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Morrissey

I Am Not A Dog On A Chain

    First new studio album since 2017, I Am Not A Dog On A Chain was recorded at La Fabrique in France in 2018. The eleven track album, which was produced by Joe Chiccarelli will be release on Friday 20th March 2020.

    FORMAT INFORMATION

    Coloured LP Info: Exclusive coloured vinyl edition.
    140 gram red transparent vinyl.

    Algiers return in 2020 with their third album 'There Is No Year', which will be released January 17th on Matador Records. 'There is No Year' solidifies and expands upon the doom-laden soul of their foundation, toward an even more epic, genre-reformatting sound, one somehow suspended in the amber of “a different era,” as described by guitarist Lee Tesche. 

    STAFF COMMENTS

    Barry says: Shouty melancholic rockers Algiers bring us all the feels on their newest outing, 'There Is No Year'. Clearly influenced by the torrid political climes, this rousing and hearty romp is as meaningful as is effecting, a brilliantly written call to arms.

    FORMAT INFORMATION

    Dinked Edition LP Info: Ultra-limited edition Dinked exclusive.
    Mirriboard sleeve with reversed colours.
    Gold coloured vinyl.
    Exclusive bonus 7” featuring "Void" and "Can The Sub_Bass Speak?"
    Hand-numbered.

    Ltd LP Info: Includes a one sided flexi disc 7" containing the track "Void".

    Courteeners release their long awaited sixth album on Ignition Records - More. Again. Forever. The band’s most confident and consistent record to date, More. Again. Forever. features ten new tracks that are guaranteed to cement their place as one of the country’s biggest and best-loved bands. 

    STAFF COMMENTS

    Martin says: The Courteeners return for their newest and most refined outing yet, encompassing aspects of their seminal debut LP whilst pushing things further with a more mature edge and keen ear for a stadium stormer.

    FORMAT INFORMATION

    Coloured LP Info: RSD store exclusive clear vinyl edition. Limited to just 1000 copies in exclusive artwork sleeve.

    Thundercat

    It Is What It Is

      Thundercat is set to release his new album “It Is What It Is” on Brainfeeder Records on April 3, 2020, and shares the first music; ‘Black Qualls (feat. Steve Lacy & Steve Arrington)’. The album, produced by Flying Lotus and Thundercat, features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox.

      “It Is What It Is” follows his game-changing third album “Drunk” (2017). That record completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a unique voice that transcends genre. “This album is about love, loss, life and the ups and downs that come with that,” Bruner says about “It Is What It Is”. “It’s a bit tongue-in-cheek, but at different points in life you come across places that you don’t necessarily understand… some things just aren’t meant to be understood.”

      The unruly bounce of new single ‘Black Qualls’ is classic Thundercat, teaming up with Steve Lacy (The Internet) and Funk icon Steve Arrington (Slave). It’s another example of Stephen Lee Bruner’s desire to highlight the lineage of his music and pay his respects to the musicians who inspired him. Discovering Arrington’s output in his late teens, Bruner says he fell in love with his music immediately: “The tone of the bass, the way his stuff feels and moves, it resonated through my whole body.”

      ‘Black Qualls’ emerged from writing sessions with Lacy, whom Thundercat describes as “the physical incarnate of the Ohio Players in one person - he genuinely is a funky ass dude”. It references what it means to be a black American with a young mindset: “What it feels like to be in this position right now… the weird ins and outs, we’re talking about those feelings… Part of me knew this [track] was where Steve [Arrington] left us.”

      Thundercat forms a cornerstone of the Brainfeeder label; he released “Golden Age of Apocalypse” (2011), “Apocalypse” (2013), followed by EP “The Beyond / Where The Giants Roam” featuring the modern classic ‘Them Changes’. He was later “at the creative epicenter” of the 21st century’s most influential hip-hop album Kendrick Lamar’s “To Pimp A Butterfly”, where he won a Grammy for his collaboration on the track ‘These Walls’ before releasing his game-changing third album “Drunk” in 2017. In 2018 Thundercat and Flying Lotus composed an original score for an episode of Golden Globe and Emmy award winning TV series “Atlanta” (created and written by Donald Glover).

