both past and present times for his glorious debut solo album, To Each His Own, under his new enigmatic alias E.B. The Younger. It’s a deeply personal record, rooted in Pulido’s love of warm, glowing rock, folk and country hues that came of age in the 1970s woven with contemporary recalibrations: guitars ripple, sigh and sizzle alongside gliding keyboards over crisp, choppy and becalmed rhythms. Pulido’s lyrics equally look back and forth, philosophising about his place in the world, the choices he’s made, and where they have taken him.

Or, as he describes To Each His Own, “an eleven-song journey through the life and times of a wayward Midlaker seeking to find purpose in an uncharted land. Will he find his way? Listen, and ye shall find.”

Pulido’s “wayward” phase began in 2014 with a break from Midlake, “to invest time in kids and musical projects less physically demanding”, he says. His first project was the transatlantic collective BNQT, a self-described ‘poor man’s Travelling Wilburys’ featuring Pulido, Ben Bridwell (Band of Horses), Fran Healy (Travis), Jason Lytle (Granddaddy) and Alex Kapranos (Franz Ferdinand) who recorded the 2017 album BNQT – Volume 1. But To Each His Own is all Pulido – or rather, E.B. The Younger.

“It’s an antiquated way of naming a younger member of a family,” he explains. “I’m expressing, simply, that something greater came before me. It’s countering the idea in today’s culture that everything revolves around ourselves, that we’re the most important thing in the world. I feel that humility is a lost virtue – you only have to look at America’s current leader - which I want this record to represent. Honesty, empathy, love.”

In this case, honesty begins at home. Solo debutantes typically distance themselves from their musical past, but Pulido freely acknowledges Midlake’s presence on To Each His Own, from the three Midlakers in his backing band to an album title that stems from his memories of band discussions.

Says Pulido: “It’s very common in bands to have artistic differences, and we were no exception. Saying ‘To each his own’ was almost a way to collectively acquiesce and move forward when differences would arise. It’s OK that we feel differently, because both opinions are valid. The phrase is also about me doing something on my own, a statement that it’s OK to define who you are outside of what has defined you before.”

With Pulido on lead vocals and acoustic guitar, he drafted in Midlakers (and BNQT contributors) Joey McClellan (electric guitar), McKenzie Smith (drums) and Jesse Chandler (flute), who dovetail with Scott Lee (bass), Daniel Creamer (keyboards) and Beau Bedford (keyboards) from local country-funksters The Texas Gentlemen to form an empathic ‘alt.Wrecking Crew’ of session

players. Bedford is also the album’s principal producer, while studio engineer and Centromatic drummer Matt Pence acted as the overarching producer, alongside Pulido, as well as adding percussion and occasional drums.

As Pulido explains, “Midlake self-produced and recorded everything, but as with BNQT, I wanted to embrace collaboration. I’d present songs with just voice and acoustic guitar and ask the musicians where they heard things going, and so we built the songs up organically.”

Within that organic build, Pulido still had specific ideas in mind. He singles out the late, great Harry Nilsson as a key influence. “Midlake songs were often cerebral and minor-key and I wanted some of mine to be more playful and buoyant and major key, which Harry did so well, while still making deep, thoughtful music.”

Pulido also hears traces of The Eagles, Cat Stevens, Joni Mitchell, Wings and CS&N in To Each His Own, plus an “eighties vibe” to the record’s freewheeling lead single ‘Used To Be’, inspired by The Last Waltz, the film documentary about Pulido’s all-time favourites, The Band. As he recalls, “The guys are sitting backstage playing ‘Old Time Religion’, and Robbie Robertson says, ‘It’s not like it used to be!’, which has always stuck with me. But it’s OK by me that it’s not like it used to be. Embrace where you’re at, and look forward. Be both the old and the young.”

The Old and The Young is a familiar concept to Midlake fans, as a songtitle from the band’s last album Antiphon. In one sense, ‘The Young’ are also represented here by Conrad Lee Pulido, Eric’s three-year-old son, whose uninhibited dancing to calypso rhythms (from Harry Belafonte and Nilsson tracks) inspires the carefree Tropicália of ‘CLP’. A similarly summery vibe energises ‘On An Island’, inspired by an artist retreat (on the island of Nantucket) where Pulido, “focused on, and finished, several of the songs for the album.” But again Pulido finds a double meaning: “To be an island means you don’t live or march to the beat of anyone else’s drum.”

Self-determination also defines the sumptuous, soft-rocking “When The Time Comes” where Pulido gently mocks himself as the so-called ‘artist’ who chose to “follow the dream” but without any guarantee of job security or a pension. Moreover, the exquisite ‘Hope Arrives’ recognises that making art typically involves self-doubt, as Midlake experienced. As Pulido recalls, “I felt that fear controlled the obstacles that existed for the band. But when hope arrives, fear will disappear, and peace will come.”

Midlake also figure in the acoustic, sparse ‘Monterey’, named after the Californian idyll where the band played their last show to date, after which Pulido suggested a break would benefit all: to step off the merry-go-round for a while after riding it together for 15 years. “I said, we’ll pick things back up if and when it makes sense to everyone, trust me,” he recalls. “And I was at peace with our decision.”

The closing title track emanates a palpable sense of peace while crystalising Pulido’s past-present/old-young mindset: “I’ve been about all alone / I’ve never felt so good before… And what we did before / No I do not ignore”. With a new BNQT album in the works and, if all goes to plan, a Midlake album to follow, Pulido is already looking forward. But his present is E.B The Younger, and his effortlessly melodic, gorgeous songs invested with honesty, empathy and love. Listen, and ye shall find.

STAFF COMMENTS

Barry says: Half way between poppy Americana and folky Indie, Pulido is more than capable of penning an effective tune, with richly textured acoustic instrumental backdrops forming the perfect base layer for his unmistakeable vocal talents. Warm, rich and beautifully immersive.

TRACK LISTING

1. Used To Be
2. When The Time Comes
3. CLP
4. Down And Out
5. Don't Forget Me
6. Out Of The Woods
7. Monterey
8. Hope Arrives
9. On An Island
10. A Matter Of Time
11. To Each His Own

Pom Poko are Ragnhild (lead vocals), Ola (Drums), Jonas (Bass) and Martin (Guitar). The 4 met whilst all studying at the Trondheim Music Conservatory in Norway and quickly garnered interest from a wider audience as they began playing and writing together. The group cite a range of influences for their unique sound, including “(West)-African music like Oumou Sangaré and Ali Farka Touré; indie bands like Vulfpeck, Palm and KNOWER; noisy high-energy bands such as Hella and Death Grips; and music with interesting lyrics such as Jenny Hval and Nick Drake.” But you’d struggle to pin them down to one or two forebears, given their resistance to anything resembling a prescriptive approach.

Speaking about the origin of their name, which taken from one of the more vigorously outré films by Japanese animation visionaries Studio Ghibli, the band explain, “The Pom Poko film captures a lot of what we'd like our concerts to be: high energy, fast pace, lots of stimulus for eyes and ears – and most importantly, really crazy and fun. The movie is basically the time of your life for two hours, and afterwards you're in some state of exhausted ecstasy. Plus the raccoons in the movie, and raccoons in general, are really badass.”

The band’s own bad-ass-ery is writ large on album opener ‘Theme1’, which locates a sweet spot between Deerhoof and Battles as singer Ragnhild issues loud, clear rebel yells over Martin’s math-rock guitar. Singles ‘My Blood’ and ‘Follow The Lights’ layer seductively sweet melodies over squalls of sound, while the funk-fired ‘My Work Is Full of Art’ offers a kind of mission statement: “I’ll just let freaky surround me,” sings Fangel.

Elsewhere, Pom Poko’s instinctive dynamism teases uplifting thrills from boundary-melting experiments. Glacial shards of guitar bounce off steel-drum flurries on the rapid-fire serotonin fix of ‘Blue’, before the sweetly infatuated ‘Honey’ comes sequenced next to the thrashing tonal lurches of ‘Crazy Energy Night’. The sing-song title-track spikes the ranks of sweetly sad birthday songs with a rebellious sting (“I’m not your bitch!”), while ‘Daytripper’ is a commanding come-on from a band who are no more likely to mince their words than limit their range. ‘If U Want Me 2 Stay' resembles ‘The Tra La La Song’ retooled as a sci-fi cyber-pop anthem of carefree defiance, while ‘Peachy’ closes the album with an exultant melody and one last declaration of transformative independence: “Watch me as I shape shift.”

TRACK LISTING

1 Theme #1
2 My Blood
3 Follow The Lights
4 My Work Is Full Of Art
5 Blue
6 Honey
7 Crazy Energy Night
8 Birthday
9 Milk Trust
10 Day Tripper
11 If U Want Me 2 Stay
12 Peachy

“From the crushed and pulverised skulls of our conquered enemies rises the promise of a new dawn,” Miki Berenyi grins. “OK, no, maybe keep it simple. Clean slate, fresh start - it's all about the music."

From four individual parts, with distinct musical pasts but also overlapping histories, a new unified chapter begins with Piroshka and the quartet’s thrilling debut album Brickbat.

The album is named after the word for a missile, which nails the record’s heavyweight lyrics if not the music’s gorgeous, bittersweet and euphoric pop. Think of Brickbat as a wolf in sheep’s clothing – which suits the name Piroshka, the Hungarian take on the wolf-terrorised fairytale hero Little Red Riding Hood - a subtle nod, too, to a certain red hairdo that stood out in the 1990s Brit-guitar-pop scene….

The four band members are former Lush vocalist/guitarist (and former redhead) Miki Berenyi, former Moose guitarist KJ "Moose" McKillop, Modern English bassist Mick Conroy and former Elastica drummer Justin Welch. The connections between them are a veritably tangled family tree. Before they lived together and raised a family, Miki and Moose were notable figures on the so-called shoegaze scene, while Elastica were Britpop peers. After post-punk pioneers Modern English split for a second time, Mick became a latterday member of Moose, while Justin joined the reformed Lush in 2015. And when Lush required a bassist for what proved to be their final show (in Manchester) in November 2016, Mick stepped in.

It was the rehearsals for that Manchester show that laid the foundations for Piroshka. “We sounded great!” says Justin. “Like a proper punk band. Mick brings a huge amount of enthusiasm and livens up the room, and I thought, this is the kind of band I want to be in again.” Mick agreed. “I’d seen Lush so many times, it was like playing with old friends. Miki agreed it was good fun too. And with Moose available, we thought, let’s all have a bash, see what happens.”

Though Brickbat kicks off with a squeal of feedback, the album is far from a proper punk record, with as much sublime delicacy as physical force, with guitars to the fore but also electronic flourishes in all manner of spaces. Combined, they drive the nuggety melodic bombs long associated with Miki’s songwriting. But it wasn’t a foregone conclusion that she would want to join a new band. In the wake of Lush drummer Chris Acland’s unexpected suicide in 1997, his shocked and grieving bandmates felt unable to continue. Miki, in particular, “had to get completely away from music. The gate just shut for me.”

As a parent with a full-time job, it took Miki until 2015 to agree to reunite Lush, with Chris’ good friend Justin on drums. But it wasn’t to be a permanent arrangement. “After the Manchester show, Justin asked if I’d be up for something else,” Miki recalls. “But I’d never made music outside of Lush, and I’ve never wanted to do anything solo. I have trouble with self-belief, I need someone else to motivate me, and in this case, it was Justin. He sent drum tracks with guitar parts and odd words, so I wrote some vocals and lyrics, which became ‘This Must Be Bedlam’ and ‘Never Enough’. When Mick added bass, it sounded great. When Moose added guitar and keyboards – I’d never written like that before, it was such good fun. I’d always written on my own in Lush.”

Justin: “The first piece of music I sent Miki sounded like Can, with the odd word, like ‘protest’ and ‘bedlam’. It was a time in the world when everything felt wrong to me.”

Mick: “We didn’t want Piroshka to sound anything like any of our old bands. When Miki sings, you can’t get away from Lush, but for me, we sound like four people exploring and having fun, knuckling ideas into shape, trying to make them sound new and different.”

In any case, the blunt, forceful lyrics are many miles from Lush, tapping the current fear and loathing at the heart of society and politics, sometimes viewed through the heightened, anxious prism of parenthood, brutally honest at every turn. Take ‘Village Of The Damned’, the words penned by Moose (alongside ‘Hated By The Powers…’ and ‘Everlastingly Yours’). “It’s about school shootings,” he frowns, “and our reaction to almost being unable to take our eyes off twenty-four-hour news and internet feeds. You’re depressed and appalled by what you see.”

‘Heartbeats’ is Miki’s parent-related lyric, “the idea of closeness with your baby, and then as they grow, you have to let them go off into the world.” And what a world awaits them. Both ‘What’s Next’ and ‘This Must Be Bedlam’ were inspired by the mess of Brexit (“the idea of unity versus disunity” says Miki), ‘Never Enough’ rails against greed and inequality and ‘Hated By The Powers That Be’ was inspired by a button badge that Moose found with the slogan Hated By The Daily Mail. “It feels good to be that kind of person,” he declares. “To know we are not alone in being appalled with what’s going on.”

Miki: “Given what’s happening, it feels weird at this time to not write about how scary things are, and self-indulgent to have come out with anything else. It’s tricky, though, because any kind of protest lyric can easily be preachy and clichéd, while writing about parenthood can sound smug or mawkish. There’s a lot of complexity in each subject. The context is more personal than just ‘The world is shit and you have to do something about it’.”

Bella Union skipper Simon Raymonde had been one of the first to hear the demos; he instantly signed the band, further entangling the Piroshka family tree - his former bandmate Robin Guthrie (of Cocteau Twins) produced Lush’s debut album, while Raymonde’s current bandmate Richie Thomas (in Lost Horizons) was also a former member of Moose. Raymonde subsequently introduced Piroshka to Paul Gregory of Bella Union labelmates Lanterns On The Lake, who mixed Brickbat (except ‘What’s Next’, mixed by Alan Moulder) and to Fiona Brice (another Bella Union alumni), who wrote Brickbat’s strings arrangements, with Terry Edwards (ex-Higsons, current Blockhead), who played on Lush’s debut album, on brass.

Together, from feedbacking intro to the beautifully fuggy dream that is the album finale ‘She’s Unreal’, Piroshka and Brickbat are a wonderful and, frankly, unexpected union of proven talent.

STAFF COMMENTS

Barry says: There was no way this wasn't going to be good, with such legendary musicians on board, but it really is a perfectly balanced meeting of minds. The shoegaze hypnosis of Lush shines through, along with the spacey 90's throb of Justin Welch's drums keeping things going. It's a brilliantly dynamic mix, and one that is more than the sum of it's considerable elements. A hugely enjoyable and brilliantly written collection.

TRACK LISTING

This Must Be Bedlam
Village Of The Damned
Never Enough
Blameless
What's Next?
Hated By The Powers That Be
Run For Your Life
Heartbeats
Everlastingly Yours
She's Unreal

“The act of making this record has felt truly exotic for me by way of its minimalism,” says Liela Moss of her debut solo album. Released via Bella Union, ‘My Name Is Safe In Your Mouth’ more than lives up to Moss’s promise of fresh, bold adventure.

Sonically spare yet sumptuous in its emotions, elemental power and expansive melodies, the record is a richly felt, vividly-realised trip into the interior from the Duke Spirit singer.

A serene-to-stormy series of deep dream-pop meditations on devotion and selfhood, creativity and parenthood, it treats unknown territory not as something to fear but as a seed-bed of possibility.

TRACK LISTING

Memories And Faces
Subequal
Into The Flesh
Above You, Around You
Wild As Fire
Manipura
New Leaves
Salutation
Moon
Hidden Sea

“I’d always wanted Midlake to experiment more with the arrangements, or to get more into psychedelic textures,” says Paul Alexander, the bassist from Denton’s prog-folk voyagers. Those ambitions are fulfilled on Astropsychosis, Alexander’s debut album as Two Medicine, released via Bella Union in November. Richly ambitious in its sonic colour and conceptual reach, Astropsychosis is an album of luminous space and mindful grace, its depths and details coaxed into orbit with the lightness of an artist in his element.

Alexander began facing his future in January 2016, after a year-long break from music following Midlake’s tour for 2013’s Antiphon. “I wanted to find out if I could write songs and if I could sing them – basically, whether or not I could make an album on my own,” he asks. Over 15 months of writing, arranging and recording (in Midlake’s old studio in Denton), he got his answer. From the early reference points of Pet Sounds, dream-pop and pre–Dark Side of the Moon-era Pink Floyd, Astropsychosis blossomed into a very modern exploration of sound and psychedelia, bright on top and burning with purpose below.

TRACK LISTING

1 SF
2 Oblivion
3 Will Not
4 Voice
5 Gold
6 An Eye For An I
7 Astropsychosis
8 Kuopio
9 tmrw

It's been a hell of a recent past for John Grant, who, aside from getting the unquestionable delight of getting to see our faces every time he comes to Manchester (and us, his), has produced a superb album with Stephen Mallinder of Cab Voltaire and Wrangler fame under their collaborative moniker, 'Creep Show', and a string of live dates in the diary. All of this while recording his oft-teased new LP, 'Love Is Magic'. 

'Metamorphosis' kicks things off, bringing together stabbing saw-waves and Grant's unmistakeable vocal acrobatics, tumbling atop off-piste melodic turns and new-beat percussives, setting a brilliantly warped precident before what may well be Grant's finest work to date in the stunning titular piece, 'Love Is Magic'. Treading familiar minor-key ground, we get a solemn but hopeful progression played out by stabbing synth lines and huge gated snare hits, covering all the sonic space necessary while keeping the mess down to a minimum and allowing John's voice to really shine before launching into the mindblowingly beautiful chorus (the vocal harmonies, attributed to Paul Denton of Midlake have an ethereal and dynamic momentum that is unmistakeable) and staggered but determined forward-thrust. 

I could keep running through the tracks, but some of our readership would doubtless give up or expire before i'd finished blathering on, so i'll keep it to a few key points. 'Smug Cunt' while clearly filled with the wry venom we've come to know and love from Grant is an unimaginably deep cascade of dytopian synth pulses and resonant bass,  launching into a spine-tinglingly effective culmination of gloom and euphoria. 'He's Got His Mothers Hips' brings the camp disco vibes spectacularly, with a truncated snappy analogue bassline swirling around beneath the syncopated vox before exploding into a major key serotonin release in the hand-waving chorus. 

Move on a little and the spoken-word commentary of 'Diet Gum' takes an admittedly hilarious step into the leftfield, perfectly illustrating JG's clever tongue-in-cheek sense of humour 'Did you really think you could seduce me in a leisure suit?... well.... fair enough' and captivating presence before bringing it back to the sublime with the tear-inducing majesty of 'Is He Strange'. Stunning piano and vocal harmonies meet together into the perfect storm of majesty and misery. The closing duo of 'The Common Snipe' and 'Touch And Go' are once again perfectly matched, with the minimalistic backline and flickering sample and hold synth lines peaking lightly behind the former, and the anthemic, rolling stagger of the latter closing off a stunning and career-defining collection. It's a testament to Grant's sphere of influence and ability as a songwriter and producer that so many influences can be absorbed into his sound without sounding forced or disjointed. A brilliantly melodic, heart-warmingly anomalous wonder.  

STAFF COMMENTS

Barry says: Once again, John Grant pulls out a diverse range of influences (we've seen what records he buys!) into a cohesive and superb combination of off-piste vocal timbres, mind-melting synths and spine-tingling melodies. Punctuated with moments of introspective melancholy but quickly resolved into a warm bath of huge rock progressions and gritty synth swirls. Absolutely brilliant, and undoubtedly the best work of his career.

TRACK LISTING

1 Metamorphosis
2 Love Is Magic
3 Tempest
4 Preppy Boy
5 Smug Cunt
6 He's Got His Mother's Hips
7 Diet Gum
8 Is He Strange
9 The Common Snipe
10 Touch And Go

The eighth album from Marissa Nadler, For My Crimes, is the sound of turmoil giving way to truth. The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography. 

Following the release of 2016’s acclaimed Strangers, Nadler’s relationships were put to the test as she left the Boston area on tour. She wrote throughout 2017 about this tension, and ended up with three times as many songs as she needed. But after reviewing the demos with her co-producers Justin Raisen and Lawrence Rothman, Nadler wrote a flurry of tight but no less intense new songs in the week before arriving at Rothman’s Laurel Canyon studio, House of Lux, in early January. She considered it a challenge to herself, applying new strategies and structures to the craft of “slow music” she’s honed over the last 15 years. From that group of songs came nearly all of the singles on For My Crimes, some of the most indelible of Nadler’s career.

The opening title track is classic Nadler: a sweeping, vaguely Southern drama of voices, strings, and acoustic guitar, that walks the fine line between character song and personal indictment by metaphor. “For My Crimes” spawned out of a songwriting exercise in which Nadler wrote from the perspective of someone on death row, but the song casts a dark shadow over an album that turns marital conflict into inner reflection. Helping Nadler dig down into the song’s remorseful soul is her old friend Angel Olsen, who serves as a distraught echo from beyond in the chorus.