      FORMAT INFORMATION

      Coloured LP Info: Standard (Red) - 140g red vinyl LP housed in a 3mm spined sleeve with gold foil detail and OBI strip.

      Coloured LP includes MP3 Download Code.

      Deluxe LP Info: Deluxe Gatefold Clear - 140g clear vinyl LP housed in a 6mm spined gatefold sleeve with gold foil detail and OBI strip.

      Deluxe LP includes MP3 Download Code.

      Indies Exclusive LP Info: Standard Indies Edition (Cream) - - 140g cream vinyl LP housed in a 3mm spined sleeve with gold foil detail and OBI strip.

      Indies Exclusive LP includes MP3 Download Code.

      Picture Disc Info: Deluxe Gatefold w/ Picture Disc - Limited edition 140g picture disc LP housed in a 6mm spined gatefold sleeve with gold foil detail and OBI strip.

      Picture Disc includes MP3 Download Code.

      CD Info: CD softpack.

      Pigs Pigs Pigs Pigs Pigs Pigs Pigs

      Viscerals

        “I learned long ago, never to wrestle with a pig” reasoned George Bernard Shaw. “You get dirty, and besides, the pig likes it.” True to form, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have left the wiser of us aware that they are no band to be messed with. This is made manifest on ‘Viscerals’, their third proper, and an enormous leap forward in confidence, adventure and sheer intensity even from their 2018 breakthrough ‘King Of Cowards’.

        Incisive in its riff-driven attack, infectiously catchy in its songcraft and more intrepid than ever in its experimental approach, ‘Viscerals’ is the sound of a leaner, more vicious Pigs, and one with their controls set way beyond the pulverising one-riff workouts of their early days. Yet Pigsx7 have effortlessly broadened their horizons and dealt with all these new avenues without sacrificing one iota of their trademark eccentricity, and the personality of this band has never been stronger, whether on the Sabbathian and philosophical warcry of ‘Reducer’, the debauched, Jane’s Addiction-tinged swagger of ‘Rubbernecker’, the Melvins vs Sonic Youth demoltion derby of ‘New Body’ or even the demented MBV-meets-Twisted-Sister party-banger from hell that is ‘Crazy In Blood’.

        “We’re a peculiar bunch of people - a precarious balance of passion, intensity and the absurd” notes vocalist Matt Baty. Such is the unstoppable character of this unique and ever-porcine outfit; still the hungriest animals at the rock trough.

        FORMAT INFORMATION

        Coloured LP Info: 'Drained Of Blood vinyl' (Blood Red vinyl).

        Indies Exclusive LP Info: 'Blood And Guts vinyl' (Blood Red / Guts Yellow Swirl vinyl).

        King Krule

        Man Alive!

          After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with another wondrous long-player called ‘Man Alive!’. It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation.


          FORMAT INFORMATION

          Coloured LP Info: White vinyl limited to first pressing only.

          Indies Exclusive LP Info: Indie edition with bonus flexi disc including the ‘Hey World!’ version of Perfecto Miserable.

          Pale Saints

          The Comforts Of Madness

            On the eve of a post-Thatcherite Britain, the Pale Saints, alongside the likes of Lush, Ride and Slowdive, were ushering in a new wave of British indie. And in 4AD, they found a perfect home for their music - an exciting & undeniable meld of noise and dream-pop.

            Their debut album, The Comforts of Madness, didn’t disappoint, now standing as one of the best of its era. Pitchfork placed it in their Best 50 Shoegaze Albums Of All Time saying, “There’s a restless urgency, particularly when the volume swells and the rhythms intensify. That energy not only keeps (it) vital, it emphasizes Pale Saints’ inventiveness, how they channelled softness and rage into something distinctive.”

            Nearly 30 years on and The Comforts of Madness is finally getting the reissue treatment. Having been remastered, a faithful LP repress on black vinyl is being released as well as double CD and double clear vinyl editions, both of which come with a bonus disc of previously unreleased demos and the band’s only John Peel Session, recorded in 1989.