“Blue Vapor” has an intoxicating raw energy luring you in, somewhere between Springsteen and a grunge band playing MTV Unplugged back in the day. It feels at once tight and improvisational, balancing on little more than Nadler’s steady strumming and vulnerable harmonies with Kristin Kontrol (of Dum Dum Girls), until the heavy, purposeful style of Hole drummer Patty Schemel conjures chaos in the second half. This slow burn feeling is all too appropriate for a song centred around repeating patterns and creeping numbness in a relationship. “Blue Vapor” names that strange ambivalence and turns it into a chant that hangs in the air long after the song ends.

Dreaminess and eeriness have often been two sides of the same coin in Marissa Nadler songs. Where “For My Crimes” and “Blue Vapor” come from her dark side, the album has plenty of moments that twinkle in their sadness and sentimentality. “I Can’t Listen to Gene Clark Anymore” is one of those highly specific songs you’ll get if you’ve ever lost a favourite band to your own broken heart. It sways perfectly in its bittersweet-ness, like a slow dance you never want to end. After the strings swell and the bass pedals kick in, Nadler coos, “Cause I remember/The songs you sang/To me when it was you/I was falling for.” Later, closing track “Said Goodbye To That Car” turns a final odometer reading into a rhythm for a catchy, wistful hook: “1-1-9-6-5-7, and the engine blew/“1-1-9-6-5-7, and I thought of you,” Nadler lulls, harmonizing with herself. It’s an ingenious way to capture the end of an era in one small moment, and she moves as delicately as you would handling an old photo with her sweet oohs.

Bolstering the intimacy of these songs is the strong feminine energy that defined their recording. Between Rothman’s fluidity with both gender and genre (as heard on his 2017 album The Book of Law), and Raisen’s track record of successful collaborations with strong women (Olsen, Kim Gordon, Charli XCX), Nadler felt empowered to explore without judgement in the studio. With the exception of a single saxophonist, every player on the album is a woman of notable pedigree and distinct style, many of whom have played with Nadler over the years. In addition to the cameos by Angel Olsen and Kristin Kontrol, Sharon Van Etten sings backup on “I Can’t Listen to Gene Clark Anymore” and “Lover Release Me.” Mary Lattimore joins on harp for “Are You Really Gonna Move to the South,” while the great experimental multi-instrumentalist Janel Leppin plays strings throughout the record.

These women and others helped make For My Crimes as dynamic as it is intimate, but Nadler’s mesmerizing voice—stripped of nearly all reverb—is what sits at the center of these songs. You can hear the emotional range of her performances more than ever before, from the spectral harmonizing of “Are You Really Gonna Move To The South” to the cheeky boredom of “All Out Of Catastrophes,” two other highlights. As a singer, she has never sounded more confident than she does here.

Adding to the album’s deeply personal feeling is its abstracted artwork, featuring Nadler’s original oil paintings. Though Nadler is a graduate of the Rhode Island School of Design and a semi-retired art teacher (she has one student left—a 95-year-old named Doris), For My Crimes marks the first album cover bearing one of her paintings. 

STAFF COMMENTS

Barry says: Nadler has never failed to tickle the feels with her own brand of gothic acousticry, slowly morphing from quiet folk ballads into grand, echoic anthems. Layering Nadler's haunting vocals on top of each-other to great effect and underpinned with a spine-tinglingly haunting instrumental sensibility, this is without a doubt, her greatest work. Beautiful.

TRACK LISTING

1 For My Crimes
2 I Can't Listen To Gene Clark Anymore
3 Are You Really Going To Move To The South?
4 Lover Release Me
5 Blue Vapor
6 Interlocking
7 All Out Of Catastrophes
8 Dream Dream Big In The Sky
9 You're Only Harmless When You Sleep
10 Flame Thrower
11 Said Goodbye To That Car

Mountain Man did not intend to disappear for the better part of a decade, or to take eight years to release its second album, Magic Ship. But for a trio of devoted friends for whom music has always seemed so effortless and graceful, that’s simply how life went. The wondrous Magic Ship—a magnetic fourteen-song reflection on the joys, follies, and oddities of existence—was well worth the wait.

In 2009, when she was a student at a small liberal arts college in New England, Amelia Meath heard a gorgeous sound coming from the living room of her dormitory. She raced downstairs to find Molly Erin Sarlé singing “Dog Song,” a tender tune about lust, longing, and responsibility. Meath demanded that Sarlé, nearly a stranger, teach her the tune, which she, in turn, taught to a friend, Alexandra Sauser-Monnig. The next time the pair saw Sarlé, they sang “Dog Song” to, and then with, her. And so, Mountain Man was born.

The three weren’t quite yet friends when they performed, recorded, and even toured for the first time, but they each felt the chemistry within their combined voices, a sense of artistic kismet and kinship that some spend lifetimes seeking. Acclaim came quickly, with their debut—2010’s Made the Harbor, humbly recorded on rickety equipment in an abandoned factory—earning praise from the New York Times and the Guardian and prompting big tours.

But before they could return to the studio, post-collegiate life intervened: Meath moved to Durham, North Carolina and eventually started Sylvan Esso. Sarlé headed for a Zen center along the California coast. Sauser-Monnig returned to Minnesota, then decamped to a farm in the North Carolina mountains. They kept in touch with near-weekly conference calls, growing as friends while taking a break from making music together. When Sarlé was ready to leave California, though, Meath and Sauser-Monnig implored her to return east, saying they would even fly to her and drive with her across the country, so long as she settled in North Carolina.

Together as friends, not as a band, the three made an all-American road trip. They camped beneath endless desert skies and partied with true New Orleans abandon. Finally home, they focused first on their relationship, singing together only as an extension of this personal reunion.

At last, they tested their again-blossoming friendship onstage in the summer of 2017 at the Eaux Claires music festival. On a tiny, cabin-like stage tucked into a forest, where audiences of a few hundred are considered big, Mountain Man captivated several thousand, with people climbing trees and fighting through stinging nettles to catch a glimpse or whisper. Hanging on every note and between-song quip, the crowd stood transfixed and silent—a festival miracle, there in the woods. And so, Mountain Man was reborn.

Months later, the trio reconvened at Meath’s home studio in Durham for two recording sessions, each bringing songs destined to be sung with old friends. The result, Magic Ship, is every bit as captivating as that day onstage: The stunning “Boat,” where cooing harmonies frame Sauser-Monnig like drapes around a sunny window, sees a world of possibility in a little vessel along the riverbanks. The dashing “AGT” finds inspiration in flower blooms and bumble bees, discovering in the sights of nature a pure self-reliance. The magnetic “Rang Tang Ring Toon” celebrates a night spent hosting friends, sharing beans and music, and a skinny dip under the stars. There is sincerity and humour, depth and mirth, all rendered with three voices that have never been more connected.

These songs distill eight years of experience between Made the Harbor and now—of sights seen, pleasures had, feelings hurt, forgiveness extended. These tunes are wise and tender, open and honest. Magic Ship conveys absolute warmth—like a snowbound afternoon spent indoors, passing a bottle of brown liquor between friends while putting old favorites on the turntable, or a long summer evening spent lounging beneath a shade tree, swapping stories and sharing laughs until the sun has vanished.

At a moment when the way forward for the world seems uncertain to the point of unravelling, when it feels that decades of impetuous decisions are catching up to the society we’ve created, Magic Ship offers a necessary sort of return and reassurance, a promise that goodness and truth remain available in our least-mitigated forms of expression. A weekend morning spent with a lover in bed, an innocent memory of pure childhood delight, a threadbare shirt from your parents: These are the experiences that Magic Ship so candidly shares, the moments of splendour that make the struggles worth it.

STAFF COMMENTS

Barry says: Stunning harmonies form the basis to this newest LP on the ever-reliable Bella Union. Mountain Man mix rhythmic harmonised vocals with lo-fi bluegrass leanings and tender, melancholic sparse instrumentation.

The sleeve tells you so much about the process. It’s a picture of a lone figure. Suited up and immersed in interplanetary protective gear, he walks out across unmapped terrain. In the distance, a mountain range towers over the roughly gridded sand he’s striding. This is very much a solo mission – giant steps into the unknown. Inside the helmet, there’s all the uncertainty and madness that such a pursuit brings.

That sleeve (designed, as ever, with Mark Farrow), comes wrapped around And Nothing Hurt - Spiritualized’s eighth album, the follow up to 2012’s Sweet Heart, Sweet Light. From the opening lullaby of A Perfect Miracle through to the fading Morse Code at the close of Sail on Through, it painstakingly wraps layer upon layer of gloriously transcendent sound together to create a mesmerizing and cinematic collection of songs.

There are points – the thunderous climax of On the Sunshine; the spectral waltz of The Prize; the towering guitar solo on I’m Your Man – where the waves of blissful noise are almost overwhelming, where one can imagine the studio’s speakers vibrating themselves off of the walls. Which is an incredible feat when you discover that the album was conceived and recorded almost entirely by one man – Jason Pierce, AKA J.Spaceman - in an upstairs room in his east London home. Sat in an edit suite in Whitechapel a month or so after finishing recording, Jason talks honestly about the painstaking, frustrating process of creating And Nothing Hurt.

“Making this record on my own sent me more mad than anything I’ve done before. We’d been playing these big shows and I really wanted to capture that sound we were making but, without the funds to do, I had to find a way to work within the constraints of what money I had. So I bought a laptop and made it all in a little room in my house.”

Whereas bedroom recording is commonplace for a generation of musicians who’ve grown up with horizon-expanding tech, Spiritualized have long used the studio as they would an extra member of the band – as a vital building block in the construction of some of the most cherished records of the modern era. This time would be very different. With no grounding in digital recording, Jason had to learn everything from scratch.

“The biggest thing for me was to try to make it sound like a studio session. There are bits that I went to a studio to record – mainly drums and percussion. I mean, there’s no way I’m going to get timpani up my stairs. When I came to terms with how I was going to make the record, I assumed it was going to sound like Lee Perry - all flying in from different angles; all extraordinary and not hi-tech in construction. But I was new to it all, I didn’t have all the short cuts people use when they’re making records – I just sat there for weeks… for months… moving every level up bit by bit just to try to get the sounds right.”

For the listener, the nine tracks on And Nothing Hurt effortlessly replicate the scale and power of Spiritualized’s previous releases, whether it’s the sonic blowback of On the Sunshine, the last dime in the jukebox love letter of Let’s Dance or the swell of an imaginary orchestra that seems to lift Damaged towards the heavens as it plays out.

“With a bit of trial and lot of error, I found ways of doing something that’s quite simple, if you’ve got the resources. I spent two weeks listening to classical records and strumming the chord that I wanted on my guitar. When I found something to match what I wanted, I’d sample that bit and go for the next chord and try to match that. It took weeks, trying to put together and layer convincing string sounds. But, if I’m honest, all I wanted was for someone to come and play the part and bring their own thing to the record.”

One of the biggest influences on the final sound of the record was a series of shows played in 2016 celebrating the (near) 20th anniversary of the band’s peerless 1997 release Ladies And Gentlemen We Are Floating In Space. Those shows, played with a fifteen-piece orchestra and a gospel choir, forced Jason to revisit songs that he’d already been working on for years.

“Part of the reason for doing those gigs was to inform the songs I’d been working on. Trying to sing convincingly in a little room at home was really difficult. The big shows helped remind myself what it’s like to sing with that kind of backing. I can’t really describe it… when you’re singing with a choir behind you and there’s all this noise coming off the stage, you sing things very differently to how you would A) in a studio or B) sitting on your bed at home recording into a laptop.”

Lyrically, And Nothing Hurt touches on thoughts of passing time and acceptance of one’s age – never more beautifully than on Let’s Dance (‘The hour is getting late, they’re putting all the chairs away / they’ve got Big Star on the radio, they’ll let us stay’).

“I didn’t want to be fighting against my age; it’s very much about acceptance. And not with any dissatisfaction either – I’m not raging against the inevitable. I spent a lot of time thinking about the way that the songs should hold together, trying to make the narratives make sense rather than just throwing together a couple of lines that rhymed. Let’s Dance was very much a ‘last orders’ kind of song, about grasping at the finality of that moment.”

During the making of And Nothing Hurt, Jason kept returning to the thought that this would be the last Spiritualized record – interviews over the last couple of years made it clear that the frustration of trying to replicate the sounds in his head whilst sat on his bed were proving too much. With the record finally finished and a new UK label (Bella Union – Fat Possum continue to release Spiritualized records in the States), does he feel the same way now?

“I was quite sincere about that and I still feel like it might be the case. It was such hard work. I found myself going crazy for so long. It’s not like there’s no coming back, I’m fine now… it’s just such a hard thing to do, to make a record like this on your own. It’s almost as if, if I’m not pushing myself to point of madness, it’s not going to be right. And I know it’s going to be like that every time. What’s the definition of madness? Doing the same thing over and over and expecting different results. I kind of do that. I think the biggest goal is to make something that’s worthy of all that time and effort. And the more time and effort, the bigger the goal. I knew I had to make something that was good enough that it should be made. And a massive positive about making the record is that we get to play it live. That’s always the most joyous thing; everyone gets to contribute to the sound, this amazing thing that seems to come right through the roof.”

If the last set of Spiritualized gigs helped set the course for how And Nothing Hurt now sounds – alternately intimate, hypnotic, cyclonic and downright spiritual - maybe… just maybe… this next set will encourage Jason to flip open the laptop to press record again. Here’s hoping.

TRACK LISTING

1 A Perfect Miracle
2 I'm Your Man
3 Here It Comes (The Road) Let's Go
4 Let's Dance
5 On The Sunshine
6 Damaged
7 The Morning After
8 The Prize
9 Sail On Through

“You shouldn't have a tough time finding the angle to Deportation Blues,” claims Brian ‘BC Camplight’ Christinzio. “The past few years have been a fucking nightmare.”

But what a fucking great record he’s made off the back of his nightmare. His second album for Bella Union, Deportation Blues is an exhilarating, dynamic document of calamity and stress, relayed through richly melodic and bold arrangements spanning singer-songwriter classicism, gnarly synth-pop, ‘50s rock’n’roll and various junctures between, mirroring their maverick creator’s jarred emotions and fractured mindset.

For the full story, you have to head back to before Christinzio’s Bella Union debut, 2015’s How To Die In The North. Born in New Jersey, but living in Philadelphia, Christinzio had released two albums while battling addiction and mental illness. Both albums won rave reviews and earned Christinzio a reputation as one of independent music’s most forward-thinking artists. Soon after, however, as illness rendered him unable to function as a working songwriter, Christinzio retreated to a life squatting in an abandoned church. Despite some notable appearances as a session pianist (Sharon Van Etten) and occasional live work for Philly faves The War On Drugs (Robbie Bennett and David Hartley were in the original BC live band) he knew a sea change was needed in order to regain his career and sanity.

Feeling he’d be “dead or in jail if I stayed”, he acted on a friend’s suggestion to cross the ocean to Manchester. There, Christinzio found new inspiration, new friends, a girlfriend, a dog, and finally a new album (his first in eight years).

So, imagine his mood when he fell foul of UK immigration. “I’d had such high hopes for How To Die In The North, and I was told I was being deported two days after it came out, and banned from the UK. The next thing I know, I’m playing Pac Man in my parents’ basement, thinking, this is my life now.”

Occasional gigs in Europe, where his Manchester-based band could meet him, and extended sojourns in Dublin and Paris, broke up the monotony, but it was still like “living in a constant panic attack.”

But then the cavalry arrived! Courtesy of his grandparents, Christinzio secured Italian citizenship. It cost time, money and a portion of his sanity, “but after a year and a half I could finally shove my Italian papers in their faces at the airport and return to sunny Manchester. The thing is, despite being American, I feel Mancunian, and I couldn’t think about making another record, until I got back.”

To add insult to injury, “Brexit happened, like a day after I got back. Can I get a fucking break here, please?”

Once the dust had settled, Christinzio realised, “I didn’t feel any better, I had so much anger, I felt destroyed. The demons were back and had lost me friends, I’d drunk too much, and I felt nothing but dread and disease. I thought, I can’t wait to hear what this next album is going to sound like.”

Recording in Liverpool’s Whitewood studios, Christinzio locked himself in the windowless studio and recorded almost exclusively in the dark. “The thoughts and sounds that began to flow out of me were pretty scary. I’m pretty sure the engineer started carrying a shiv in his pocket after about the second day. Nothing playful sounding came out. If the last album had elements of whimsy, the thought of any on this album made me want to vomit.” “A couple of months later we had finished Deportation Blues and emerged from the studio like mole people”. Christinzio recorded the album mostly on his own, plus drummer Adam Dawson, occasional guitar by Robbie Rush, and a couple of session horn players. The lead track is ‘I’m Desperate’, “an ominous synth burner,” says Christinzio, with a Suicide-style throb and a haunting female vocal counterpoint that underlines the album’s manic, careering edge, fantastic hooks and instrumental verve. It’s an uncompromising way to introduce Deportation Blues, likewise the album’s title-track opener. Bookended by metallic power chords, cascading synths and a gorgeous downbeat mood lead into slower doo-wop complete with howling falsetto. “It’s instantly a different, darker record than How To Die In The North,” Christinzio notes. Deportation Blues is also noticeably more electronic than its predecessor. “I was feeling cold so every time something sounded pretty, I replaced it with something that sounded like an ice pick. The apocalyptic nuclear feel really appealed.” Throughout, Christinzio sounds as if he’s walking a knife-edge. Take second track ‘I’m In A Weird Place Now’, a heady conflagration of Spector and Springsteen, with Christinzio confessing “And there’s something about Manchester town / And the silly little things she makes me do.” “I like the oppressiveness of the weather in Manchester, it brings everyone down to my level” he explains. The fried mood continues on ‘Hell Or Pennsylvania’, splicing woozy noir jazz lounge-drunk cabaret by way of ‘50s legend Jerry Lee Lewis - Christinzio’s entry point to music through his mother’s record collection. “It’s the first time I’ve reflected that on a record,” he says. “Jerry Lee was this guy bashing at a piano who didn’t give a shit, and I didn’t give a shit.” The lyrical reference to “lemon twirls” meanwhile, represents Brian’s struggle with substance abuse: “The big choruses are a celebration of cocaine whilst the jazz sections represent the lament, the familiar loathsome aftermath.” The sudden changes of mood and style are also metaphorical. For example, ‘Am I Dead’ embraces cinematic horns, broody pop and synth-bass afro-funk. “I go through highs and lows and have trouble staying entertained,” he admits. “A musical part can state its purpose in fifteen seconds, sometimes it doesn’t need repeating. The trick is tying everything together without it sounding confusing.” ‘Am I Dead’ is segued between ‘When I Think Of My Dog’ and ‘Midnight Ease’, two plush, heart-aching piano ballads with rippling saxophone. After ‘Fire In England’, a greasy, nervy rocker, is a bitter ode to British PM – and former immigration controller (as Home Secretary) Theresa May (“dresses like a bus seat, doesn’t she?”). It’s a complex, bleak record I guess” Christinzio concludes. “As dramatic as it may sound, this album was made by a dude who wasn’t sure he’d be alive the next day. Nothing is there for any other reason than it’s the truth. It’s not trying to sound cool or get on the radio.” Though Christinzio points out “this is no redemption I-saw-the-light story,” he is allowing himself a little bit of hope for once: “I’ve never been as pleased with where I am artistically as I am right now.” On top, his new band, “is phenomenal.” Alongside trusted drummer Dawson is Luke Barton (guitars, synths), guitarist Tom Rothery and multi-instrumentalist/ backing singer Ali Bell. Leading them is a man that a bartender in Manchester recently described as “like Mozart and Tony Soprano had a kid." Brian Christinzio, and BC Camplight, genius and pain, may be here to stay at last.

TRACK LISTING

1 Deportation Blues
2 I'm In A Weird Place Now
3 Hell Or Pennsylvania
4 I'm Desperate
5 When I Think Of My Dog
6 Am I Dead Yet?
7 Midnight Ease
8 Fire In England
9 Until You Kiss Me

Classic singles like Billy Fury’s ‘Halfway To Paradise’, Dusty Springfield’s ‘I Only Want To Be With You’ and The Walker Brothers’ ‘Make It Easy On Yourself’ would not have been hits without Ivor Raymonde. As their arranger, and in the case of ‘I Only Want To Be With You’ songwriter too, he shaped the final recordings. He decided on the orchestration and backing vocals, chose the instruments and determined what was heard on the radio - and what record buyers bought.

‘Paradise: The Sound Of Ivor Raymonde’ is a long-overdue celebration of Ivor Raymonde, collecting his work as an arranger, musical director, producer, singer and songwriter. The story of a British musical great is told for the first time.

Billy Fury, Dusty Springfield and The Walker Brothers are heard. So is the only vocal performance for which Ivor Raymonde received a credit on a record label. He worked with the pre-fame David Bowie and Tom Jones. He spotted the potential of Los Bravos, steering them into the charts with ‘Black Is Black’. Near-misses and obscurities made with Brit-girls Cindy Cole and Helen Shapiro, the soulful Sonny Childe and confrontational protopsychedelic London band The Flies are as fantastic as the hits. With these and more, ‘Paradise: The Sound Of Ivor Raymonde’ distils the essence of the magic of Ivor Raymonde.

‘Paradise: The Sound Of Ivor Raymonde’ is released by Bella Union, the label run by Ivor’s son, former Cocteau Twins member Simon Raymonde. Compiled by Simon and Kieron Tyler, it is a very personal tribute to a sadly missed father. Born in 1926, Ivor Raymonde passed away in 1990.