            FORMAT INFORMATION

            2xColoured LP Info: Deluxe clear vinyl double LP includes unreleased demos & 1989 John Peel Session.

            CD Info: Deluxe double CD includes unreleased demos & 1989 John Peel Session.

            Wasted Shirt

            Fungus II

              Ty Segall and Brian Chippendale (Lightning Bolt) are Wasted Shirt. Their debut, collaborative album, Fungus II, is out February 28th on Famous Class Records.

              Read below for Henry Rollins’ words on the project.

              “Ty's 2019 album, First Taste, and the new Lighting Bolt album, Sonic Citadel, are easily some of the best material either entity has ever released so if these two happened to find themselves in the same recording studio, a fan just might entertain elevated expectation levels. In fact, some might actually show signs of enthusiasm, even excitement at the fact that from July 5 -13, 2018, in the air-conditioning free environs of Ty's home studio, the duo, eventually calling themselves Wasted Shirt, wrecked the joint as thoroughly as you hoped they would.

              The album is exploding euphoria from start to finish. The more you play it, the better it kabongs you upside your head. Hectic doesn't even begin to describe it. Brian and Ty, two mere particles in the grand scheme, collide at high speed, the technicians dive for cover, the reaction is recorded. Mutation is achieved. This is Freedom Rock. Turn up the volume. Hasten your emancipation. Sonic joy awaits.”

              FORMAT INFORMATION

              Coloured LP Info: Indie stores exclusive on orange coloured vinyl, 500 only.
              Comes with a 8 page Risograph lyric zine by Brian Chippendale.

              LP Info: Black vinyl edition.
              Comes with a 8 page Risograph lyric zine by Brian Chippendale.

              Bombay Bicycle Club

              Everything Else Has Gone Wrong

              “Everything Else Has Gone Wrong” is the eagerly anticipated follow-up to their fourth album, ‘So Long, See You Tomorrow’ released back in 2014.

              The new album was largely recorded out in the US alongside Grammy Award winning producer John Congleton (St. Vincent/Sharon Van Etten/War on Drugs).

              Speaking of the record’s title, vocalist/guitarist Jack Steadman explains: “This is an album for anyone who’s ever turned to music in a time of need. It’s about the solace one can get from listening to music or playing music. For me personally it's about the frustration of not being able to express myself to others, of leaving conversations feeling dissatisfied and misunderstood. Music’s the way I’m able to truly express myself”.

              Bombay Bicycle Club have continued to grow, develop and evolve since the release of their debut album, “I Had The Blues But I Shook Them Loose”, back in 2009 when they signalled their arrival as young teenagers. With an innate ear for melody and invention, the four-piece make a very welcome return.


              STAFF COMMENTS

              Barry says: There have been a good run of massive synth albums from returning feel-good artists of the mid 00's and Bombay Bicycle Club are the latest and possibly most welcome of those returns. Huge neon synths, stadium echoes and hand-waving choruses bring to mind their seminal earlier works (our man Forbes is a big fan), while pushing things firmly into the 20's with crisp, crystalline production.

              FORMAT INFORMATION

              2xDeluxe LP Info: Ltd Edition heavyweight double vinyl (45 RPM) housed in a gatefold sleeve and includes fold out poster.

              LP Info: Includes fold out poster and insert.

              The Big Moon

              Walking Like We Do

                The British gang arrived like a breath of fresh air with their Mercury Prize nominated debut album ‘Love In The 4th Dimension’ back in April 2017. Fronted by Juliette Jackson, The Big Moon unleashed song after song fizzing with melody and charm.

                The forthcoming second album, Walking Like We Do, was recorded in Atlanta alongside Grammy Award winning US Producer Ben H. Allen III (M.I.A./Deerhunter/Bombay Bicycle Club).

                The band are Juliette Jackson, Soph Nathan, Celia Archer and Fern Ford. 