The previously untold story is revealed through a moving reminiscence written by Simon and in-depth liner notes and a track-by-track commentary by Kieron. Ivor Raymonde played on the ocean liner The Queen Mary in 1949. In the Fifties, British television viewers saw him in legendary comedian Tony Hancock’s ‘Hancock’s Half Hour’ but music was always going to be most important - the hits with Billy Fury and Dusty Springfield in 1961 and 1963 meant he was in demand. The 26 selections balance the wellknown with collectable rarities and tracks drawn from - until now - barely heard-of singles. Each is a gem and each shows the magic of an Ivor Raymonde recording.

‘Paradise: The Sound Of Ivor Raymonde’ is issued on CD and 180g heavyweight double vinyl album with digital download code. The vinyl version is sequenced slightly differently for listening flow. Every track was originally issued as a single issued in mono for the pop market until 1968 / 1969. Keeping the integrity of the compilation in mind, all but four tracks appear in mono as they did originally. The masters used are those of the original singles.

TRACK LISTING

Halfway To Paradise - Bill Fury
I Only Want To Be With You - Dusty Springfield
He Doesn't Love Me - The Breakaways
He Knows How To Love Me - Helen Shapiro
Giving Up On Love - Sonny Childe
Black Is Black - Los Bravos
Love You Till Tuesday - David Bowie
Make It Easy On Yourself - The Walker Brothers
Mylene - Ivor Raymonde
Chahawki - Burr Bailey
Little Lonely One - Tom Jones
He's Sure The Boy I Love - Cindy Cole
Jealous Heart - Ottilie Patterson With The Ivor Raymonde Group
Your Hurtin' Kinda Love - Dusty Springfield
I Got The Feeling - Dave Berry
Now It's My Turn - Jon Gunn
I Love Her - Paul & Barry Ryan
Grotty - Ivor Raymonde And His Orchestra
Beautiful Friendship - Barbara Ruskin
Sueperman's Big Sister - Ian Dury & The Blockheads
(I'm Not Your) Stepping Stone - The Flies
It's The Real Thing - The Ivor Raymonde Orchestra
Wait By The Fire - The Majority
She Sold Blackpool Rock - The Honeybus
I Found Out Too Late - Alan David
My Ship Is Coming In - The Walker Brothers

For listeners of the innocence mission, the Lancaster, Pennsylvania trio are beyond a favorite band, more like a beloved companion, such is their intensity and fragility of their sound and vision, spearheaded by Karen Peris’ heartbreaking, breathtaking voice. Those fans include Sufjan Stevens and Sam Beam (Iron & Wine), who have both covered innocence mission songs, and in whose company the trio deserve to be bracketed.

Now, with “Sun On The Square”, their first album in four years and first UK/European release in over a decade, the trio have joined the Bella Union family, following Karen’s guest appearance on “Ojalá” by Lost Horizons, the band collective co-created by label skipper Simon Raymonde.

“There’s less than a handful of artists on my Bella Union dream list,” he explains. “The Innocence Mission are on there but they’ve remained an elusive mystery, and believe me, I’ve tried! I’ve been a fan as long as I can remember. From the second I heard Karen’s voice, I’ve been smitten. Birds Of My Neighborhood is in my Top Three albums of all time. It’s a heartbreaker though. Guarantees tears. But the more the tears fall, the deeper I go!”

STAFF COMMENTS

Barry says: Beautiful tender fingerpicked guitars, brittle ballads and more than a hint of that childlike Newsom vocal peeking through. Sun On The Square is a beautifully realised and enchantingly airy work, an essential for any folk fans.

TRACK LISTING

1 Records From Your Room
2 Green Bus
3 Look Out From Your Window
4 Shadow Of The Pines
5 Buildings In Flower
6 Sun On The Square
7 Light Of Winter
8 Star Of Land And Sea
9 An Idea Of Canoeing
10 Galvanic

"7 is our 7th full-length record. At its release, we will have been a band for over 13 years. We have now written and released a total of 77 songs together.

Last year, we released an album of b-sides and rarities. It felt like a good step for us. It helped us clean the creative closet, put the past to bed, and start anew.

Throughout the process of recording 7, our goal was rebirth and rejuvenation. We wanted to rethink old methods and shed some self-imposed limitations. In the past, we often limited our writing to parts that we could perform live. On 7, we decided to follow whatever came naturally. As a result, there are some songs with no guitar, and some without keyboard. There are songs with layers and production that we could never recreate live, and that is exciting to us. Basically, we let our creative moods, instead of instrumentation, dictate the album’s feel.

In the past, the economics of recording have dictated that we write for a year, go to the studio, and record the entire record as quickly as possible. We have always hated this because by the time the recording happens, a certain excitement about older songs has often been lost. This time, we built a "home" studio, and began all of the songs there. Whenever we had a group of 3-4 songs that we were excited about, we would go to a “proper” recording studio and finish recording them there. This way, the amount of time between the original idea and the finished song was pretty short (of the album’s 11 songs, 8 were finished at Carriage House in Stamford, CT and 2 at Palmetto Studio in Los Angeles).

7 didn’t have a producer in the traditional sense. We much preferred this, as it felt like the ideas drove the creativity, not any one person’s process. James Barone, who became our live drummer in 2016, played on the entire record. His tastes and the trust we have in him really helped us keep rhythm at the center of a lot of these songs. We also worked with Sonic Boom (Peter Kember). Peter became a great force on this record, in the shedding of conventions and in helping to keep the songs alive, fresh and protected from the destructive forces of recording studio over-production/over-perfection.

The societal insanity of 2016-17 was also deeply influential, as it must be for most artists these days. Looking back, there is quite a bit of chaos happening in these songs, and a pervasive dark field that we had little control over. The discussions surrounding women’s issues were a constant source of inspiration and questioning. The energy, lyrics and moods of much of this record grew from ruminations on the roles, pressures and conditions that our society places on women, past and present. The twisted double edge of glamour, with its perils and perfect moments, was an endless source (see “L’Inconnue,” “Drunk in LA,” “Woo,” “Girl of the Year,” “Last Ride”).

In a more general sense, we are interested by the human mind's (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny (see “Dark Spring,” “Pay No Mind,” “Lemon Glow,” “Dive,” “Black Car,” “Lose Your Smile”).

The title, 7, itself is simply a number that represents our seventh record. We hoped its simplicity would encourage people to look inside. No title using words that we could find felt like an appropriate summation of the album.

The number 7 does represent some interesting connections in numerology. 1 and 7 have always shared a common look, so 7 feels like the perfect step in the sequence to act as a restart or “semi-first.” Most early religions also had a fascination with 7 as being the highest level of spirituality, as in "Seventh Heaven.” At our best creative moments, we felt we were channeling some kind of heavy truth, and we sincerely hope the listeners will feel that." 

Much Love,
Beach House

TRACK LISTING

1. Dark Spring
2. Pay No Mind
3. Lemon Glow
4. L'Inconnue
5. Drunk In L.A.
6. Dive
7. Black Car
8. Lose Your Smile
9. Woo
10. Girl Of The Year
11. Last Ride

Both formats include a free cassette whilst stocks last.

The history of post punk is full of curious footnotes and sudden dead ends. Fascinating bands that flared up, intoxicated with the rush of ideas and sense of creative freedom in that fertile period where there were no rules and boundaries to creativity for groups, leaving a vapour trail of a handful of singles and inevitable John Peel sessions before disappearing back into the ether.

The Drowning Craze are typical of those bands. Their legacy is three singles and a John Peel session, a glimmer of possibility and a hint of something quite wonderful and then gone. Fortunately for them their constituent members re-emerged years later in other projects leaving them flagged up on the history train with the band’s bassist Simon Raymonde going on to play in the Cocteau Twins before setting up his own label, Bella Union and original vocalist, Angela Jaeger, joining Pigbag whilst their next singer, Frankie ‘Fun’ Nardiello, joined the esoteric Chicago industrial disco band Thrill Kill Kult.

The Drowning Craze had formed in early eighties London with Simon Raymonde - the son of Ivor Raymonde who wrote hits for Dusty Springfield, such as ‘I Only Want To Be With You’ and ‘Stay Awhile’ and then string arranging for all the Walker Brothers hits. Simon played piano and violin at school but took his own tangent when punk rock arrived and bought his first bass in 1977 aged 15 and learnt the whole of ‘Never Mind The Bollocks’, the Sex Pistols’ first album, in one afternoon.

Inspired by punk rock / post punk and John Peel he was very much a child of those times. Glued to Peel’s lugubrious tones on the radio that were signposting a way out of the crashed car of punk rock and into new musical soundscapes he would also help to carve as a foot soldier with The Drowning Craze.

TRACK LISTING

Storage Case
Damp Bones
Trance
I Love The Fjords
Heat
Replay

Written largely in New York between Summer 2016 and Winter 2017, Josh Tillman’s fourth Father John Misty LP, ‘God’s Favorite Customer’, reflects on the experience of being caught between the vertigo of heartbreak and the manic throes of freedom.

God’s Favorite Customer reveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes.

God's Favorite Customer was produced by Tillman and recorded with Jonathan Rado, Dave Cerminara, and Trevor Spencer. The album features contributions from Haxan Cloak, Natalie Merring of Weyes Blood, longtime collaborator Jonathan Wilson, and members of Misty’s touring band.

STAFF COMMENTS

Andy says: Tillman segues into Beck territory a little here, with falsetto harmonies and jagged college-rock melodies, tastefully accentuated with staggered percussion and swooning loungey piano. As ever, FJM smashes out another killer album, conceptually clever and brilliantly accomplished, exactly as you'd expect.

TRACK LISTING

1 Hangout At The Gallows
2 Mr. Tillman
3 Just Dumb Enough To Try
4 Date Night
5 Please Don't Die
6 The Palace
7 Disappointing Diamonds Are The Rarest Of Them All
8 God's Favorite Customer
9 The Songwriter
10 We're Only People (And There's Not Much Anyone Can Do About That)

Ari Roar - moniker of Texan singer songwriter Caleb Campbell - releases his debut album ‘Calm Down’ via Bella Union

With intuitive powers of clarity and concision to the fore, ‘Calm Down’ is an album that draws on 1960s pop and modern DIY heroes for a set of lovingly languid, lo-fi miniatures. Depths of detail and lived experience bustle beneath effortlessly melodic surfaces - sure signs of a writer in confident command of his pitch.

With a tight run time of 28 minutes and few of its 15 songs breaching the two-minute mark, ‘Calm Down’ is not an album that overstates its case. ‘Called In’ merges the influences of garage pop and Grandaddy in its plaintive plea to “stay alert,” while the brightly summery ‘Windowsill’ and literal shaggy-dog tale ‘Lost And Found’ show an easy lightness of narrative touch and mood control.

Elsewhere, Ari makes weightless work of variously playful, psychedelic material, navigating his songs with expressive ease even when he’s documenting difficulties navigating high school hallways on ‘Don’t Have A Fit’. ‘Off And On’ is luminous, ‘Implode’ sweetly chugging. ‘Sock Drawer’ recounts an inner voyage with a gently psychedelic touch before the playful strut of ‘Choke’ and buoyant release of ‘Lucky One’ offer precision-judged notes of climactic uplift.

For Ari, ‘Calm Down’ is a milestone in a journey that began in Dallas, Texas, where he started songwriting on his family’s “super-old, outof- tune piano” as a child. Early inspirations included Grandaddy’s ‘Under The Western Freeway’ and Radiohead’s ‘OK Computer’; his first concert experience was The Doobie Brothers, with his parents. But it was a gorgeous solo performance by Jason Schwartzman in the teen comedy ‘Slackers’ that inspired Ari to start writing songs with lyrics at 14: “I remember being mesmerized by it… and I went into my room and started trying to write something similar. After that I just never stopped.”

TRACK LISTING

Calm Down
Called In
Windowsill
Lost And Found
Picked The Lock
Hidden Playground
Don't Have It
Off And On
Implode
Feeding Out The Slack
Blow Dry
In My Day
Sock Drawer
Choke
Lucky One

Long before they were a band, Montreal duo The Beat Escape took a small first step towards a longer journey at a university video class. “We made a short oddball work; a video piece that followed two characters through a psychedelic waking dream,” say Beat Escapists Addy Weitzman and Patrick A Boivin of their founding collaboration. Many other projects and outside collaborations later, the duo have crafted a debut album their younger selves would be proud of: Released through Bella Union, the sublimely immersive ‘Life Is Short The Answer’s Long’ plays like a waking dream of near-psychedelic electronic pop, moving to its own beat in the push-pull of forward motion and submerged reflection.

That sense of propulsion ushers opener ‘Sign Of Age’ into rising view, its sparse drums, hypnotic sequence and melancholic chords resembling house music as reimagined by Angelo Badalamenti. The enveloping mood holds as ‘Moon In Aquarius’ unfurls like a nighttime road ahead, ghosted by narcotic harmonies. ‘Limestone Alps’ lingers meditatively, hymnal vocals reverberating. ‘Where Water Ends’ and ‘More Dreams’, meanwhile, navigate the porous boundary lines between Krautrock, Factory Records and obscure minimal wave records of the 80s.

STAFF COMMENTS

Barry says: Superb throbbing pseudo-synthery from The Beat Escape, Bella Union's answer to Pye corner Audio mix swooning pads and soaring vocal abstractions around a dynamic core of weighted percussion, flickering arpeggios and spine-tingling euphoric leads.

TRACK LISTING

Sign Of Age
Moon In Aquarius
Limestone Alps
Where Water Ends
More Dreams
Then I Drift Away
Seeing Is Forgetting
Thousand Pound Shoes
Nemo Propheta

A prolific songwriter for nearly twenty years, Laura Veirs proves the depth of her musical skill on her tenth solo album, The Lookout, released via Bella Union. Here is a batch of inimitable, churning, exquisite folk-pop songs; a concept album about the fragility of precious things. Produced by Grammy-nominated Tucker Martine, Veirs’ longtime collaborator, The Lookout is a soundtrack for turbulent times, full of allusions to protectors: the camper stoking a watch fire, a mother tending her children, a sailor in a crows nest and a lightning rod channelling energy.

“The Lookout is about the need to pay attention to the fleeting beauty of life and to not be complacent; it’s about the importance of looking out for each other,” says Veirs. “I’m addressing what’s happening around me with the chaos of post-election America, the racial divides in our country, and a personal reckoning with the realities of midlife: I have friends who’ve died; I struggle with how to balance life as an artist with parenting young children.”

Written and produced on the heels of Veirs’ acclaimed album with Neko Case and k.d. Lang (case/lang/veirs), The Lookout integrates the fluency of collaboration with Veirs’ notorious work ethic. The twelve songs on the album are the result of a years’ worth of daily writing in her attic studio in Portland, Oregon.

“Twenty years ago when I was just starting out with my punk band, it never occurred to me to write five versions of a song,” says Veirs. “I’ve learned to see how malleable lyrics and melodies can be. I have more tools as a musician so I write many versions of songs until I find the right fit.” Such range is demonstrated on the operatic vocals of “The Meadow” and the intricate finger picking on “Watch Fire.” “The Lookout,” the album’s title track, is an ecstatic anthem to trusted relationships.

The Lookout draws on the talents of a time-tested crew of musicians: Karl Blau, Steve Moore, Eli Moore, Eyvind Kang and Martine. Says Veirs, “These guys are a good hang, ego-free and wonderful players who just want to serve the songs.” Sufjan Stevens and Jim James provide guest vocals.
For Martine, who fell, almost two decades ago, for Veirs’ unique sound after listening to a tape cassette she’d sent him in the mail, this album reflects a bar that keeps getting raised. Both familiar and strange, The Lookout gets better with repeated listens, warming to the skin like a cherished saddlebag, critical for the journey ahead.

TRACK LISTING

1. Margaret Sands
2. Everybody Needs You
3. Seven Falls
4. Mountains Of The Moon
5. Watch Fire
6. Heavy Petals
7. The Lookout
8. The Meadow
9. The Canyon
10. Lightning Rod
11. When It Grows Darkest
12. Zozobra

Bella Union warmly introduce us to their latest star signing, Belgian MC, producer and musician Baloji. His music stands at the crossroads of African music, traditional and afro-american music (soul, funk, jazz) discovered through the culture of sampling and electronic music (trance, deep house) which has its roots in part in the region of Belgium where Baloji grew up. Baloji means “man of science” in Swahili, but during the colonial period, that meaning shifted to “man of the occult sciences and sorcery”. By placing his resilience at the centre of his work, Baloji reconciles all these influences to enrich his projects. Baloji is a poet, composer-lyricist, scriptwriter, actor and performer, video artist and stylist, and '137 Avenue Kaniama' is his most complete release to date.

TRACK LISTING

1 Glossine (Zombie)
2 L'hiver Indien - Ghetto Mirador
3 Bipolaire - Les Noir
4 Ensemble (Wesh)
5 Spotlight
6 Soleil De Volt
7 Ciel D'encre
8 Peau De Chagrin - Bleu De Nuit
9 L'art De La Fugue - Le Vide
10 Passat & Bovary
11 La Derrière Pluie - Inconnu à Cette Adresse
12 Kongaulois
13 Tropisme - Start-up
14 Tanganyika

Creep Show brings together John Grant with the dark funk of analogue electronic band Wrangler (Stephen Mallinder/Phil Winter/Benge) to create Mr Dynamite - a debut album packed with experimental pop and surreal funk. Recorded in Cornwall with a lifetime’s collection of drum machines and synthesisers assembled by Benge and explored by every member of Creep Show, there’s a real sense of freedom in the shackles-off grooves, channelling the early pioneering spirit of the Sugarhill Gang through wires and random electric noise. This sense of adventure is also part of the interplay between the two vocalists, John Grant and former Cabaret Voltaire frontman Stephen Mallinder, who switch between oblique wordplay to sinister humour as Phil Winter and Benge continue to man-handle the machines. The creepy ‘alter-ego’ title track, ‘Pink Squirrel’’s vocoder kaleidoscope and Grant’s exhilarating croon on the nine minute ‘Safe And Sound’ are just some of the twists and hooks to be explored on this consistently inventive record.

STAFF COMMENTS

Barry says: So, imagine John Grant's unmistakeable vocal serenades over the top of some rhythmic Bureau B synth pulses, swirling synth patterns and sickly-sweet Linn stabs. What could possibly go wrong? Absolutely nothing is what, it's superb, like we'd expect any different from our John.

TRACK LISTING

1 Mr. Dynamite
2 Modern Parenting
3 Tokyo Metro
4 Endangered Species
5 K Mart Johnny
6 Pink Squirrel
7 Lime Ricky
8 Fall
9 Safe And Sound

Jonathan Wilson had a busy 2017, producing Father John Misty's grammy nominated Pure Comedy and touring arenas around the globe as a guitarist and vocalist for Pink Floyd legend Roger Waters (for whom he also contributed to the lauded Is This The Life We Really Want? album.) Wilson also saw widespread acclaim heaped on Karen Elson’s sophomore LP Double Roses, which he recorded with her in Los Angeles in 2016.

But it's not looking like Wilson is going to get much of a rest in 2018 either, as he'll be continuing on with the worldwide Waters tour and is set to release his own new solo album Rare Birds in the spring. The highly anticipated long player - which features backing vocals from Lana Del Rey, Josh Tillman, fellow Roger Waters bandmates Lucius and an extraordinary musical gift from otherworldly Brian Eno collaborator Laraaji - will be released through Bella Union worldwide.

Although much of the album is comprised lyrically of meditations on a failed relationship and its aftermath, Wilson insists that Rare Birds is not really a concept album. "It's meant more as a healing affair, a rejuvenation, a reconciliation, for others, and for me. I wanted to balance personal narrative with the need I feel for calming healing music. I think we need journeys in sound, psychedelic gossamer-winged music that includes elements consciously and purposefully to incite hope, positivity, longing, reckless abandon and regret. It's all in there."

And, for this one, music critics will need to retire the comparisons to heritage rockers and Laurel Canyon troubadours as they’re hardly useful anymore. Wilson's new sound takes a synthetic/acoustic, best-of-both-worlds analog/digital hybrid approach to achieve the complexity, sonic density and glossy hi-fi coating of Rare Birds. Heard for the first time on a Jonathan Wilson album are the sounds of synthesizers and drum machines.

STAFF COMMENTS

Andy says: Jonathan has eschewed the obvious Laurel Canyon trappings this time out, and the result is his best record yet. Still blissed-out, otherworldly, multi-layered and lonnnnng, but the sound is beautifully streamlined with even synths and drum machines gliding by. A headphone masterpiece.

Transangelic Exodus, Ezra Furman’s second album for Bella Union, is a new landmark for the American singer-songwriter: “not a concept record, but almost a novel, or a cluster of stories on a theme, a combination of fiction and a half-true memoir,” according to its author. “A personal companion for a paranoid road trip. A queer outlaw saga.”

The music is as much of an intense, dramatic event, full of brilliant hooks, with an equally evolved approach to recorded sound to match Furman’s narrative vision. In honour of this shift, his backing band has been newly christened: The Boy-Friends are dead, long live The Visions. In other words, the man who embodies the title of his last album Perpetual Motion People is still on the move... Or in the vernacular of the new album, on the run.

“The narrative thread,” Furman declares, “is I’m in love with an angel, and a government is after us, and we have to leave home because angels are illegal, as is harbouring angels. The term ‘transangelic’ refers to the fact people become angels because they grow wings. They have an operation, and they’re transformed. And it causes panic because some people think it’s contagious, or it should just be outlawed.