                FORMAT INFORMATION

                Coloured LP Info: Orange Heavyweight vinyl.
                Gatefold with spine.
                A3 poster.
                Download card.

                LP Info: Black Heavyweight vinyl.
                Gatefold with spine.
                Download card.

                Whyte Horses, whose sound is at once timeless and thoroughly modern. With a back-catalogue of multi-faceted jewels that gleam with a blinding, intoxicating light, Whyte Horses’ reputation is one of being able to piece together gloriously individual pop strands in an endlessly creative fashion.

                If the music seems passionate, then that’s precisely because the people behind it are passionate. Fronted by Manchester’s Dominic Thomas - who moonlights as founder of the vinyl reissue label Finders Keepers - Whyte Horses often operates as a welcoming revolving door for talented vocalists in their own right, but on ‘Ça Plane Pour Moi’ we get to glimpse pure Whyte Horses performing within their own capabilities and hinting at the album to come names ‘Hard Times’ and scheduled for release next year.



                STAFF COMMENTS

                Barry says: Feel-good Piccadilly pop favourites Whyte Horses return with an instantly satisfying and beautifully produced suite of swooning jangles and glittering harmonies. Reminiscent of 60's sunshine psych and classic Britpop, 80's synth and a tasteful touch of everything inbetween, and now with a host of top guests too. Unsurprisingly brilliant.

                Juniore

                Un Deux Trois

                  The “yéyé noir” of Juniore has always been rooted in the cinematic as much as the musical. The Paris outfit’s blending of 1960s French pop, hazy psychedelia, seamless pop, surf grooves and lush orchestration feels as intertwined with big screen aesthetics as greatly as it does being found in the grooves of vinyl. So it makes perfect sense that the band would sooner or later find themselves appearing on more film and TV soundtracks, including the universally lauded drama Killing Eve.

                  It marks a period of continuous upward trajectory and forward momentum for the band who, since the release of their acclaimed 2018 album Magnifique, have been exposed to more people all over the world via stages and screens. From playing huge venues to thousands of people opening for the likes of the Dandy Warhols, to “corners of dive bars with duct tape holding the stage together” the band have been solidifying their sound, approach and relationship by playing extensively. “We’ve become more connected and better musicians,” Says the band’s songwriter and singer Anna-Jean. “I think the new songs are full of that wonderful conversation we have with each other on stage.”

                  It’s this sense of deeper understanding that the band have reached between one another that has allowed them to record an album that sounds as natural, graceful and seamless as this one. “We are now even more who we are than before,” she says of their musical and personal bonding. “And yet we still don’t really know who we'll become next. I know it sounds absurd but it's a very nice feeling.” It’s a feeling that is mirrored in the music too. There is a sense of familiarity, a retro pop flourish – filled with infectious rolling bass lines, razor-sharp guitar lines, dense atmospheres and immersive melodies – yet predicting where the album will go remains a constant impossibility.

                  The album’s title Un, Deux, Trois is another nod to the tight unit of the group. Swanny Elzingre and Samy Osta make up the trio, with the former on drums and the latter sharing guitar and keys along with Anna-Jean. It was in Samy’s cosy Paris studio that the album was recorded. The finished tone of the album - recorded often live to a 16 track - sounds like an amalgamation of their favourite French 60's muses like Françoise Hardy, Brigitte Bardot and Anna Karina with the new wave spark of Devo and the B-52's. While that cross-pollination between sultry, sophisticated pop and good-time energy and vibrancy is certainly present, there’s also a wealth of other touching points that underpin the record. So much so that Anna-Jean says of the themes that run through the album: “It’s a mix of everything we have loved and watched and felt in the last few years. It's like a laboratory of feelings – not really my or our feelings but more universal feelings and emotions – it's like a nonsensical Frankenstein’s laboratory."

                  However, as fun as this record is, much like its predecessor, there's an underlying lyrical message that remains a key part of the band’s identity as they push forward equality-based principles. “It's the same as we've been trying to state since the beginning,” Anna-Jean suggests. “The importance of being independent, of counterculture, humour and poetry. Of not taking ourselves seriously but being very serious about it and fighting against sexism, ageism, racism, consumerism – all the worthwhile fights.”