“The album still works without the back story, though,” he vouches. “What’s essential is the mood - paranoid, authoritarian, the way certain people are stigmatised. It’s a theme in American life right now, and other so-called democracies.”

After “Perpetual Motion People” was released in July 2015, Furman had moved back from California (Oakland) to his home town of Chicago. But after a year, he returned to the west coast (Berkeley this time). “I just seem to keep moving,” he sighs. Still, Transangelic Exodus was mostly recorded – as all Furman's records have been since 2011 - at his bandmate (saxophonist/producer) Tim Sandusky’s Ballistico Studios in Chicago, and with the other Visions - Jorgen Jorgensen (bass, and on this album, cello), Ben Joseph (keyboards, guitar) and Sam Durkes (drums/percussion).

Just as Furman’s band hasn’t really changed, so his musical DNA remains intact – a thrilling, literate form of garage-punk rooted in The Velvet Underground, Jonathan Richman and ‘50s rock’n’roll. But Transangelic Exodus is noticeably different to its predecessors. “2016 was a hard year,” Furman recalls. “While the political and cultural conversation devolved in a very threatening way, we travelled and toured a lot. We saw ourselves coming to the end of what we were, and we wanted to become something new.”

Furman cites Vampire Weekend’s “Modern Vampires Of The City”, Beck’s “Odelay”, Sparklehorse’s “It’s A Wonderful Life”, Kendrick Lamar’s “To Pimp A Butterfly”, Kayne West’s “Yeezus”, Angel Olsen’s “Burn Your Fire For No Witness” and Tune-Yards’ “Who Kill” – “artists making the most interesting music with the available resources” – as influences on Transangelic Exodus, plus Brian Wilson, Bruce Springsteen and James Baldwin’s ground-breaking, gay-themed 1956 novel Giovanni’s Room.

“My previous records were original in their own way, but got classified as an off-kilter version of a retro band, and I wanted something that sounded more original,” he explains. “So we took time off touring, and made sure we took time with every song. I demoed with different band members, and then combined different demos – some parts even made the final album. So, the sound is more chopped up, edited, affected, rearranged.”

One prime example is the album’s lead single ‘Driving Down To LA’, a sparse, but explosive, mix of doo-wop and digital crunch. Another is the haunting ‘Compulsive Liar’. “I wrote it as a ballad on a classical acoustic guitar, but we made it stranger, which brought out the emotion of the lyric more than it would have in its original form,” Furman says. “It’s less predictable; you don’t know where the song might go, and that makes me happy.”

Furman once said, “The opening lines of my records tend to be summary statements.” So, what does, “I woke up bleeding in the crotch of a tree / TV blaring on the wall above the coffee machine” (from ‘Suck The Blood From My Wounds’) say about Transangelic Exodus? “I like the opening lines so much, I had to keep them even though they don’t make a lot of sense! You’re dropped into this story or situation, unsure where you are or what’s going on, and suddenly you’re moving. That’s what being alive feels like to me. Unknown and intense. It’s a big part of the record’s mood.”

Checking Furman’s successive album covers will show his personal journey, coming out as queer and gender-fluid, which the jagged, agitated ‘Maraschino-Red Dress $8.99 at Goodwill’ meets head on, namely “the painful experience of being a closeted gender-non-conforming person. Having ‘trans’ in the album title has a lot to do with being queer, like [album finale] ‘I Lost My Innocence’ [“…to a boy named Vincent”). That early experience marks the narrator for life. From a young age, because of issues surrounding gender and sexuality, I felt fated to have an outsider perspective. It radicalises you.”

Transangelic Exodus addresses another kind of coming out, as Furman addresses his Jewish faith on record much more openly than before, from the shivery ballad ‘God Lifts Up the Lowly’ (which includes a verse in Hebrew) to the exquisite ‘Psalm 151’ and the line “I believe in God but I don't believe we're getting out of this one” in ‘Come Here Get Away From Me’, a heady blend of rock’n’roll rumble and ghostly clarinet.

“There is a lot of longing and anger in those songs,” Furman reckons. “A longing for God, and God’s help, wondering how long this can go on. It feels like we’re in exile – the innocent, persecuted, oppressed and threatened. But it’s hard in pop culture to make explicitly religious statements, as many people – including myself - have been hurt by religion.”

Part of Furman’s motivation is the, “fear of fascist takeover,” expressed in the video to ‘Driving Down To L.A’ (filmed in Virginia, and uncannily storyboarded before the state’s infamous Charlottesville “Unite The Right” rally), as Ezra and his angel are pursued by modern-day Nazis. “At school, we learned all about the Holocaust, and were invited to imagine what would happen if the Nazis invaded again. As white supremacy has become more explicitly institutionalised in the US, my childhood nightmares have started to show up in songs.”

Crossing between love, gender, sexuality and religion, and singing in solidarity with the innocent, persecuted, oppressed and threatened, Ezra Furman has soundtracked the current fear and loathing across America like no other, while pushing ahead with his own agenda, always on the move.

STAFF COMMENTS

Barry says: Furman's most fiery and conceptual piece yet, dealing with modern political and identity issues in a sensitive and clever way. Littered with moments of jaw-dropping songwriting and perfectly measured switches, Transangelic Exodus is another outstanding album from the ever-talented Furman.

TRACK LISTING

Suck The Blood From My Wound
Driving Down To L.A
God Lifts Up The Lowly
No Place
The Great Unknown
Compulsive Liar
Maraschino-Red Dress $8.99 At Goodwill
From A Beach House
Love You So Bad
Come Here Get Away From Me
Peel My Orange Every Morning
Psalm 151
I Lost My Innocence

Sequestered away in rural bliss, 90 minutes north of Seattle on the Washington state coast, Karl Blau has been making records for 20 years but never with European distribution. So, when Bella Union released ‘Introducing Karl Blau’ in 2015, it shone a belated and deserved light on “one of the great hidden treasures of music,” claimed album producer Tucker Martine.

However, given ‘Introducing’s specific agenda - a set of gorgeous, lush cover versions drawing mostly on vintage Nashville’s country-soul with Blau concentrating on his rich, reverberating voice - his latest album ‘Out Her Space’ is so different that it could be titled ‘Reintroducing Karl Blau’.

‘Out Her Space’ features Blau’s own material, production and multi-instrumental skills and forges a gorgeous, languid and hook-infested gumbo of soul, funk, some jazzy blowing and Afro-pop, to arrive somewhere else entirely. Or as the Secretly Important blog says of Blau: “He manages to find what’s unique about a genre and throws it against the wall like a fist full of wet noodles; over and over, until what’s stuck is a unique genre amalgam.”

The album also testifies to Blau’s studio skills, as he captures the glimmering, humid depths of those sweltering southern influences, despite his north-western heritage. But then Blau has engineered and produced a heap of records for himself and others, often at his home in Anacortes, releasing records on Washington’s favourite indies K and Knw-Yr-Own, as well as through his own Kelp Lunacy Advanced Plagiarism Society subscription service.

TRACK LISTING

Slow Children
Poor The War Away
Beckon
Valley Of Sadness
Blue As My Name
I’ve Got The Sounds (Like You’ve Got The Blues)
Where Ya Goin’ Papa
Dub The War Away

For a singer songwriter, the benefit of starting from a point of quiet is the room it allows for manoeuvre afterwards. Such is the case with the subtly cinematic second album from Sandra Sumie Nagano, ‘Lost In Light’, through Bella Union.

On 2013’s eponymous debut, Sumie tapped into the mid-point between Scandinavian and Japanese folk music to deliver an album of blissful restraint, its quietude shaped by a combination of parenthood and natural inclination.

The follow-up is an album of stealthy dynamism, drama and mystery, its impact made all the greater because it skirts obvious routes to dance just out of hand’s reach, always seeming to be on the verge of departure.

Those who helped Sumie climb that poised peak included producer Filip Leyman, in whose Gothenburg studio the album was recorded. Fellow contributors numbered Karl Vento and Albert af Ekenstam on electric guitars, Emma Strååt and Kajsa Persson on strings and Max Lindahl on trumpet.

Sumie has also surfaced on others’ work. She sings on ‘Cover Hearts’, a track from sometime soundtrack composer David Wenngren’s Library Tapes project and on Gothenburg electro-collective Tegami’s pulsing ‘Screen Dream’. Meanwhile, back at base camp, ‘Lost In Light’ is a screen-style dream of an album itself: immersive while it lasts, haunting after it flickers out of view.

STAFF COMMENTS

Barry says: Beautiful brittle acoustic guitar, slowly pulling strings and the haunting addition of Nagano's beautiful vocals make this an essential addition to any collection.

TRACK LISTING

Fortune
Night Rain
Blue Lines
Pouring Down
Frö
Divine Wind
Leave Me
The Only Lady
Walk Away

Currently celebrating 20 years piloting his revered record label Bella Union, Simon Raymonde has scaled another personal peak, a new collaboration with drummer Richie Thomas.

They’re called Lost Horizons, and their stunning debut album, ‘Ojalá’, released via Bella Union, is a rare sighting of two gifted musicians who, for different reasons, have been largely absent from music-making for the last 20 years. Yet the record is proof of a telepathic relationship through music, established when the pair first became collaborators and friends in the eighties.

‘Ojalá’ also incorporates a heady cast of guest singers. Some are signed to Bella Union, such as Marissa Nadler, former Midlake frontman Tim Smith, Cameron Neal (Horse Thief), others are long-time favourites of Raymonde’s (Liela Moss of The Duke Spirit and Ghostpoet), or newer discoveries (Beth Cannon, Hilang Child, Gemma Dunleavy and Phil McDonnell). And then there is the incomparable Karen Peris of The Innocence Mission, one of Raymonde’s most beloved artists, in her first collaboration outside of The Innocence Mission and solo recordings.

Together, the Lost Horizons ensemble has created an hour of exquisite, expansive and diverse spellcasting, from facets of soul (‘Bones’, featuring Cannon, and ‘Reckless’, featuring Ghostpoet) to dreamier invocations like ‘She Led Me Away’ (featuring Smith) and ‘Ojalá’s lengthiest trip, ‘The Engine’ (featuring Hilang Child). There’s the odd louder, faster detour, like ‘Life Inside A Paradox’ (featuring Neal, with Sharon Van Etten on backing vocals), but the dominant mood is a deep, rich melancholia.

TRACK LISTING

Bones
The Places We’ve Been
Amber Sky
Asphyxia
Reckless
She Led Me Away
Frenzy, Fear
The Tide
I Saw The Days Go By
Give Your Heart Away
Score The Sky
Life Inside A Paradox
The Engine
Winter’s Approaching
Stampede

Radiohead drummer Philip Selway’s new record is a departure from its two preceding albums (‘Familial’ and ‘Weatherhouse’). It is the soundtrack to the film drama ‘Let Me Go’, a story about mothers and daughters; about loss and mistrust; about the ramifications of a World War II crime; about secrets, trauma and lingering ghosts.

Mirroring the film’s haunted and intimate nature, Selway’s score is grounded in strings and piano, plus guitar, electronics, musical saw, glockenspiel and bowed vibraphone and the occasional use of bass and drums, creating a paradoxical sense of beauty and unease.

‘Let Me Go’ is based on Austrian-born Helga Schneider’s memoir of the same name. She was just four years old when her mother Traudi walked out, never to return, in order to train as a guard in Germany’s concentration camps. Helga never knew the truth until, as an adult, she decided to track her mother down in Vienna, to discover not only the horror of the past but also of Traudi’s unashamedly proud memories of the most notorious camp of all, Auschwitz-Birkenau. Helga wouldn’t return to Vienna until thirty years later, when news arrived: Traudi was dying. Helga returned, for the sake of closure and hoping her mother had finally repented.

TRACK LISTING

Helga’s Theme
Wide Open
Mine
Zakopane
Walk
Snakecharmer
Mutti
Last Act
Let Me Go
Days And Nights
Don't Go Now (Elysian Quartet)
Let Me Go (Rhodes)
Necklace
Helga’s Theme (Saw)

They may share a name and home country with one of Nordic TV’s darkest detective dramas, but you won’t find any dismembered bodies or nihilistic feelings on Broen’s ‘I <3 Art’, released through Bella Union.

Bursting with experi-pop exuberance and driven by a spirit of warm commonality, the five-piece’s debut album exults in the pleasures of intelligent music; its deep rhythms, dreamy melodies and dazzling sounds building bridges between bustles of jazzy percussion, psychedelic flourishes, funk grooves, mellifluous electronics and hip-hop beats. And if Norwegian-noir clichés and all other generic conventions are playfully bucked on its brightly exploratory way, such is Broen’s mission.

Recorded in Oslo’s Studio Paradiso, engineered by Jaga Jazzist’s Marcus Forsgren, and mixed by the band with Nick Terry, ‘I <3 Art’ bursts with invigorating life.

As Hans Hulbækmo (drums) puts it, “It’s both soft and hard. Beautiful and ugly or corny. Adventurous and experimental but still groovy. It’s honest and ironic. It has a lot of good energy. It was recorded live in the studio and it was a very joyful and positive experience. I think that shines through in the music, at least for us”.

TRACK LISTING

(Waters Changing)
Time
Black Line
<3
You (Detective)
Serenade
Pride
Water Is My Mirror

Acclaimed Norwegian singer songwriter and producer Susanne Sundfør releases her highly anticipated new album ‘Music For People In Trouble’ through Bella Union.

Sundfør’s most poignant and personal album to date, ‘Music For People In Trouble’ marks her out as one of the most compelling artists in the world.

The album was inspired by a journey Susanne made in a bid to re-connect, travelling across continents to contrary environments and politically contrasting worlds from North Korea to the Amazon jungle.

“We are living in a time of great changes. Everything is moving so rapidly, sometimes violently, sometimes dauntingly. I think a lot of people experience anxiety these days. I wanted to address these emotions on the album.” - Susanne Sundfør

STAFF COMMENTS

Darryl says: Her fifth album, and a career definer on the Bella Union label. Unsettling and emotional at times but always full of her unique spine-chilling vocal beauty.

A 14-track compilation of songs from throughout their career so far. The album features two previously unreleased tracks “Chariot” and “Baseball Diamond”, which were recorded during the Depression Cherry and Thank Your Lucky Stars sessions, both albums of which were released two months apart in 2015.

"When we announced that we were releasing a B-sides and rarities album, someone on Twitter asked, “B-sides record? Why would Beach House put out a B-sides record? Their A-sides are like B-sides.” This random person has a point. Our goal has never been to make music that is explicitly commercial. Over the years, as we have worked on our 6 LPs, it wasn’t the “best" or most catchy songs that made the records, just the ones that fit together to make a cohesive work. Accordingly, our B-sides are not songs that we didn’t like as much, just ones that didn’t have a place on the records we were making.

The idea for a B-sides record came when we realized just how many non-album songs had been made over the years, and how hard it was to find and hear many of them. This compilation contains every song we have ever made that does not exist on one of our records. There are 14 songs in total.

The oldest song is “Rain in Numbers” and was recorded in 2005, during the summer when we formed the band. We didn’t have a piano, so we asked our friend if we could use his, which was pretty out of tune. We used the mic that was on the four-track machine to record the piano and vocals. It was originally the secret song on our self-titled debut.

Sequentially, the next couple of songs are from late 2008. We were so excited about “Used to Be,” that we recorded it right after writing it so that we could have it as a 7” single for our fall tour with the Baltimore Round Robin. We recorded our cover of Queen’s “Play the Game” in the same session. It was for a charity compilation benefiting AIDS research and we will continue to donate all profits from the song to that charity. As fans of Queen, we thought it would be fun and ridiculous to try to adapt their high-powered pop song into our realm. These songs were recorded at the same studio where we made Devotion.

There are a bunch of songs written and recorded in the 2009-2010 window. This period of time, as well as 2014, was our most prolific to date. “Baby” was written and recorded in October 2009 with our friend Jason Quever. “10 Mile Stereo” was recorded during the Teen Dream session in July 2009. Since we used tape, we often slowed the tape way down to create effects while recording. When we were doing that for “10 Mile Stereo” we decided we wanted to make an alternate version where the whole song was slowed down, hence the “10 Mile Stereo (Cough Syrup Remix).”

“White Moon” and “The Arrangement” were both songs that we didn’t believe fit on Teen Dream. “White Moon” originally appeared on our iTunes live session. Since that was recorded and mixed very hastily, we have remixed it to better match our current aesthetics. We have also remixed and included the version of “Norway" we did at that same session. The main reason we wanted to include “Norway” is that it features a very different bridge from the original version.

After the insane year of touring we had in 2010, we felt incredibly grateful to our fans for all that had happened. We wrote and recorded “I Do Not Care for the Winter Sun” during a break between tours and released it on the internet for free, unmastered. Well, it’s finally been mastered…

“Wherever You Go” Is another song from that era. We always loved this song but thought it sounded too much like our old music. We paused writing it and didn’t finish it until 2011 during the Bloom recording session. It appeared originally as a secret song on Bloom.

“Equal Mind” was also recorded during the Bloom session. We really like this song, but pulled it from the record when we realized it had the exact same tempo as “Other People.” They are like twins.

The Bloom sessions led to “Saturn Song” as well. This song is built on a piano loop we wrote while recording Bloom. It also contains sounds recorded in deep space. It originally appeared on a compilation of songs incorporating space sounds that was released in 2014.

Finally, there are two previously unreleased songs from the Depression Cherry/Thank Your Lucky Stars sessions. They are called “Chariot” and “Baseball Diamond.” "

TRACK LISTING

1. Chariot
2. Baby
3. Equal Mind
4. Used To Be (2008 Single Version)
5. White Moon (iTunes Session Remix)
6. Baseball Diamond
7. Norway (iTunes Session Remix)
8. Play The Game
9. The Arrangement
10. Saturn Song
11. Rain In Numbers
12. I Do Not Care For The Winter Sun
13. 10 Mile Stereo (Cough Syrup Remix)
14. Wherever You Go

“It seems like the last three years have been filled with contrasts,” says Katrina Ford, force-of-nature singer in Baltimore’s Celebration. “Fantastical musical adventures against the backdrop of adult crisis.” From this collision of opposites comes the kaleidoscopic ‘Wounded Healer’, released via Bella Union. Drawing its galvanic thrust from contrasting elements, the band’s fifth album is their purest and most richly realised statement yet: intimate and expansive, cohesive and wide-ranging, bruised and restorative.

Since the release of Albumin in 2014, the core trio of Ford, husband (multi-instrumentalist and organ player/rebuilder) Sean Antanaitis and drummer David Bergander have battled in times of struggle to uphold their founding strengths. “Midlife, we find ourselves dealing with bathroom renovations, death and elder care for parents, raising kids, careers, multiple surgeries, and totally fucked scheduling,” says Ford. “But despite it and yet inspired by it all, we have a place to come together and do this thing we love.”

TRACK LISTING

Rolling On
Velvet Glove
Spider
Sacred Clown
Summer Season
Granite
Freedom Ring
Stevie
Georgia Roots
Paper Trails
Drum And Phife

Bella Union release Will Stratton’s album ‘Rosewood Almanac’, the American’s debut for the label.

‘Rosewood Almanac’ is a work of fragile magic, a hypnotic combination of beautifully breathy voice and exquisite lyrical imagery, gorgeous melodies and similarly soft-spun instrumentation, centred on Will Stratton’s thrumming acoustic guitar and the verdant presence of velvet strings.

Born in California, mostly raised in New Jersey and currently an upstate New Yorker, this great-grandson of a travelling preacher started songwriting and recording while at high school, before going on to study philosophy and music composition. He has released work by himself and via a couple of tiny indies (one being Talitres in France) but extended medical treatment put everything on hold. After his successful recovery, Stratton decided to leave New York City for the Hudson Valley. Teaching (music, art, video) at a local boarding school while living on campus as a dorm ‘parent’ left little time for musical ambition, though he had never stopped making music. However, having left teaching, everything has come together for the finest record of his life. Bella Union’s timing was impeccable.

TRACK LISTING

Light Blue
Thick Skin
Manzanita
Vanishing Class
Whatever’s Divine
I See You
Some Ride
Skating On The Glass
This Is What We Do
Ribbons

Debut release from BNQT, a new indie super-group conceived and led by Eric Pulido of Midlake.The introductory set includes ten new, original songs and features five vocalists – Ben Bridwell of Band of Horses, Alex Kapranos of Franz Ferdinand, Fran Healy of Travis, Jason Lytle of Grandaddy, and Pulido – who wrote and sing two tracks each, with backing from other Midlake members McKenzie Smith (drums), Joey McClellan (guitar) and Jesse Chandler (keys). ‘Volume 1’ was recorded and produced mostly at their studio in Denton, Texas. 

The concept of BNQT (pronounced “Banquet”) came to Pulido while touring Midlake's 2013 release, “Antiphon”. Gathering a number of contrasting yet complementary artists he’d befriended or shared the stage with, Pulido set out to establish an environment in which they could collaborate: “That's what art is about for me,” Pulido says, “creating with other people that you love and appreciate.”

The idea for BNQT was enthusiastically embraced by all involved, but with the artists stretched across the globe, recordings were split both with travel to Denton and remotely over the net. Over a year and some change, songs grew from demos to fully realized recordings, with Pulido guiding the way, and encouraging the artists to stretch out into new, uncharted territory. The resulting work is full of surprises, a collection that feels oddly familiar and attractively alien.

STAFF COMMENTS

Andy says: If you look at the list of artists on this unique album you'll know that the melodies are well and truly catered for, but sound-wise you might not expect this glorious celebration of all things early 70's. A bit like Midlake's work behind John Grant but with room for some rock'n'roll riffage, swoonsome Floyd-style synths and even a glam stomper. Ace!

TRACK LISTING

1. Restart
2. Unlikely Force
3. 100 Million Miles
4. Mind Of A Man
5. Hey Banana
6. Real Love
7. Failing At Feeling
8. L.A. On My Mind
9. Tara
10. Fighting The World

Since 2012, Father John Misty, aka Josh Tillman, has unexpectedly emerged as a singular (if not undeniably, um, idiosyncratic) voice. Whether by virtue of his lyrics, which routinely defy the presumed polarities of wit and empathy; his live performances which may perhaps be described best as “intimately berzerk”, or the infuriating line he seems to occupy between canny and total fraud online or in interviews, Father John Misty has cultivated a rare space for himself in the musical landscape - that of a real enigma. Pure Comedy sees Tillman at the height of these powers: as a lyricist, and equally so a cultural observer - at times bordering on freakishly prescient. Tillman’s bent critiques, bared humanity and gently warped classic songwriting are all here in equal measure and - at 75 minutes - there’s a veritable fuck ton of it. The album navigates themes of progress, technology, fame, the environment, politics, aging, social media, human nature, human connection and his own role in it all with his usual candour, and in terms as timely as they are timeless.

Tillman wrote the majority of Pure Comedy throughout 2015 and recorded all the basic tracking and vocals live to tape (in no more than two takes each) at United Studios (fka the legendary Ocean Way Studios, favored by Frank Sinatra and The Beach Boys) in Los Angeles March 2016.

Pure Comedy was co-produced once again by Josh Tillman and long-time producer Jonathan Wilson; mixed by Tillman, Wilson and Trevor Spencer, and mastered by Bob Ludwig at Gateway Mastering Studios. The album features string, horn and choral arrangements from classical iconoclast Gavin Bryars (Jesus Blood Never Failed Me Yet, Sinking Of The Titanic), with additional contributions from Nico Muhly and Thomas Bartlett.

TRACK LISTING

1. Pure Comedy
2. Total Entertainment Forever
3. Things It Would Have Been Helpful To Know Before The Revolution
4. Ballad Of The Dying Man
5. Birdie
6. Leaving LA
7. A Bigger Paper Bag
8. When The God Of Love Returns There’ll Be Hell To Pay
9. Smoochie
10. Two Wildly Different Perspectives
11. The Memo
12. So I’m Growing Old On Magic Mountain
13. In Twenty Years Or So

A heavenly voice couched in spellbinding Country & Western ballads, with a devastating emotional delivery: Holly Macve is a fantastic addition to the Bella Union family and her album ‘Golden Eagle’ is one of the most remarkably assured debuts of this or any other year, especially given that she’s only 21 years old.

“Words are my main love,” she declares. “I love songs that tell stories and take you somewhere else. I’ve always been drawn to that old country sound with its simple and memorable melodies. I enjoy music that feels timeless, that you don’t know quite when it was recorded.”

The bulk of ‘Golden Eagle’ was recorded in Newcastle at the home studio of producer Paul Gregory (of Bella Union labelmates Lanterns On The Lake), with extra recording in Brighton and London. Throughout, ‘Golden Eagle’ remains beautifully spare and delicate, putting Holly’s goosebumpraising voice centre stage, beautifully controlled yet riven with feeling.

On stage she’s a magnetic presence; it’s not just voice and songs. Audiences who caught her supporting the likes of John Grant, Villagers and Benjamin Clementine - incredible company to keep at this early stage - were doubtless stopped in their tracks. ‘Golden Eagle’ is surely going to have the same effect.

STAFF COMMENTS

Laura says: This album would sit comfortably alongside the traditional honky-tonk / country of Patsy Cline as easily as it would more contemporary artists such as Gillian Welch and Laura Marling. The song structures follow a 'classic' country format, but the simplicity and stripped back nature of the recording (often just guitar or piano and vocals) allows for Holly's incredible, vocals to weave their magic and create a really wonderful, timeless album.

TRACK LISTING

White Bridge
Corner Of My Mind
Heartbreak Blues
Shell
All Of Its Glory
Timbuktu
Fear
No One Has The Answers
Golden Eagle
Sycamore Tree

Following much acclaim for their sophomore album ‘A Hermitage’, which was released in June 2016 via Bella Union, South Korean trio Jambinai announce that their debut album ‘Differance’ will be released on vinyl for the first time outside of South Korea. The debut full-length from Jambinai, originally released in February 2012, is a challenging and compelling affair that won them the prize for Best Crossover Album at the 2013 Korean Music Awards. A heady mixture of traditional instrumentation, crashing percussion and classic crescentic post-rock, Jambinai manage to maintain the brooding atmospherics and driven aesthetic through rapid-fire stylistic changes and skillful segues. Part metal, part instrumental and cinematic rock, and entirely fascinating, this is an excellent standalone outing, and a brilliant insight into the formation of the sound heard on their latest epic 'A Hermitage'.

STAFF COMMENTS

Barry says: Gloomy, brooding instrumental rock meets crashing metallic bursts, all interspersed with forlorn strings, floating ambience and triumphant crescendos. A superb outing, and a vastly underappreciated gem now available on vinyl!

TRACK LISTING

Time Of Extinction
Grace Kelly
Glow Upon Closed Eyes
Paramita Pt. 1
Paramita Pt. 2
Hand Of Redemption
Empty Pupil Pt. 1
Empty Pupil Pt. 2
Connection

THE FLAMING LIPS are pleased to announce the release of their long-awaited new studio album, entitled OCZY MLODY via Bella Union. Produced by the band and their long-time producer Dave Fridmann, the highly-anticipated LP is the follow-up to their globally acclaimed 2013 album, “The Terror”.

Three-time Grammy-Award winners, THE FLAMING LIPS are one of the most enduring, influential, unpredictable, and universally respected bands of their generation or any other. Led by Wayne Coyne, they have been cited as the ultimate live attraction and life-affirming festival band who continue to dazzle audiences with their over-the-top, maximalist, high-energy onslaught on the senses. On OCZY MLODY, The Lips return to form with an album no less experimental in nature, but perhaps more melodically song-oriented, recalling the best parts of their most critically applauded albums THE SOFT BULLETIN and the gold-certified YOSHIMI BATTLES THE PINK ROBOTS.

STAFF COMMENTS

Andy says: Like a more drawn out and melancholic "Yoshimi", this record sees the good ship Lips return to more considered , calmer waters. Good tunes too!

TRACK LISTING

1. Oczy Mlody
2. How??
3. There Should Be Unicorns
4. Sunrise (Eyes Of The Young)
5. Nigdy Nie (Never No)
6. Galaxy I Sink
7. One Night While Hunting For Faeries And Witches And Wizards To Kill
8. Do Glowy
9. Listening To The Frogs With Demon Eyes
10. The Castle
11. Almost Home (Blisko Domu)
12. We A Famly

In the two and a half years since the release of their last album ‘Rookie’, Brisbane’s The Trouble With Templeton have, says frontman Thomas Calder, been busy “breaking down and re-assembling what it means to make music for us.” On the evidence of the richly confident and clear-sighted ‘Someday, Buddy’, released through Bella Union, that time was well spent.

The full-bodied songs here can take the emphasis, no trouble. The Trouble With Templeton weren’t slouching on ‘Rookie’, where Calder and company wedded vibrant melodies and multifarious alt-rock flavours - epic, jangly, glam - to a core of emotive cogency. On ‘Someday, Buddy’, however, their personality emerges sharper and clearer. “Our goal was to make a record that is raw, bare and honest,” says Calder, a claim borne out by the incisive lyrics of the swelling ‘Sailor’ and lilting ‘Heavy Trouble’, where Calder’s falsetto dances over a tender indie folk backdrop.

Sometimes fragile, sometimes forceful, Calder’s voice remains a marvel on ‘Bad Mistake’, a combination of intricate verses and a huge chorus pitched somewhere between Pavement and Elliott Smith.  ‘Someday, Buddy’s recipe is one of slow burn songs harbouring great reserves of potency: the discreet neo glam swagger of ‘Complex Lips’, the sunburst chorus of ‘Vernon’, the gorgeous ripples of album highlight ‘1832’.

For The Trouble With Templeton, the album is the culmination of time spent refining the band’s qualities following extensive touring for ‘Rookie’. After taking time out to recharge their batteries, Calder, Ritchie Daniell (drums) and Sam Pankhurst (bass) recorded as a trio with help from their friend Matt Redlich; later, they were joined by another buddy, guitarist Jack Richardson. As a result, says Calder, the band’s bonds are “stronger than ever.” By the time ‘Someday, Buddy’ fades out with the understated confidence and poised beauty of ‘Sturdy Boy’ no one could doubt it.

TRACK LISTING

Sailor
Heavy Trouble
Bad Mistake
Complex Lips
Vernon
I Want Love
Double Life
1832
Sturdy Boy

Having announced themselves to the world with their acclaimed self-titled debut in 2014, Arc Iris return with their second album, ‘Moon Saloon’, released on Bella Union.

‘Moon Saloon’ constitutes a natural progression from the first album’s whimsical explorations. Produced by the group and mixed by electronic producer David Wrench of FKA Twigs and Caribou fame, the album showcases beat-heavy melodies and textural, grooveriding rhythms. It developed from the band’s distillations of musical influences, combining traditional elements with percussive structures and dense, beguiling harmonies.

In many ways this second album captures Arc Iris’ musical odyssey as a band. “It has a heavier sound, more intense,” says Arc Iris keyboardist Zach Tenorio- Miller, who makes liberal use of sampling in many of the songs. The group matches an unusual array of organic acoustic instruments with layered electronic sounds.

“Though they are only a three-piece, they have a large arsenal of sounds and sensibilities to work with, and they use every bit of it to make beautifully textured soundscapes difficult to box into any genre.” - Stereogum

TRACK LISTING

Kaleidoscope
Kingdom Come
Paint With The Sun
Pretending
She Arose
Lilly
Johnny
Saturation Brain
Rainy Days
Moon Saloon

South Korean trio Jambinai sound less like a band than a force of nature, fusing the full dramatic range of post rock dynamics to Korean folk roots to create an exhilarating, vivid and unique fusion.

‘A Hermitage’ is Jambinai’s first album for Bella Union, recorded in MOL Studio in the South Korean capital Seoul, where the trio also made their 2010 EP ‘Jambinai’ and 2012 album ‘Différance’.

In Korean, ‘Hermitage’ translates as ‘Eun-Seo’: “it means person, or creature, who is hiding like a hermit, or undiscovered,” explains the band’s Bomi Kim. “This connects to Jambinai because most people don't know us yet, or they cannot imagine how our type of music fits together.”

STAFF COMMENTS

Barry says: Encompassing elements of traditional Korean folk music within the realm of noisy post-rock doesn't sound like an easy proposition, but here it is handled with restraint and grace. Both driving and meditative, 'A Hermitage' spans the full dynamic spectrum : trad 'loud-quiet-loud' instrumental formula interspersed with dynamic plinky-plonky zithered folk. Intense and exciting.

For more than 12 years Marissa Nadler has perfected her own take on the exquisitely sculpted gothic American songform. On her seventh full-length, Strangers, released 20th May on Bella Union , she has shed any self-imposed restrictions her earlier albums adhered to, stepped through a looking glass, and created a truly monumental work.

Today Nadler has shared “Janie in Love”, one of her most texturally rich songs to date and one that updates her signature sound with some of the most prominently featured drumming of her career. Her talent for powerfully juxtaposing the ominous and the beautiful is on full display. 

In the two years since 2014’s elegiac, autobiographical “July”, Nadler has reconciled the heartbreak so often a catalyst for her songwriting. Turning her writing to more universal themes, Nadler dives deep into a surreal, apocalyptic dreamscape. Her lyrics touch upon the loneliness and despair of the characters that inhabit them. These muses are primal, fractured, disillusioned, delicate, and alone. They are the unified voice of this record, the titular “strangers.”

Once again partnered with July producer Randall Dunn (Sunn O))), Earth, Black Mountain) Nadler has created an album equal in sonic quality to the apocalyptic lyrical tone that covers its 44 minutes. In places her voice and guitar play off subsonic synths, while elsewhere, a pulsing drumbeat launches the songs off into an intense, confrontational place. 

STAFF COMMENTS

Barry says: Following 2014's 'July' is this outstanding offering from Marissa Nadler. Seamlessly segueing between melancholic off-kilter pop and plucked acoustic anthems without skipping a beat, this is an accomplished and startling stylistic journey, and a formative expansion of Nadler's already breathtaking musical palette.

The Wilderness is the band’s sixth album, and first non-soundtrack effort since 2011’s ‘Take Care, Take Care, Take Care’. Arguably the most progressive instrumental rock album since EITS’ 2003 breakthrough ‘The Earth Is Not A Cold Dead Place’, The Wilderness is a bold, experimental work combining the singular song craft that has sold hundreds of thousands of albums and tickets with the cinematic sensibility that has elevated the band to the level of regard and demand its members enjoy as film composers (Lone Survivor, Manglehorn, Prince Avalanche, Friday Night Lights).

The first Explosions In The Sky album not produced entirely by the band, The Wilderness features long time collaborator (and Grammy-winning producer) John Congleton in a co-producer role for the first time. The band's most ambitious songs to date branch into unexpected new dimensions accordingly - Exhibit A being “Disintegration Anxiety,” currently streaming on all platforms and available as an instant grat download with all pre-orders. With its cacophonous opening washes that ultimately resolve into a locked groove, “Disintegration Anxiety” marks the rock solid midpoint of an aggressively modern and forward-thinking work. 

STAFF COMMENTS

Barry says: Expanding upon their trademark sound, much like fellow Texans This Will Destroy You ; Explosions In The Sky have encompassed, to great effect, elements of drone and electronica into their (still unmistakeable) post-rock sound. Distorted beats, crunchy snares, and dusty arpeggios atop soaring guitars and crackly synths. A vast departure for the band, but without endangering what makes them tick, The Wilderness is bold, brave, and brilliant.

TRACK LISTING

1. Wilderness
2. The Ecstatics
3. Tangle Formations
4. Logic Of A Dream
5. Disintegration Anxiety
6. Losing The Light
7. Infinite Orbit
8. Colors In Space
9. Landing Cliffs

M. Ward returns with a stunning new album, ‘More Rain’, released on Bella Union. Ward has released a string of acclaimed solo albums over the past several years, along with five albums with Zooey Deschanel as She & Him and a 2009 collaborative album with My Morning Jacket’s Jim James and Bright Eyes’ Conor Oberst and Mike Mogis under the moniker Monsters Of Folk.

In addition to his celebrated work as a musician, Ward is an accomplished producer, handling those duties for such luminaries as Mavis Staples, Jenny Lewis and Carlos Forster as well as his own projects.

M. Ward knows how to live with rain. Having spent the last decadeand- a-half based in the perennially damp Portland, Oregon, the singer-songwriter and producer has learned how to shine through the soggy gloom by simply embracing its inevitability. For Ward, there is inspiration in a dark sky and harmony in foreboding winds. With his new album ‘More Rain’ he has made a true gotta-stay-indoors, rainyseason record that looks upwards through the weather while reflecting on his past.

“I think one of the biggest mysteries of America right now is this: How are we able to process unending bad news on Page One and then go about our lives the way the style section portrays us?” says Ward. “There must be a place in our brains that allows us to take a bird’s-eye view of humanity, and I think music is good at helping people - myself included - go to that place.”

This album, Ward’s eighth solo affair, finds the artist picking up the tempo and volume a bit from his previous release, 2012’s ‘A Wasteland Companion’. Where that record introspectively looked in from the outside, ‘More Rain’ finds Ward on the inside, gazing out. Begun four years ago and imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice, it soon branched out in different directions, a move that he credits largely to his collaborators here who include REM.’s Peter Buck, Neko Case, kd lang, The Secret Sisters and Joey Spampinato of NRBQ.

STAFF COMMENTS

Andy says: More warm 50's/60's vibes from the golden voiced maestro. Another enveloping record where everything feels just right. Great songs, obviously.

TRACK LISTING

(More Rain)
Pirate Dial
Time Won’t Wait Up
Confession
I’m Listening (Child’s Theme)
Girl From Conejo Valley
Slow Driving Man
You’re So Good To Me
Temptation
Phenomenon
Little Nany
I’m Going Higher

Wild Nothing, aka Brooklyn-based musician Jake Tatum, released his debut album ‘Gemini’ in 2010 to critical acclaim. Five years on, with an equally impressive sophomore release and a series of EPs under his belt, Tatum is pleased to announce his third-studio album and self-proclaimed most “mature and honest” work to date, ‘Life Of Pause’.

When Jack Tatum began work on ‘Life Of Pause’ he had fascinating ambitions. “I desperately wanted for this to be the kind of record that would displace me,” he says. “I’m terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn’t need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before.”

‘Life Of Pause’ is an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. “I allowed myself to go down every route I could imagine even if it ended up not working for me,” he says. “I owe it to myself to take as many risks as possible. Songs are songs you have to allow yourself to be open to everything.”

After a prolonged period of writing and experimentation recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn & John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran TK to contribute drums and marimba. In California, at Monahan’s home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists.

From the hypnotic polyrhythms of ‘Reichpop’ to the sugary howl of ‘Japanese Alice’ to the hallucinogenic R&B of ‘A Woman’s Wisdom’, the result is a complete, fully immersive listening environment. “I just kept things really simple, writing as ideas came to me,” he says. “There’s definitely a different kind of ‘self’ in the picture this time around. There’s no real love lost, it’s much more a record of coming to terms and defining what it is that you have - your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new.”

TRACK LISTING

Reichpop
Lady Blue
A Woman’s Wisdom
Japanese Alice
Life Of Pause
Alien
To Know You
Adore
TV Queen
Whenever I
Love Underneath
My Thumb

In 2013 MONEY released their debut album ‘The Shadow Of Heaven’, following a handful of concerts that felt more like communions in out-of-the-way venues, advertised by word-of-mouth only.

Two years on, the new MONEY album, ‘Suicide Songs’, takes you deeper into their sound and vision. It feels more advanced and yet simpler, more perfected and yet more open. It is, by turns, a tender, barren, cavernous, smouldering, despairing and inspirational piece of work.

Out of a renewed, richer palate of sound, a sense of greater self-belief has emerged. However, as its title suggests, ‘Suicide Songs’ doesn’t shirk from the emotional truths that birthed it. “I wanted the album to sound like it was ‘coming from death’ which is where these songs emerged,” Jamie explains. “Above all else, I’m just trying to project and portray a poetic truth. Suicide is about anonymity, to the point where you don’t exist, which I definitely feel in my songwriting and as a person. But rather than writing myself out of anonymity, I want to remain there, in this record at least.”

TRACK LISTING

I Am The Lord
I’m Not Here
You Look Like A Sad Painting On Both Sides Of The Sky
Night Came
Suicide Song
Hopeless World
I’ll Be The Night
All My Life
A Cocaine Christmas And An Alcoholic’s New Year

Billie Lindahl, the woman behind the name Promise & The Monster, brings a vivid landscape to life on ‘Feed The Fire’, her first album for Bella Union.

‘Feed The Fire’ was recorded in Stockholm, where Lindahl lives, at Labyrint, a small basement studio run by her friend Love Martinsen who produced the ‘Feed The Fire’ album and shares most of the instrumentation with Lindahl. “We aimed at combining the elegance of old Sixties recordings with something darker and more mechanical,” she recalls. “Like you would play a Lee Hazlewood song on top of Nico’s late Eighties records.”

Duality sits at the core of ‘Feed The Fire’, likewise the name Promise & The Monster. “To feed the fire can be seen as both constructive and destructive,” Lindahl concludes. “You keep the fire burning, the spark alive. But fire can kill you. To see, listen and feel is quite a violent and confusing experience, and I think my lyrics often evolve around that, blurring boundaries between dream and reality, and between sanity and insanity.”

TRACK LISTING

Feed The Fire
Hunter
Time Of The Season
Slow And Quiet
Apartments Song
Julingvallen
Hammering The Nails
The Weight Of It All
Machines
Fine Horseman

This one-off live recording saw John performing much of his celebrated catalogue with the 90-piece BBC Philharmonic Orchestra, with arrangements by his long-time collaborator Fiona Brice.

We've just managed to get our hands on a few copies of this album that was originally available on Record Store Day. 

Includes a download code.

Exclusive silver vinyl limited to 1000 copies in the UK / Eire.

Two years on from the critically acclaimed Until The Colours Run, Lanterns On The Lake return with their third full-length record Beings. It marks another leap in the band’s development as they expand their range, pushing the envelope of their signature atmospheric rock and scaling new heights of absorbing song-craft.

Work on Beings began in February 2014, hard on the heels of successful tours of Europe and North America. It proved to be a productive period. “The ideas came effortlessly and in abundance,” vocalist Hazel Wilde says of the writing process. “At first we had no expectations, no prescribed ideas of how we wanted the songs to turn out. We were just writing and playing together because that’s what we’d always done.”