                  FORMAT INFORMATION

                  Dinked Edition LP Info: Unique alternative colourway sleeve.
                  Heavyweight Vinyl.
                  Numbered Edition of 500.
                  Exclusive bonus 7”.
                  Drinks Coaster / Beer Mat.
                  Postcard.

                  The Chats

                  High Risk Behaviour

                    The Chats are a pub-punk shed-rock band from Queensland, Australia. They began playing together in high school, releasing their debut self titled EP a month away from graduating in 2016. Triple J described the EP as "seven joyous sky-punching tracks that combined 60s garage punk and 70s new wave punk" About nine months out of high school, The Chats went back into the studio to record their follow up EP, "Get This In Ya". The second EP sat online for half a year until the band had a viral hit with the music video for their song "Smoko", which racked in millions of views on Youtube in a couple of days, quickly becoming a viral hit and drawing attention from popular rock musicians Josh Homme, Iggy Pop, and Dave Grohl. Since then, The Chats have become notorious for their loud and chaotic live shows and their zero fucks attitude.

                    The Chats have sold out shows in Australia, New Zealand, the UK and Europe. They've toured with Australian punk legends Cosmic Psychos, US rock heavyweights Queens of the Stone Age, and fellow pisswrecks Pist Idiots. With a debut album in the works, as well as national and international tours, The Chats aren't showing any signs of slowing down soon. The Chats have coined the term "shed rock" to describe their sound. Their self-contained approach has been likened to that of King Gizzard & the Lizard Wizard. They have cited Australian bands Cosmic Psychos, Dune Rats and Eddy Current Suppression Ring as major influences The band takes its name from the phrase "that's chat" - (Australian slang to describe something terrible) and Sydney suburb of Chatswood. 

                    FORMAT INFORMATION

                    Coloured LP Info: Piss Colour Vinyl

                    Coloured LP 2 Info: Indies Exclusive Blue & Black Coloured vinyl

                    Field Music

                    Making A New World

                      Field Music’s new release is “Making A New World”, a 19 track song cycle about the after-effects of the First World War. But this is not an album about war and it is not, in any traditional sense, an album about remembrance. There are songs here about air traffic control and gender reassignment surgery. There are songs about Tiananmen Square and about ultrasound. There are even songs about Becontree Housing Estate and about sanitary towels. 

                      The songs grew from a project for the Imperial War Museum and were first performed at their sites in Salford and London in January 2019. The starting point was an image from a 1919 publication on munitions by the US War Department, made using “sound ranging”, a technique that utilised an array of transducers to capture the vibrations of gunfire at the front. These vibrations were displayed on a graph, similar to a seismograph, where the distances between peaks on different lines could be used to pinpoint the location of enemy armaments. This particular image showed the minute leading up to 11am on 11th November 1918, and the minute immediately after. One minute of oppressive, juddering noise and one minute of near-silence. “We imagined the lines from that image continuing across the next hundred years,” says the band’s David Brewis, “and we looked for stories which tied back to specific events from the war or the immediate aftermath.” If the original intention might have been to create a mostly instrumental piece, this research forced and inspired a different approach. These were stories itching to be told.

                      The songs are in a kind of chronological order, starting with the end of the war itself; the uncertainty of heading home in a profoundly altered world (“Coffee or Wine”). Later we hear a song about the work of Dr Harold Gillies (the shimmering ballad, “A Change of Heir”), whose pioneering work on skin grafts for injured servicemen led him, in the 1940s, to perform some of the very first gender reassignment surgeries. We see how the horrors of the war led to the Dada movement and how that artistic reaction was echoed in the extreme performance art of the 60s and 70s (the mathematical head-spin of “A Shot To The Arm”). And then in the funk stomp of Money Is A Memory, we picture an office worker in the German Treasury preparing documents for the final instalment on reparation debts - a payment made in 2010, 91 years after the Treaty of Versailles was signed. A defining, blood-spattered element of 20th century history becomes a humdrum administrative task in a 21st century bureaucracy.