This was made possible by their setup, working in splendid isolation; writing, rehearsing and recording in their Newcastle rehearsal room meant the results were undiluted by outside influence. Imaginatively produced and mixed by guitarist Paul Gregory, it’s also his experience that helped yield such compelling results. This allows Beings to move seamlessly from airy, chiming beauty to dense, forbidding soundscapes - sometimes in the same song - while still feeling like the product of a cohesive unit, retaining the band’s spark. “We wanted it to be more raw,” Wilde says of the record. “At its darkest points, we wanted it to feel like you’d dived into the deepest part our dreams and were taking a look around. At its lightest we wanted it to feel like you were coming up for air.”

Opening song ‘Of Dust and Matter’ strikes just such a balance. The band’s most sinister moment yet, it prowls out of a burble of radio static and feedback, propelled by ominous piano chords as its menacing pulse builds to a tumbling climax of almost discordant, warped guitar parts and the fractured drumming of Ol Ketteringham. “In my greatness I vowed to destroy all I am,” Wilde sings. “It brings out the best in me.”

It’s an interesting early lyric, and it soon becomes apparent that this is a braver, more headstrong Lanterns on the Lake, a band now less about floating on water than racing across land, eager and with points to prove. Often their melancholy necessarily turns to action. “Fractured lives like faultlines, unto the breach my friends if you will” is Wilde’s call to arms on ‘Faultlines’, a critique of austerity, as the band turn in a cavalry charge with her voice as the clarion call.

Wilde's lyrics also shudder with evocative and often surprisingly dark imagery in songs that attempt to understand the world around her, built from charged moments of universal insight. “There is a sense of the need to connect to something; the need to find meaning,” she says of the material. “There’s such frustrating injustice in the world, yet this feels like a time of disconnection where we’re encouraged to celebrate the shallow side of culture. This record carries that sense of yearning for something greater.”

This gives Beings immediacy, depth and resonance as it touches on community, love, culture, politics and self-examination, and our own place and limitations within each. “I want to walk with the brave, give me a good day, I want to feel human” Wilde sings on the graceful ‘I’ll Stall Them’, exploring the importance of connection, kinship and reconciliation.

Beings is the engrossing product of a band operating in total harmony to the point where their music creates its own idiosyncratic world whilst also distilling outside concerns into it. The horizons open to Lanterns on the Lake are now as broad as the sweep of these beautiful songs.

STAFF COMMENTS

Andy says: Starker, darker but still really beutiful, the Lanterns'third is an engrossing listen.

Less than 2 months after the release of 2015′s much celebrated 'Depression Cherry', Beach House will grace us all with their sixth full length LP titled 'Thank Your Lucky Stars'. 

STAFF COMMENTS

Andy says: Beach House wowed us this year with their gorgeous comeback LP "Depression Cherry" and now, only 2 months later, they do something fairly unique in pop by releasing a second, brand new collection. This is not an odds'n'sods out-takes jobby. This is a just as brilliant sister record, totally beautiful in it's own right, but with an even better sleeve! Swoon again.

TRACK LISTING

Majorette
She's So Lovely
All Your Yeahs
One Thing
Common Girl
The Traveller
Elegy To The Void
Rough Song
Somewhere Tonight 

It’s been the most spectacular of journeys, from a place in time when John Grant feared he’d never make music again, to winning awards, accolades and Top 20 chart positions, collaborating with the likes of Sinead O’Connor, Goldfrapp and Elton John, as well as a Best International Male Solo Artist nomination at the 2014 BRITS Awards.

Now comes Grant’s third album, the invitingly titled Grey Tickles, Black Pressure, a veritable tour-de-force that further refines and entwines his two principal strands of musical DNA, the sumptuous tempered ballad and the taut, fizzing electronic pop song. There are newer musical accomplishments across its panoply of towering sound, like the title track’s new steely demeanour, while the ominous drama of “Black Blizzard” echoes both John Carpenter and Bernard ‘Black Devil Disco Club’ Fevre’s beautiful and icy synthscapes. The contagious, gleeful “You And Him” marries buzzing rock with a squelchy electronic undertow, while orchestral drama swathes the bad-dreamy “Global Warming” and the album’s gorgeously aching widescreen finale “Geraldine”.

Grey Tickles, Black Pressure was recorded in Dallas with producer John Congleton (St Vincent, Franz Ferdinand, Swans) - coincidentally the same state of Texas where Grant nailed his 2010 solo debut Queen Of Denmark in the company of Denton’s wondrous Midlake. After that landmark return, which MOJO made its album of 2010, 2013’s Pale Green Ghosts was made in Icelandic capital Reykjavik (where Grant has lived ever since), which entered the UK Top 20 in its first week and ended up as Rough Trade Shop’s Album of the Year 2013, The Guardian’s No.2 and in MOJO and Uncut’s Top Five). Such recognition, iced by years of sell-out shows across Europe and a recent US tour as special invited guest of the Pixies, should allow the notoriously self-critical and insecure Grant the passing thought that Grey Tickles, Black Pressure will deservedly cement his reputation as the most disarmingly honest, caustic, profound and funny diarist of the human condition in the persistently testing, even tragic, era that is the 21st century.

“I do think the album’s great, and I’m really proud of it,” he says. “I wanted to get moodier and angrier on this record, but I probably had a lot more fun making it.” He cites “amazing” session keyboardist Bobby Sparks, “who really funked things up,” as part of that fun; likewise a month of Dallas sunshine “after a brutal dark winter in Iceland. And there was a lot of laughter.”

That said, fun isn’t the first ingredient you’d expect when you know the roots of the album title. “‘Grey tickles’ is the literal translation from Icelandic for ‘mid-life crisis’, while ‘black pressure’ is the direct translation from Turkish for ‘nightmare’,” Grant explains, an unusually gifted linguist (he’s fluent in German, Russian and now tackling Icelandic).

Nevertheless, there are plenty of positive streaks in Grey Tickles, Black Pressure. Grant, for one, is in fabulous voice throughout and has moved on from the specific subject matter that shaped both previous albums (though the concept of love always figures into the mix). “Disappointing” – featuring vocal guest Tracey Thorne – is an exuberant tribute to new love, against which Grant’s favourite Saturday Night Live comediennes, Russian artists and “ballet dancers with or without tights” pale in comparison. The album’s other two guests are vocalist Amanda Palmer and former Banshees drummer Budgie.

But the end result is indeed a moody, angry record, laced with levering humour and wounded pathos, yet as dark as Reykjavik in February. It starts and ends with spoken word snippets called, simply, “Intro” and “Outro”, both taken from the same Biblical quote (from 1 Corinthians 13) regarding the divinity of love that young John was taught in church. In between are 12 songs that document the reality of love on planet Earth, corrupted by “pain, misunderstandings, jealousy, objectification and expectations,” as Grant puts it.

The album’s last two songs are among its finest. “No More Tangles” fights against co-dependency “with narcissistic queers,” he sings, through the metaphor of hair care products. “It’s about not apologizing for who you are and not putting up with unnecessary bullshit from people who do not care about you”. But in “Geraldine” (as in the late Geraldine Paige, “one of freakiest, strongest, coolest actresses I’ve come across”), Grant’s latest actor-inspired song is Grant’s chance to ask her if she too had to “put up with this shit” that life dishes out.

So Grant still manages to keep fighting the good fight, and writing his way out of trouble with another fantastic record. “I want to continue to challenge myself,” he says. “To keep collaborating, to get the sound or the direction that will take me where I need to go. To keep taking the bull by the horns.” 

STAFF COMMENTS

Andy says: Lush, deep production bringing throbbing electronics further to the fore, which when married to Grant's enormo ballads and hilarious lyrics, make this John's most complete album yet.

TRACK LISTING

1. Intro
2. Grey Tickles, Black Pressure
3. Snug Slacks
4. Guess How I Know
5. You & Him
6. Down Here
7. Voodoo Doll
8. Global Warming
9. Magma Arrives
10. Black Blizzard
11. Disappointing
12. No More Tangles
13. Geraldine
14. Outro

As Mercury Rev began recording their eighth studio album in autumn 2013, when asked what people could expect, co-pilot Grasshopper responded, “Steel Resonator Mandolin. Timpani. Sleigh Bells. All sorts of electric guitars…..” He subsequently added, “It is the best stuff we have done in a long, long time. Gonna be big sounding!”

Two years on, The Light In You more than lives up to its billing. The record is filled with wondrous and voluminous kaleidoscopic detail, but also intimate moments of calm, and altogether stands up to the very best that this notable band of maverick explorers has ever created. Its ecstatic highs and shivery comedowns also reflect a particularly turbulent era in the lives of Grasshopper and fellow co-founder Jonathan Donahue, of calamities both personal and physical, but also rebirths and real births (Grasshopper became a father for the first time in 2014). There's a reason for the seven-year gap since the band's last album, Snowflake Midnight.

“It was one of those otherworldly life sequences, when everything you think is solid turns molten,” explains Jonathan. “But also, when something is worth saying, it can take a long time to say it, rather than just blurt it out.”

As well as The Light In You being the first Mercury Rev album with Bella Union, it’s also the first with only Jonathan and Grasshopper at the controls, as scheduling conflicts and travel between the Catskills and Dave Fridmann's Tarbox studio became too great to overcome. On The Light In You, Jonathan and Grasshopper decided they were best served being based at home in the Catskills for once. Surrounded by longtime friends such as engineer Scott Petito and bassist Anthony Molina, Jonathan and Grasshopper quickly found their stride recording themselves in their own basement studio as well as venturing out into the daylight to record tracks at some of their old haunts like NRS and White Light Studios. The two even found time to arrange backing vocal harmonies and record with Ken Stringfellow at his studio Son du Blé studios in Paris.

Yet from its title down, the album clearly reflects the core relationship between Jonathan and Grasshopper, best friends since they were teenagers, who accompanied each other through the musical changes, band fractures and exulted breakthroughs that has marked Mercury Rev’s career since they emerged with the extraordinary Yerself Is Steam in 1991.

“You can go as deep as you want with the title, on a metaphorical, spiritual level, or just poetic license,” Jonathan suggests. “It’s the beacon that shines and allows us to see ourselves – and then there’s the music between Grasshopper and I, which is how we reflect each other. The arc of the album, lyrically, is someone who’s gone through an incredible period of turbulence, sadness and uncertainty, and as the album progresses, a light appears on the water.”

The album’s track-listing follows a similar trajectory, from the opening slow-build cascade of ‘The Queen Of Swans’, through the epic lonely beauty of ‘Central Park East’ and the album’s half-way peak between ‘Emotional Freefall’ and ‘Are You Ready’ before the closing sequence, with the exhilarating pop beacons of ‘Sunflower’ and ‘Rainy Day Record’ sandwiching the more tranquil ‘Moth Light’. The light is reflected both by the album’s brilliantine colours and imagery drawn largely from the elements and the seasons, creating a world as only Mercury Rev know how. “It’s like taking a drug, but not actually taking a drug,” Grasshopper reckons. “Just sit back and enter and immerse yourself.”

Since Snowflake Midnight, Jonathan and Grasshopper have stayed productive, for example with their improvised collective, Mercury Rev's Cinematic Sound Tettix BrainWave Concerto Experiment at John Zorn's club in NYC, creating live soundtracks to favourite films at various junctures across Europe (most recently in London as part of Swans’ Mouth To Mouth festival in 2014). There were also occasional festival shows such as headlining 2014’s Green Man festival to celebrate the deluxe version of 1998 opus Deserter’s Songs.

“Playing tracks again from Deserter’s Songs helped us look at where we’ve been, and where we were going,” says Grasshopper. “Though by no means did we want to make Deserter’s Songs Two, we did feel we had some loose ends to tie up.”As Grasshopper once commented about Deserter’s Songs, “It’s special because that was the one that brought us back from the brink.” The Light In You is special for that very same reason.

STAFF COMMENTS

Andy says: Mercury Rev bin the glacial electronics and return to splendor with the sweeping, multi-layered, enchanted sounds of their classic Deserter Songs period.

TRACK LISTING

The Queen Of Swans
Amelie
You've Gone With So Little For So Long
Central Park East
Emotional Freefall
Coming Up For Air
Autumn's In The Air
Are You Ready?
Sunflower
Moth Light
Rainy Day Record

‘Perpetual Motion People’, Ezra Furman’s first album for Bella Union, offers a cascade of memorably bristling hooks driven by a unique splicing of timeless influences, delivered with a restless urgency and combative spirit that shines through the American’s vocals and lyrics.

TRACK LISTING

Restless Year
Lousy Connection
Hark! To The Music
Haunted Head
Hour Of Deepest Need
Wobbly
Ordinary Life
Tip Of A Match
Body Was Made
Watch You Go By
Pot Holes
Can I Sleep In Your Brain
One Day I Will Sin No More

Pins grabbed everyones attention with the raw energy of their debut album "Girls Like Us", which they self recorded live in the studio in Liverpool. 

On their second album they've stepped things up a little, heading off to Joshua Tree and Rancho De La Luna with Dave Catching (QOTSA, Eagles of Death Metal). And boy can you tell the difference! There's still plenty of Manchester grime in there as you'd hope: the guitars buzz and the drums pound but the sound is somehow crisper and the melodies more succinct.

A real leap forward for Manchester's favourite girl gang.

TRACK LISTING

Baby Bhangs
Young Girls
Curse These Dreams
Oh Lord
Dazed By You
Got It Bad
Too Little Too Late
House Of Love
If Only
Molly
Everyone Says 

Music often comes from a deep place, and in the case of Hannah Cohen’s stunning and heartrending second album, it’s very deep indeed. Mainly inspired by a painful break-up and the anxieties that loss can trigger, Pleasure Boy cushions its sadness in an exquisitely nuanced soundscape of aching melancholy and lush melody where Hannah’s vocal conveys all the different shades of heartbreak. Following the album’s completion, she’s survived the calamity and found a new level of happiness, but to paraphrase the classic Sixties hit, there will always be something there to remind her with Pleasure Boy.

‘Pleasure Boy’, like her debut ‘Child Bride’, was produced by Thomas Bartlett, aka Doveman, whose work with artists such as The National, Antony Hegarty and David Byrne singles him out as one of America’s current finest producers and collaborators, though he’s also a talented pianist. The dynamics of ‘Pleasure Boy’ was the result of Hannah and Bartlett, “bunkering down with my songs, experimenting with different tones and sounds, and layering them. My first record was so airy and roomy, I didn’t have patience for that again, I wanted more movement, something more mysterious and witchier, so we created this sound wall together.”

“I wanted the music to hurt, to have a visceral effect,” Hannah says. Her voice sometimes sounds delirious or icy; other times she recalls the vulnerable, piercing beauty of Harriet Wheeler (The Sundays) and Karen Peris (The Innocence Mission). But Pleasure Boy‘s sound wouldn’t exist without the vision that launched it. The album title arrived as the record took shape. “Pleasure Boy is a character of who it’s about, someone who represents gluttony and decadence and richness,” Hannah explains. She admits it was a tough record to make, given she was aiming to heal emotionally while feeling “devastated and hurt. But it wouldn’t be the record it is if I hadn’t done that.”

TRACK LISTING

1 Keepsake
2 Lilacs
3 Watching You Fall
4 Fake It
5 Claremont
6 Queen Of Ice
7 Just Take The Rest
8 Baby

STANDARD VINYL EDITION, with a gatefold jacket with black vinyl and fold-out poster, featuring a collage of Emma Tillman’s intimate photos, designed by Alia Penner and an extensive “Exercises for Listening” written by Josh Tillman

CD EDITION, which includes fold-out poster, featuring a collage of Emma Tillman’s intimate photos, designed by Alia Penner and an extensive “Exercises for Listening” written by Josh Tillman

'I Love You, Honeybear' is the highly-anticipated follow up to his acclaimed debut, Fear Fun. The album, featuring “Bored In The USA,” “Chateau Lobby #4 (in C for Two Virgins),” “True Affection,” and the title track, was produced by Josh Tillman and Jonathan Wilson, mixed by Phil Ek, and mastered by Greg Calbi at Sterling Sound. 

STAFF COMMENTS

Andy says: Americana's answer to Jarvis Cocker, Josh Tillman uses his FJM persona to tease and torment (and behave like the coolest, sexiest, superstar ever!) whilst behind the guise casually writing some of this year's greatest songs! It's a superb record and a huge hit.

TRACK LISTING

01 I Love You, Honeybear
02 Chateau Lobby #4 (in C For Two Virgins)
03 True Affection
04 The Night Josh Tillman Came To Our Apt.
05 When You’re Smiling And Astride Me
06 Nothing Good Ever Happens At The Goddamn Thirsty Crow
07 Strange Encounter
08 The Ideal Husband
09 Bored In The USA
10 Holy Shit
11 I Went To The Store One Day

Lost treasure needn’t be found in the distant past; the 21st century hides many artists who disappeared into the great wide yonder. BC Camplight is one such example. The alter-ego of American songwriter Brian Christinzio released albums in 2005 and 2007, both gems of a certain psych-pop vintage, combining eloquent songwriting with a self-destructive bent. Christinzio certainly knew it – he’s described himself as, “the guy who blew it.”

But this sublime talent with the keening vocal and fearless approach to lyrical introspection has another chance. His new album ‘How To Die In The North’, recorded in his newly adopted home of Manchester, England, is a fantastically rich, stylistically diverse trip. From dramatic, layered pop to a haunted take on Sixties sunshine-pop, from blue-eyed soul to speedy surf-pop, from sparser piano balladry to psychedelic showstoppers and a grand finale that’s part Nilsson and part Broadway showtune.

Originally from New Jersey, Christinzio started playing piano aged just four, inspired by his mum’s Jerry Lee Lewis and Nilsson records and his Dad’s classical collection. Depression and crippling hypochondria clashed with captaining the football team and a penchant for boxing. Post-school, he fell in with people, “willing to go through shit to be a musician,” which saw him relocate to Philadelphia where he occasionally played live with Philly faves The War On Drugs and guested on Sharon Van Etten’s album ‘Epic’.

He’s already done two sessions for long-term fan Marc Riley at BBC 6 Music, which featured Christinzio’s band of Mancunians who he met at The Castle Hotel pub, a watering hole in the city centre particularly popular with musicians. Christinzio also heard John Grant’s album on the jukebox there, which encouraged him to approach Bella Union. Grant’s cocktail of depression and self-sabotage thwarted an outrageous talent, but he took his second chance. The same deserves to happen to Christinzio, a similarly outsize, sharp and funny personality with a non-conformist streak. Far from dying, BC Camplight has been reborn in the North!

Early October saw John Grant turn in a truly fabulous performance as part of the BBC Philharmonic Presents Series which was broadcast across 6Music and other BBC networks. This one-off live recording saw John performing much of his celebrated catalogue with the 60-piece BBC Philharmonic Orchestra, with arrangements by his long-time collaborator Fiona Brice.

So good was the performance, and also in response to public demand, Bella Union are delighted to announce that the recording will be released in a few weeks time on 1st December. The recording should also serve as a memento (of sorts) for John's upcoming sold-out orchestral tour with the Royal Northern Sinfonia which will see him performing in some of the UK's most prestigious venues.

TRACK LISTING

It Doesn’t Matter To Him
Sigourney Weaver
Vietnam
Marz
Fireflies
Where Dreams Go To Die
Caramel
Glacier
T C & Honeybear
It’s Easier
GMF
Pale Green Ghosts
Outer Space
You Don’t Have To
Drug
Queen Of Denmark

Electric Wurms is the new side-project from Wayne Coyne and Steven Drozd of The Flaming Lips.

This is the first of what could be endless communicated sound stories. It is titled Musik, Die Schwer Zu Twerk, which predicted this modern day dance move by almost forty years ago. Some of it is indeed hard to twerk to but some of it, is not. There is a particular track called Transform!!! that closely resembles a drug fuelled boogie freak rock track by Miles Davis. Another verse Heart Of The Sunrise sounds vaguely like a song by the prog folk group Yes. Of course Yes also turned themselves into space ships so it's no wonder these songs share a similar vibe.

The ensemble leans toward a hypnotic mood for most of the space bible readings. It is a scary truth that we are hearing and then forced to ponder. The pulsating poem Living states… "live as if you were living already for the second time. And that you had acted wrong the first time". So they call themselves Electric Würms after the greatest of the super freaks. But they are not a super-group. They are like Sherpas climbing with you. To help you. To love you. All the secrets that they know they tell you. That's what love is.

TRACK LISTING

1. I Could Only See Clouds
2. Futuristic Hallucination
3. The Bat
4. Living
5. Transform!!!
6. Heart Of The Sunrise

Horse Thief are purveyors of a panoramic yet nuanced sound, flowing from intimate to anthemic, the mood from vibrant to contemplative, with frontman Cameron Neal’s lyrics ranging from confessional to metaphorical. The result evokes the wide-open spaces of America’s Midwest but infuses the sense of grit and wonderment with edgier emotions.

TRACK LISTING

Intro
I Don’t Mind
Human Geographer
Devil
Holding On
Already Dead
Little Dust
Dead Drum
Let Go
Come On
Warm Regards

Marissa Nadler lays the listener - and herself - on the line with ‘July’, her sixth full-length album in nearly a decade.

Recorded at Seattle’s Avast Studio, the album pairs Nadler for the first time with producer Randall Dunn (Earth, Sunn O))), Wolves In The Throne Room). Dunn matches Nadler’s darkness by creating a multi-coloured sonic palette that infuses new dimensions into her songs.

Eyvand Kang’s strings, Steve Moore’s synths and Phil Wandscher’s guitar lines escalate the whole affair to a panoramic level of beautiful, eerie wonder. The results are astonishing and occasionally reminiscent of David Lynch.

The impulse that drove artists such as Suicide, Einstürzende Neubauten and Scott Walker to embark on extraordinary and uncompromising journeys, refusing to flinch in the face of humanity’s ugly truths and terrible beauty, also underpins the sound and vision of Xiu Xiu, aka LAbased duo Jamie Stewart and Angela Seo.

‘Angel Guts: Red Classroom’ is the sound of Xiu Xiu’s descent into the deepest blackness endurable.

TRACK LISTING

Angel’s Guts
Archie Fades
Stupid In The Dark
Lawrence Liquors
Black Dick
New Life Immigration
El Naco
Adult Friends
The Silver Platter
Bitter Melon
A Knife In The Sun
Cynthya's Unisex
Botanica De Los Angeles
Red Classroom

With 2011’s critically-lauded ‘Gentle Spirit’, audiences worldwide were introduced to the prodigious talents of singer, songwriter, multi-instrumentalist, record producer and unrivalled guitar hero Jonathan Wilson.

The eagerly-awaited follow-up, ‘Fanfare’, is an even more ambitious production that instantly conjures thoughts of Dennis Wilson’s ‘Pacific Ocean Blue’.

STAFF COMMENTS

Andy says: Even better than his last one, Jonathan brings early to mid seventies West Coast vibes right back to life, this time adding Denis Wilson and Pink Floyd flavours to his heady, cosmic broth. Incredible.

MONEY release their debut album The Shadow of Heaven on 26th August via Bella Union Records. Recorded in London through the deep, dark winter of 2012/13, it’s an ethereal, transcendent record that’s notable for its musical and intellectual ambition. Though ambition is perhaps not quite the right word. Because MONEY would never talk about ambition. Such things don’t sit well with them. They’d talk about anti-ambition and the revision of existing values — the kind of bold gesture already signalled by their unabashedly iconic name. It’s an album that defies convention and cliché, asking us instead to be courageous enough to see the world in different ways. As lead singer and ideologue Jamie Lee says, ‘Our aim with this band — in all things we do — is to create the world afresh on our own terms.’

MONEY are Jamie Lee, Charlie Cocksedge, Billy Byron and Scott Beaman. Having formed in Manchester amidst a prolific underground milieu, they soon came to embody the passion, creativity and optimism of a new generation of artists and musicians who found themselves presented with what Jamie describes as ‘an extraordinary, poetic city’. MONEY played shows in esoteric venues such as Salford's Sacred Trinity Church and ‘the Bunker', a former factory near Strangeways Prison and home to the cult independent label SWAYS, who released the band’s debut 7” single, ‘Who’s Going to Love You Now’ / ‘Goodnight London’ to wide acclaim. Having been tracked down by Simon Raymonde, the band subsequently signed to Bella Union, headlining the label's Christmas party at the Union Chapel before taking to the studio to record 'The Shadow of Heaven'.

The album consists of ten songs that range from stripped-back piano ballads such as ‘Goodnight London’ and ‘The Cruelty of Godliness’ to the more epic ‘Hold Me Forever’ and ‘Bluebell Fields’. Rooted in universal themes of the spirit, love and loss, the album also addresses man’s condition in the modern world, issues ‘such as isolation and mental health as logical reactions to it', says Jamie. It’s an album full of yearning and soul-searching, a voyage of (non-) discovery that only ends up finding itself and the sheer, aching beauty of questions asked in full knowledge of their own answerlessness. It’s metaphysics for the modern age, which might not be quite as spiritually bankrupt and bereft of meaning as we once believed.

STAFF COMMENTS

Andy says: There's always been a buzz around this band. This passionate debut album totally justifies it. Today: Piccadilly Records, tomorrow The World?!

As their previous incarnation (Lulu & The Lampshades) they’re probably best known for the viral cup song ‘You’re Gonna Miss Me’ (over 3 million hits and counting on YouTube), but in the ensuing period Landshapes have undergone a considerable musical metamorphosis.

The band have learned and grown together - four distinctive personalities jostling and pulling, each with their own set of influences and sensibilities, an unlikely alchemy which comes together and makes sense.

Broad brushstrokes, big sounds and mournful melodies forged a new soundscape, so when a typo accidentally billed them as Landshapes it seemed an appropriate description for an altogether new sound, and an altogether new band.

Landshapes is the sound of four people in a dingy practice room, building on accidents, listening over and reworking obsessively until every band member is satisfied. An unconventional and serendipitous process it might be, but it’s crucial to Landshapes’ overall sound.

After a breakthrough year that saw his exceptional solo debut "Queen Of Denmark" win MOJO’s album of 2010 and countless other accolades John Grant hasn’t rested on his laurels but created a follow-up that underlines his uncanny and charismatic talents. Recorded in Iceland and featuring Sinead O’Connor on guest vocals, the brilliant "Pale Green Ghosts" adds sublime notes of dark, gleaming electronica to the anticipated velveteen ballads, calling on all of Grant’s influences and tastes, presenting an artist at the peak of his powers.

It’s been an extraordinary journey for John Grant, from a point where he thought he would never make music again or escape a life of substance abuse to winning awards and accolades, collaborating with Sinead O’Connor, Rumer and Hercules & Love Affair and having his music featured in the award-winning film Weekend.

It’s a journey that’s taken him from his birthplace in Buchanan, Michigan to be raised in Parker, Colorado, studying languages in Germany and, after his band The Czars split up, basing himself in New York, London, Berlin and, most recently, Iceland, where the bulk of Pale Green Ghosts was recorded. It’s also been a journey from The Czars’ folk/country noir to the lush ‘70s FM alchemy of Queen Of Denmark to the astonishing fusion of sounds that lifts Pale Green Ghosts to even giddier heights.

As if to acknowledge his journey, Grant has named the album after the opening title track, which documents the drives that he’d regularly take through the ‘80s, from Parker to the nearby metropolis of Denver, to the new wave dance clubs that have inspired the electronic elements of Pale Green Ghosts, and later on to visit the boyfriend - the ‘TC’ of Queen Of Denmark’s ‘TC & Honeybear’ - that inspired many of that album’s heartbreaking scenarios.

“I’d take the I-25, between Denver and Boulder, which was lined with all these Russian olive trees, which are the pale green ghosts of the title: they have this tiny leaves with silver on the back, which glow in the moonlight,” Grant explains. “The song is about wanting to get out of a small town, to go out into the world and become someone and made my mark.”

That Grant has made his mark is blatantly clear from how Queen Of Denmark was rapturously received. “Like a couple of similarly intense classics before it – Antony & The Johnsons’ I Am A Bird Now and Bon Iver’s For Emma… Queen Of Denmark sounds like a record its creator has been waiting his whole life to make,” MOJO concluded. Another measure of achievement, and the journey, is that one classic that Grant first heard in those new wave clubs was Sinead O’Connor’s ‘Mandinka’. Two decades later, O’Connor has not only covered the title track of ‘Queen Of Denmark’ on her latest album How About I Be Me (And You Be You)?, but supplies goose-bumping backing vocals on Pale Green Ghosts.

Sinead’s presence is a surprise, but not compared to the album’s portion of synthesisers and beats – unless you already know Grant’s enduring love of vintage synth-pop and industrial dance, and more current electronic acts such as Trentemøller and Mock & Toof. “Electronica is a huge part of my personality and my influences, though I don’t think many people see that fitting in to the John Grant image, whatever that is,” he says. There were occasional electronic undertows to Czars songs and two tracks (‘That’s the Good News’ and ‘Supernatural Defibrillator"’) on the deluxe edition of Queen Of Denmark were dance tracks.

One of those prime influences has even produced Pale Green Ghosts with Grant: Birgir Þórarinsson, a.k.a. Biggi Veira, of Iceland’s electronic pioneers Gus Gus. Queen of Denmark had been recorded in Texas with fellow Bella Union mates Midlake as his backing band, and Grant intended to return there to record again with the band’s rhythm section of McKenzie Smith and Paul Alexander. But a trip beforehand to see more of Iceland, after he’d first played the Iceland Airwaves festival in 2011, led to meeting Biggi, who invited Grant to his studio in Reykjavik. The two tracks the pair recorded – ‘Pale Green Ghosts’ and ‘Black Belt’ – convinced Grant he had to make the entire record there.

If Queen Of Denmark is Grant’s ‘70s album, channeling the spirits of Karen Carpenter and Bread, then Pale Green Ghosts is his ’80s album. Of the electronic tracks, the title track is a panoramic, brooding classic, while ‘Sensitive New Age Guy’ and ‘Black Belt’ are the tracks that you might dance to in new wave clubs. ‘You Don’t Have To’ is a classic example of Grant’s influences blending together, in a reworked arrangement of a track unveiled during concert tours in 2011. It also features the distinct spacey Moog sounds that are familiar to lovers of Queen Of Denmark, while McKenzie and Alexander play on ‘Vietnam’ and ‘It Doesn’t Matter To Him’. Grant’s touring partner, keyboardist Chris Pemberton, plays the gorgeous piano coda on the album’s tumultuous finale ‘Glacier’.

TRACK LISTING

1. Pale Green Ghosts
2. Black Belt
3. GMF
4. Vietnam
5. It Doesn’t Matter To Him
6. Why Don’t You Love Me Anymore
7. You Don’t Have To
8. Sensitive New Age Guy
9. Ernest Borgnine
10. I Hate This Town
11. Glacier

Poor Moon is a band comprised of longtime friends Christian Wargo, Casey Wescott, and brothers Ian and Peter Murray. And Poor Moon is the title of their full-length debut. But before there was a band or a record, there was the music, a series of songs forged by Christian Wargo over a period of several years. That's one of the things that makes Poor Moon sound so special: this band grew out of the songs, not vice-versa.

"I've known Christian for so long, and have loved his songwriting as long as I've known him," says Wescott. The two men previously played together in Pedro the Lion and Crystal Skulls; both are members of Fleet Foxes. For the past few years, he and the Murray brothers had been transfixed by the solo recordings Wargo periodically shared with them.

Thanks to their affinity for warm, earthy tones the music of Poor Moon can sound deceptively simple. Assorted timbres decorate these tenoriginals—marimba, harpsichord, fretless zither—but this isn't everything-but-the-kitchen-sink arranging. Whatever the instrumentation, the sense of choosing the right tool for the job always prevails. Thoughtful, impassioned vocal harmonies further reinforce the myriad musical bonds at play.

Likewise, the considered manner in which the words and music coexist, often despite seeming incongruities of mood, accounts for the distinctive character of the songs. The stretch between 2008 and the present when they were composed includes some of the most tumultuous episodes in Wargo's life. Yet Poor Moon handles even the heaviest topics, including death, addiction, and spirituality, with a certain lightness. "The way I deal with those is by drawing attention to the mystery and enjoying the whimsical aspects, but without being cute or precious about it," Wargo explains.

TRACK LISTING

1. Clouds Below
2. Phantom Light
3. Same Way
4. Holiday
5. Waiting For
6. Heavens Door
7. Pulling Me Down
8. Bucky Pony
9. Come Home
10. Birds

'Heaven' is The Walkmen's sixth album and second since signing to Bella Union. The album was produced by Phil Ek (Fleet Foxes, The Shins, Band of Horses) whilst Robin Pecknold sings harmonies on two songs on the record.

“We felt like it was time to make a bigger, more generous statement…" When describing The Walkmen's new album, lead singer Hamilton Leithauser portrays a band hitting maturity, comfortable in its mastery after a decade together.

It's been ten years since the Walkmen made their debut album, 'Everybody Who Pretended To Like Me Is Gone'. Ten years since critics attached them to a New York scene they never wanted to be part of. This spring the band played a series of 10th anniversary shows in the US that demonstrated how far they have outstripped their peers: two sets over two hours, no filler, rapturously received.

The Walkmen are the great New York band of their generation, making the best music of their career and filling their largest venues yet. Their spot at the top of the bill at May’s Crossing Brooklyn Ferry festival, curated by The National, demonstrates the respect in which they are held by the current wave of bands making music in the city.

When renowned producer Phil Ek approached the guys last year asking if they’d like to make a record with him, they travelled to the studio he uses in the woods outside Seattle for the most intense recording sessions they had ever experienced. “There can be something brittle about our sound,” Maroon says. “He made it just a little bit warmer, a little bit stronger. When I play it in my car, it sounds strong, which I love.”

All five members of the band have kids now and if the impact of parenthood is hard to pin down in a single lyric, there is definitely a new openness and emotional honesty to the songs. Most importantly, the old gang mentality has deepened, becoming something worthwhile and lasting. “I’m very proud of what we’ve done. We’ve stayed friends and those friendships have grown,” says Bauer. “We have survival experience and real love that children generate in your life.”

'Heaven' is a definitive statement of purpose and commitment, from a band at the peak of its powers that is finally winning the recognition it deserves.

STAFF COMMENTS

Darryl says: 'Heaven', their sixth album, showcases a band completely at one with itself. Confident and striding elegantly at their own pace the songs offer us a warm and enveloping sound very much in keeping with band's new maturity.

Beach House are pleased to share details of their fourth album, 'Bloom'. Like their previous releases it further develops their distinctive sound yet stands apart as a new piece of work.

The landscape of 'Bloom' was largely designed on the road, between the countless sound checks and myriad experiences of two years of touring. These ideas were later gathered and developed in Baltimore, where the band lives and works. 'Bloom' was recorded in late 2011 at Sonic Ranch Studios in Tornillo, TX and mixed at Electric Lady in NYC. The band co-produced the record with Chris Coady.

The many layers of 'Bloom' are meticulously constructed to ensure that each chord and melody performs its role to form a whole. Victoria Legrand states, “Bloom is a journey. For me, it is about the irreplaceable power of imagination as it relates to the intense experience of living. A bloom is only temporary... a fleeting vision of life in all of its intensity and colour, beautiful even if only for a moment."

STAFF COMMENTS

Andy says: They've settled on their sound: a dreamy, lovelorn swirl. It's the songs that have stepped up: gorgeous, catchy, near-classics.

TRACK LISTING

01. Myth
02. Wild
03. Lazuli
04. Other People
05. The Hours
06. Troublemaker
07. New Year
08. Wishes
09. On The Sea
10. Irene

When discussing ‘Father John Misty’, Tillman paraphrases Philip Roth: ‘It’s all of me and none of me, if you can’t see that, you won’t get it’. What I call it is totally arbitrary, but I like the name. You’ve got to have a name. I never got to choose mine.”

He goes on, “‘People who make records are afforded this assumption by the culture that their music is coming from an exclusively personal place, but more often than not what you hear are actually the affectations of an ‘alter-ego’ or a cartoon of an emotionally heightened persona,” says Josh Tillman, who has been recording/releasing solo albums since 2003 and who recently left Seattle’s Fleet Foxes after playing drums from 2008-2011. “That kind of emotional quotient isn’t sustainable if your concern is portraying a human-being made up of more than just chest-beating pathos. I see a lot of rampant, sexless, male-fantasy everywhere in the music around me. I didn’t want any alter-egos, any vagaries, fantasy, escapism, any over-wrought sentimentality. I like humour and sex and mischief. So when you think about it, it’s kind of mischievous to write about yourself in a plain-spoken, kind of explicitly obvious way and call it something like ‘Misty’. I mean, I may as well have called it ‘Steve’”. Musically, “Fear Fun” consists of such disparate elements as Waylon Jennings, Harry Nilsson, Arthur Russell, 'All Things Must Pass', and 'Physical Graffiti', often within the same song. Tillman's voice has never been better and often sounds like Roy Orbison, “The Caruso of Rock”, at his most joyous, while the music maintains a dark, mysterious and yet conversely playful, almost Dionysian quality. Lyrically, his absurdist fever dreams of pain and pleasure elicit, in equal measures, the blunt descriptive power of Bukowski or Braughtigan, the hedonistic philosophy of Oscar Wilde and the dried-out wit of Loudon Wainwright III.

The album began gestating during what Tillman describes as an “immobilizing period of depression”, in his former Seattle home. “Songwriting for me had always only been interesting and necessary because I saw it as this vehicle for truth, but I had this realization that all I had really done with it was lick my wounds for years and years, and become more and more isolated from people and experiences. I don’t even like wound-licking music, I want to listen to someone rip their arm off and beat themselves with it. I don’t believe that until now I’ve ever put anything at risk in my music. I was hell-bent on putting my preciousness at stake in order to find something worth singing about.” He continues, “I lost all interest in writing music, or identifying as a ‘songwriter’. I got into my van with enough mushrooms to choke a horse and started driving down the coast with nowhere to go. After a few weeks, I was writing a novel, which is where I finally found my narrative voice. The voice that is actually useful.”

“It was a while before that voice started manifesting in a musical way, but once I settled in the Laurel Canyon spider-shack where I’m living now, I spent months demoing all these weird-ass songs about weird-ass experiences almost in real-time, and kind of had this musical ‘Oh-there-I-am’ moment, identical to how I felt when I was writing the book. It was unbelievably liberating. I knew there was never any going back to the place I was writing from before, which was a huge relief. The monkey got banished off my back.”

Tillman brought the demos to LA producer/songwriter/pal Jonathan Wilson, and in February 2011 began recording at his home-studio in Echo Park. “Initially, the idea was to just kind of recreate the demos with me playing everything, since they were pretty fleshed out and sounded cool, but a place like LA affords you a different wealth of talent, potential, etc than just about anywhere else. I realized what was possible between Jonathan’s abilities, and the caliber of musicians that are just hanging around LA, pretty quickly. People were coming in and out of the studio all day sometimes, and other days, it would just be Jonathan and I holed up, getting stoned, and doing everything.

“I was honest with myself about what music actually excites my joy-glands when I was considering the arrangements and instrumentation,” says Tillman. “As opposed to what’s been enjoyable to me in the past – namely, alienating people or making choices based what I think people won’t like or understand. Pretty narcissistic stuff.”

When asked about Laurel Canyon, where he eventually ended up living in the aforementioned tree-house with a family of spiders, Tillman says, “My attitude about it all is pretty explicit in the record. Given my pretty adversarial personal attitude about the music and aesthetic that comes from that place, it’s kind of a huge joke that I live in a former hippie-fantasy land. I have a really morbid sense of humour.” Phil Ek (who everyone knows has worked with Fleet Foxes, Built To Spill, Modest Mouse, Band of Horses) heard the rough versions of the album in May 2011 and offered his services to mix. “Phil and I have known each other for a while by virtue of Fleet Foxes, so he was familiar with my music, but we had never discussed working together. I think he immediately recognized the shift in my writing and singing from a producer and friend’s standpoint. His excitement is really evident in mixes, I think.”

Rarely is so much meaning conveyed in the space of six letters. And with regard to Xiu Xiu, its applications are infinite: always relevant, always provocative, always surprising, always evolving, always glittering.

It's fitting, then, that as the band (now comprised of Jamie Stewart, Angela Seo, Bettina Escauriza, Marc Riordan, and returning member Devin Hoff) marks a decade in existence, such a powerful sentiment would serve as the title of its latest album.

At its core, Always symbolizes the mutual camaraderie with and deep dedication to each person who has internalized Xiu Xiu’s work, tattooed its name on their skin or soul, and throughout the past ten years made the band a part of their lives.

The origin of these intense, everlasting bonds is Stewart. His fearless lyrics have given voice to life's most untouchable and taboo subjects, while his distinctively committed but hushed vocals crystallize and medicate their unsettling impact.

Those familiar with the band's work will take particular note of the times Stewart re-visits profoundly personal accounts from his own life -- most prominently on "Beauty Towne" (a not-so-uplifting postscript to the muddle of those depicted in "Clowne Towne" from 2004's Fabulous Muscles) and "Black Drum Machine" (which finishes the narrative of incest and molestation begun on "Black Keyboard" from 2008's Women as Lovers).

Elsewhere, Stewart's willingness to broach any subject finds him confronting both the topical and the intimate in equally meaningful ways: "Gul Mudin" seeks to bring comfort to an Afghani teenage boy murdered for sport by American soldiers; "Joey's Song" strives to do the same for Stewart's brother in the aftermath of a family tragedy.

"Factory Girls" chronicles the sexual objectification and desperate existence of Chinese female, migrant workers. "I Luv Abortion," featuring perhaps Stewart's most unhinged vocal ever, careens through the resolute heartache of a friend too young to be pregnant and seeks to personalize this most political issue.

But while such writing is worthy of reverence, Always' most arresting moments lie in its sonic innovation -- transforming avant pop elements from an undertone into a bright black focal point while adding new influences such a choral music, kraut rock and animal field recordings.

Produced by Deerhoof's Greg Saunier (who also contributes drums and vocals to the album) and mixed by John Congleton (Antony and the Johnsons, Marylin Manson, the Roots) the album is positively vibrant.

Opening track and first single, "Hi," is an immediate invitation for listeners to make their presence known, as Stewart commands you to voice the title refrain along with him: "If you are wasting your life / Say "Hi" / If you are alone tonight / Say "Hi."

The song's infectious, dance-worthy beat is only the first of many instances when Stewart’s unflinching lyricism is coupled with pure, singable melodies -- the kind of pairings that bring into stark relief how often life's worst moments are shouldered with a skewed, cheery grin.

Nowhere is this contrast more apparent than on the bittersweet duet "Honeysuckle," a pleasantly uplifting cadence undercut by feelings of utter despair and hopelessness in Seo's lyrics.

That such dazzling music can so seamlessly blend with such undeniably dark content is but one of the ways Always succeeds in accentuating the intent that is central to all Xiu Xiu creates.

During recording, Stewart saw a Bible verse spray painted on the wall of his gym. He interpreted the verse to mean, "Horror and beauty are the same; love and hate are the same, the tireless dread of our own lives and of living can be embraced with the same fervency as what we find beautiful."

TRACK LISTING

1. Hi
2. Joey's Song
3. Beauty Towne
4. Honey Suckle
5. I Luv Abortion
6. The Oldness
7. Chimney's Afire (Mickensian Suicide)
8. Gul Mudin
9. Born To Suffer
10. Factory Girl
11. Smear The Queen
12. Black Drum Machine

Legendary instrumental trio Dirty Three will boldly break cover in February 2012 with a remarkable new album, 'Toward The Low Sun', on Bella Union records.

'Toward The Low Sun' is the product of the most ceaselessly creative period in the band’s career, in which Jim White, Mick Turner and Warren Ellis have relentlessly made music in different permutations and locations around the globe. No other Australian band has ever impacted on international music in such a subversive fashion. This is a band that exists within itself and outside of itself, generating a massive (and massively influential) body of work.

Mick lives in Melbourne where he has built his own studio space, developed a fine reputation as a visual artist and released the Blue Trees album alongside the occasional Tren Brothers release. Jim is based out of Brooklyn but endlessly tours the world, recording and/or performing with the likes of Cat Power, Bonnie Prince Billy, Nina Nastasia and PJ Harvey. Warren resides in Paris, though is regularly to be found touring with the Bad Seeds and Grinderman or working with Nick Cave on soundtracks for such films as The Assassination of Jesse James by the Coward Robert Ford, The Proposition and The Road. He recently made his acting debut in the film Médée Miracle, alongside Isabelle Huppert.

Dirty Three’s live appearances over the past few years reflect the band’s standing on the international stage. All Tomorrow’s Parties invited them to curate a three day event in the UK, and the band has also played at ATP festivals in Japan, Australia and the USA.

However, all of this frantic creativity and activity is now merely an exotic backdrop to the release of the new album Toward the Low Sun. A return to the mothership was inevitable. There is a certain magic that can only be invoked when these three elements are brought together. Nothing else sounds like the Dirty Three. They are one-off phenomena. As Warren Ellis says: “There is a dialogue within the group that we are all still keen to explore”.

Toward The Low Sun is not a cosy, nice-to-be-back, return to the comfort zone. There is an energy and a raw excitement evident from the first electrifying opening moments through to the album’s finale. In Warren’s words, “Dirty Three has always been about the way we play together and feed off each other. We wanted this one to be a return to the more improvised and instinctive approach of the earlier recordings”. And indeed Toward The Low Sun sounds like a first ever recording, a punk avant-garde art-jazz record! And for all their incredible music of the past, the Dirty Three have never seemed more relevant.

Toward The Low Sun is produced by Casey Rice and Dirty Three and was recorded in Melbourne at Head Gap studios and mixed at Sing Sing.

STAFF COMMENTS

Darryl says: The return of the Australian instrumental trio, 'Toward The Low Sun' is a highly emotive avant-garde album - you can almost feel the baking hot Antipodean sun. Excellent as always!

'Gentle Spirit' is not simply the name of the debut solo album by songwriter / musician / producer Jonathan Wilson, it represents the ethos of the artist himself. Warm, supple melodies etched in layers of stringed instruments and willowy organ motifs accompany his earnest, North Carolinian drawl as he tells tales of humane values lost and found.

Wilson’s music is steeped equally in the woodsy contours of his Blue Ridge experiences and the atmospheric guitar reveries of Neil Young and Quicksilver Messenger Service. In fact, 'Gentle Spirit' is remarkably evocative of that golden late ‘60s, early ‘70s period when rural and urban sensibilities colluded in producing some of rock’s most imperishable recordings.

Wilson, a native of Forest City, North Carolina, has been quietly earning a reputation as a musical jack-of-all-trades. He is adept behind the recording console, possesses a luthier’s knowledge of all things strummed, and maintains the innate ability to conceptualize an instrument essential to providing the right colour to a track in need of a defining detail. Whether working with promising new acts like the band Dawes, celebrated contemporary artists such as Erykah Badu and Elvis Costello, or Rock and Roll Hall of Famers such as Jackson Browne and Robbie Robertson, Wilson provides direction and support as tasty and soulful as anyone in the business today.

It should then come as no surprise that Wilson, so resolutely committed to “old school” musical values, began recording 'Gentle Spirit' in Los Angeles’s fabled Laurel Canyon. As a long-time student of “Canyon culture,” his ideas echo many of an earlier generation as the album embraces a unique blend of folk, country, rock and roll and pop elements, which enduringly create a sense of time and place. After leaving Laurel Canyon, Wilson relocated to the Echo Park section of L.A, home to his new recording studio, to finish tracking and mixing 'Gentle Spirit'. “I recorded everything to analog tape which I’ve always done; it’s not something I’m trying to do as a boutique kind of hip thing. Analog simply captures things better and it takes the edges off. It creates a beauty much like film.” The album was mixed by Wilson and Thom Monahan, who has worked with many artists, including Vashti Bunyan, Devendra Banhart and Vetiver.

TRACK LISTING

1. Gentle Spirit
2. Can We Really Party Today?
3. Desert Raven
4. Canyon In The Rain
5. Natural Rhapsody
6. Ballad Of The Pines
7. The Way I Feel
8. Don’t Give Your Heart To A Rambler
9. Woe Is Me
10. Waters Down
11. Rolling Universe
12. Magic Everywhere
13. Valley Of The Silver Moon

Treefight For Sunlight’s self-titled debut album bottles their epic sunshine pop into ten mini-symphonies and shows Bella Union are embracing the new year with the same eclectic enthusiasm as ever… The band, who have known each other since childhood, hail from Denmark; clearly a breeding ground for mavericks judging by the likes of Mew, The Raveonettes, Oh No Ono and Treefight’s fellow Bella Union voyagers The Kissaway Trail. Bands that unstitch rock/pop’s rich tapestry and weave in their own unique and challenging DNA.

In Treefight For Sunlight’s case, it’s the legacy of California’s west coast pop art, from its origins in the epic harmonies of The Association and The Turtles, which had a knock-on effect in the 70s with Sparks and the 80s with LA’s Paisley Underground scene. Fans of the Flaming Lips, MGMT and Panda Bear will surely also appreciate Treefight For Sunlight’s layered, twisting, caramelised energy and absorbing imagery.

TRACK LISTING

1. A Dream Before Sleep
2. You And The New World
3. The Universe Is A Woman
4. They Never Did Know
5. Facing The Sun
6. Rain Air
7. Tambourhinoceros Jam
8. Riddles In Rhymes
9. What Became Of You And I?
10. Time Stretcher

Hailing from Denmark, Our Broken Garden is the sound of sometime Efterklang keyboardist Anna Bronsted’s bewitching voice and songs plus assorted musical friends. Our Broken Garden’s debut album, “When Your Blackening Shows”, arrived in September 2008 and signalled Anna’s connection to water with various nautical references in her lyrics, and a deeply atmospheric, drifting ebb and flow to the sound - with a serene, torchy Anna resembling a modern day siren at its heart.

"Golden Sea" is a substantial step forward. There’s more drama and rhythm this time round and Anna’s song-writing has evolved significantly… "In The Lowlands" has an overriding sense of blissed-out serenity sense while "Nightsong" is more haunted. "Share" and "Warriors Of Love" are more typically dreamy numbers before the devastating finale "The Dark Red Roses" where mournful strings preface one of Anna’s most haunting vocals… 

Like the golden sea that names Our Broken Garden’s new album, their music is wide and deep, beautiful and mysterious…

TRACK LISTING

1. The Departure
2. In The Lowlands
3. The Fiery And Loud
4. Garden Grow
5. Nightsong
6. Garden The Burial
7. Seven Wild Horses
8. Share
9. Warriors Of Love
10. The Dark Red Roses

'Don't get heavy, let's be light', Hamilton Leithauser sings on "Woe Is Me", and that seems to be the Walkmen's creed on "Lisbon". The Walkmen were more than heavy on their previous album, the gorgeously moody "You & Me", and it's hard not to read the more upbeat attitude they have here as a response. This time, they dance on their troubles instead of drowning their sorrows - although the organ on album opener "Juveniles" warms like the first sip of wine. But while the mood is lighter, things are never completely sunny in the Walkmen's world.

"Victory" sounds like a winner's brash cheer, but bears the sting of being second place. "Woe Is Me" turns a pity party into an actual party, making reminiscences about a girl who was 'my not so long ago' into one of the band's most immediately appealing songs in some time, while "Angela Surf City" shoots the curl of a difficult relationship's tides, ebbing and cresting like "Bows + Arrows"' "The Rat". These songs anchor "Lisbon"'s hazier, sadder moments, of which there are plenty: the title track closes the album with a dreamy remembrance that echoes "You & Me"'s brooding travelogue, minus that album's desolation; "Blue as Your Blood" and "Stranded" provide "Lisbon"'s broken but ever-romantic heart, filled with transporting stories of black-eyed girls and waltzes among broken glass. Best of all is "While I Shovel the Snow", which once again proves what a rich muse winter is for the band. When Leithauser sighs 'There's no life like the slow life', it's another potent Walkmen motto: "Lisbon", like the rest of their music, is meant to be savoured, the fullness of its songs allowed to develop over many listens.

Lone Wolf, is Leed’s singer songwriter Paul Marshall. “Keep Your Eyes On The Road” is the first single to be lifted from his “The Devil & I” album.
It’s an intoxicating blend of intricate folk-tinged guitar, pounding drums, and hushed vocals. With some nice rhythmic twists and turns along the way it eventually ends in heavy crashing climax. But despite the rock-out ending it still sits well alongside the likes of Fleet Foxes, John Grant , Tunng, Vetiver etc.
One to watch we think!

TRACK LISTING

Keep Your Eyes On The Road
This Is War

John Grant, former singer/songwriter with Bella Union cult favorites The Czars, finally returns in April 2010 with an extraordinary debut solo album made with Midlake.

Everyone has a favorite band or singer they reckon is subject to criminal neglect. That John Grant’s effortlessly rich, expansive baritone, couched in typically heartbreaking, lush melody, hasn’t found a wider audience many would consider a crime. But no longer. Because Grant’s first solo album is so undeniably great that the world will surely listen.

It’s a record of gravitas and grace, of FM melody magic laced with raw emotional bleeding. It asks why relationships are roulette and love is hell in a last-ditch attempt at self-improvement and atonement after years of alcohol and cocaine dependency. And on top, to further the album’s brilliance, Grant’s backing band on the album are Bella Union label-mates Midlake, contributing their most empathic ‘70s-style soft-rock know-how. Put simply, “Queen Of Denmark” is the record Grant’s been waiting his whole life to make.
Not that the Czars didn’t hit their own heights. After emerging from Denver, Colorado, rave reviews were the norm… “Long distinguished by John Grant’s superlative baritone, ‘Goodbye’ reeks of wistful, melancholic class… as meticulous and complete-sounding as the best works by Mercury Rev or The Flaming Lips” said Uncut about The Czars’ final album.
“Queen Of Denmark” was recorded in Denton in late 2008 through 2009 in the studio downtime while Midlake were recording their own record. The album moves through simple piano settings via an infusion of period-perfect synths that epitomise the lonely mood. There’s flute from Midlake frontman Tim Smith on the dreamiest cut ‘Marz’ and velvet strings on ‘Dreams’, which imagines Scott Walker influenced by Patsy Cline. There is pure longing in the opening ‘TC And Honeybear’ and bitterly sarcastic anger in the magnificent title track finale… Pain, hope, fear, regret and self-discovery… “Queen of Denmark” has it all… framed within some of the finest songs you’ll hear in this or any other year…

TRACK LISTING

1. TC & Honeybear
2. Marz
3. Where Dreams Go To Die
4. Sigourney Weaver
5. Chicken Bones
6. Silver Platter Club
7. It’s Easier
8. Outer Space
9. Jesus Hates Faggots
10. Caramel
11. Leopard & Lamb
12. Queen Of Denmark

Beach House return in January 2010 with “Teen Dream”, their third - and first classic - album, on Bella Union records.
The Beach House you’re about to meet isn’t the same as the one you’ll remember from before. Lives have been shuffled, tangled and re-aligned. When Victoria Legrand and Alex Scally returned home to their hometown of Baltimore last winter, they were worn out from touring and travel. But deep inside them hot energies were incubating, ideas they had been whispering back and forth in the wake of their sophomore full-length, 2008’s “Devotion”. By spring they began handing themselves over completely to these impulses, holing themselves up and exchanging ideas in a new, secluded practice space for dangerously long periods of time. As the songs that would become “Teen Dream” began to live, breathe and take shape, the duo were compelled to leave much of their personal lives behind them. “We were forced to let go of people and things we were holding onto as individuals” Legrand muses. “We were dropped into a wilderness, but we had more clarity than we’ve ever had before”.
Still driven to avoid distraction, the two marched further into isolation, deciding to bottle all those wild visions away from home. They packed up their lives and settled into a converted church in upstate New York with producer Chris Coady. For a month they continued the birthing process, sweating and pushing out sounds inside a cocoon of their very own weaving.
“Teen Dream” is the sound of a band bursting at its creative seams. It is without question more expansive and moving than anything they have shared before.

STAFF COMMENTS

Martin says: Alex Scally's crystalline wandering guitar lines spin a wistful web over Victoria Legrand's haunted, opaque vocals. A thing of bewitching melodic beauty.

TRACK LISTING

01. Zebra
02. Silver Soul
03. Norway
04. Walk In The Park
05. Used To Be
06. Lover Of Mine
07. Better Times
08. 10 Mile Stereo
09. Real Love
10. Take Care

It’s ironic that Midlake’s new album is titled “The Courage Of Others” because, if anything, the courage is all theirs. Namely, the courage to do what feels right and stay true to the spirit of artistic independence whilst ignoring any pressure to conform to expectations. The result is the Texas quintet’s third album, their most complete and beautiful body of work yet, best appreciated as a whole in the old-fashioned sense of an album - which makes perfect sense when you know Midlake linchpin Tim Smith’s fondness for the look and feel of past times.

So what’s changed since "The Trials of Van Occupanther", their second, hugely loved breakthrough album? Just as that record was in part inspired by the soft(er) rock of the early-to-mid 1970s – from Neil Young and America to Fleetwood Mac – so Midlake’s new album also looks to a slightly earlier, and definitely British, trad-tainted folk sound. It may share the same gorgeously analogue-warm electro-acoustic template as "Van Occupanther" but it’s a slower, darker and more carved record, both eerier and dreamier. Perfect, in other words, for its February release date, at the height of winter.

Neither do the new songs feature any hermit-scientists like Van Occupanther, or the mythical Roscoe. The songs that constitute "The Courage Of Others", Tim says, are closer to his heart than those of their first two albums because, 'I don’t feel I’m looking at the songs through someone else’s eyes. I’ve tried to keep it as true to myself as I could'. Guitarist Eric Pulido adds, 'We didn’t want to make the same album as Van Occupanther, so we carried on moving and creating and pushing for a newer sound and emotion'.

STAFF COMMENTS

Andy says: I've been playing this LP every day for a fortnight and I absolutely love it. I feel daft that I was initially disappointed in the lack of pop songs, because this record is way beyond that. It's a proper grower: deep, layered and intricate with loads more guitars, floaty flute and all those folky inflections (see below). It's definitely darker but just as beautiful as "Van Occupanther". It just takes longer to reveal itself.

TRACK LISTING

1. Acts Of Man
2. Winter Dies
3. Small Mountain
4. Core Of Nature
5. Fortune
6. Rulers, Ruling All Things
7. Children Of The Grounds
8. Bring Down
9. The Horn
10. The Courage Of Others
11. In The Ground

Emily Loizeau is no sedentary contemplative singer. Not for her the captive heart and cracked whisper of some Proustian maiden kept far from the world's clamour. Emily tends more towards Rimbaud, Jack London and Kerouac. She expresses her taste for adventure and hazardous encounters musically with all the force of a tropical cyclone, and lyrically with the reflective delicacy of the bilingual child still living within her. Emily calls Pays Sauvage her "hippie record": all her friends were invited to join the party, bringing their instruments and temperament along. Since the country house was too small to accommodate the whole shebang, these encounters took place in the studio in Paris, with sound recording from Jean-Baptiste Bruhnes and production by Emily. In today's France, where bands are born of international marriages, Emily (who is half English on her mother's side) has no shortage of cousins. Having admired albums by Herman Düne and Moriarty, she offered them visas for her "country", which she saw as a land of communion. David Herman Düne contributed to five tracks in different roles (co-arranger, musician and duettist), while the entire Moriarty family appear on four songs (their distinguished folk collective sets some memorable sparks flying!). Still, Pays Sauvage was primarily built around the two musicians who back Emily on stage and worked on the album's arrangements: cellist Olivier Koundouno and drummer and guitarist Cyril Avèque. Over the months, an extended troupe formed around this nucleus (with the addition of violinist Jocelyn West), building on songs that Emily devised in a spirit of pure sharing, deliberately choosing not to make herself their sole focus.

"Year In The Kingdom" unravels some kind of galactic wilderness. J. Tillman's sixth album lyrically borders on the mystic; proffering a transcendent union, an effortlessness. Strange and honest, this song cycle inhabits it's own idea-scape; one seemingly obsessed with wrestling death. These are afterlife dialogues of a mysterious future. Celestial badlands. Unknown to just about everyone, Tillman started recording in April, tracking most of the instruments during the two week session himself. Hammered dulcimer, banjo, recorder, cymbals of varying size and wheezing air organs all feature heavily and lend "Year In The Kingdom" it's bizarre scale, conjuring tidal shifts with tiny movements. The string arrangements, performed by Jenna Conrad, as well as transposed from Tillman's sung direction, were intended to rest on chords almost counter-intuitively, bringing to bloom complex, de-contextualized tones. Most noticeable upon first listen, however, is the production itself. While most of Tillman's records evidence some shambolic home recording, it is undisturbed throughout. Out up front of the mix, and dry as a bone, Tillman's voice is featured in a way unlike any of his previous records.

Tracklisting
1. Year In The Kingdom
2. Crosswinds
3. Earthly Bodies
4. Howling Light
5. Though I Have Wronged You
6. Age Of Man
7. There Is No Good In Me
8. Marked In The Valley
9. Light Of The Living

"Beacons" is the beguiling UK debut of Ohbijou. Borne in the bedrooms of a family home in Ontario, Casey Mecija's gentle compositions, bound with youthful frailty and unnerving beauty, found their natural habitat in Toronto. Enlisting the help of her younger sister, Jenny, and friends Heather Kirby and Anissa Hart, Mecija's songs began to take flight. An encounter with James Bunton and Ryan Carley led to further collaboration and the conception of Ohbijou. Andrew Kinoshita soon added his talents to Ohbijou's orchestration. Furnished with mandolin, violin, piano, banjo, cello and an impressive array of other instruments, a seven piece orchestral pop force began to appear on stages around Toronto that quickly affected the landscape of independent music in the city. Mecija pens songs wrought with the romantic afflictions of big city life. She sutures the intimate details of her personal relations to the macrocosmic relations of her city. Dressed with intricate melodies and vocal harmonies arranged by her bandmates, the songs reveal a striking musicality and virtuosity. Ohbijou's music has a seductive beauty, their delicate songs framed by elegant orchestral arrangements. Their emotive music is simultaneously both sad and life-affirming.

Another uber-hyped album from a band that deserve all the impressive praise they've rapidly garnered, this beguiling record remains unrelenting in its sheer beauty. Appetites whetted by the absolutely stunning five-track EP "Sun Giant" this soon became a nailed-on Piccadilly album of the year, happily uniting all staff with its assured accessibility. Whilst many have been swift to dismiss their sound as too derivative – doubly accusing the Foxes of committing flagrant musical theft and lacking authenticity due to the tender age of lead singer Robin Pecknold - this record can be much better understood as a group of very talented music fans/singer-songwriters crafting effortlessly stellar tracks that, yes, borrow heavily from country-rock, gospel, baroque pop and the soft A.O.R of America, Dan Fogelberg and CSNY, yet make these influences sound utterly fresh and relevant today. This new 2CD version also includes all five tracks from the "Sun Giant" EP along with a brand new recording of the Steeleye Span classic "False Knight On the Road".

Tracklisting
CD1
1. Sun It Rises
2. White Winter Hymnal
3. Ragged Wood
4. Tiger Mountain Peasant Song
5. Quiet Houses
6. He Doesn't Know Why
7. Heard Them Stirring
8. Your Protector
9. Meadowlarks
10. Blue Ridge Mountains
11. Oliver James
CD2
1. Sun Giant
2. Drops In The River
3. English House
4. Mykonos
5. Innocent Son
6. False Knight On The Road