                      FORMAT INFORMATION

                      Coloured LP Info: Limited transparent red 180 gram vinyl housed in a gatefold sleeve.

                      Soccer Mommy

                      Color Theory

                        For Sophie Allison, aka Soccer Mommy, 'Color Theory' is a distillation of hard-won catharsis. The album confronts the ongoing mental health and familial trials that have plagued the 22-year-old artist since pre-pubescence, presenting listeners with an uncompromisingly honest self-portrait, and reminding us exactly why her critically-acclaimed debut, 2018’s 'Clean', made her a hero to many. Wise beyond her years, Allison is a songwriter capable of capturing the fleeting moments of bliss that make an embattled existence temporarily beautiful. With 'Color Theory', Allison’s fraught past becomes a lens through which we might begin to understand what it means to be resilient.

                        'Color Theory' investigates a traumatic past in exacting detail; in doing so, Allison finds inroads for healing through self-acceptance, and occasionally, humor. (“I’m the princess of screwing up!” she declares at one point.) This isn’t a quest to uncover some long-since forgotten happiness so much as it is an effort to stare-down the turmoil of adolescence that can haunt a person well into adulthood. Allison is a gifted storyteller, one who is able to take personal experience and project it to universal scale. On 'Color Theory', she beckons in outsiders, rejects, and anyone who has ever felt desperately alone in this world, lending them a place to unburden themselves and be momentarily free.


                        FORMAT INFORMATION

                        Coloured LP Info: Indies exclusive coloured vinyl.

                        LP Info: Black vinyl.

                        Squirrel Flower

                        I Was Born Swimming

                          Squirrel Flower - the moniker of Ella O’Connor Williams - announces I Was Born Swimming, her debut album, out January 31st on Full Time Hobby. The album’s title was inspired by Williams’ birth on August 11th 1996 - the hottest day of the year - born still inside a translucent caul sac membrane, surrounded by amniotic fluid. Throughout the 12 songs, landscapes change and relationships shift. The album’s lyrics feel like effortless expressions of exactly the way it feels to change - abstract, determined and hopeful.

                          Squirrel Flower’s music is ethereal and warm, brimming over with emotional depth but with a steely eyed bite and confidence in it's destination. The band on I Was Born Swimming plays with delicate intention, keeping the arrangements natural and light while Williams' lead guitar is often fiercely untethered. The album was tracked live, with few overdubs, at The Rare Book Room Studio in New York City with producer Gabe Wax (Adrienne Lenker, Palehound, Cass McCombs). The musicians were selected by Wax and folded themselves into the songs effortlessly. At the heart of the album lives Williams’ haunting voice and melancholic, soulful guitar.

                          The sounds expand and contract over diverse moods, cutting loose on the heavier riffs of 'Red Shoulder'. "'Red Shoulder’ is a song about destabilisation and dissociation,” explains Williams. “Something soft and tender becomes warped and sinister, turning into sensory overload and confusion. How can something so lovely turn painful and claustrophobic? The song ends with a heavy and visceral guitar solo, attempting to reground what went awry."

                          Williams comes from a deep-rooted musical family tree. Her grandparents were classical musicians who lived in the Gate Hill Co-op, an artistic cooperative from upstate New York that grew out of Black Mountain College. Ella’s father, Jesse Williams, spent most of his life as a touring jazz and blues performer and educator, and lends his bass playing to the album. Growing up in a family of hard working musicians fostered a love of music and started Williams down her own musical path. As a child, Williams adopted the alter ego of Squirrel Flower. A couple years later, she began singing with the Boston Children’s Chorus while studying music theory and teaching herself to play the guitar. As a teen, she discovered the Boston DIY and folk music scenes and began writing, recording, and performing her own songs, now returning to Squirrel Flower as her stage name.

                          Sheer determination and belief quickly saw her make a name for herself in this newly discovered scene. Doing everything from making videos and artwork to the production of her music herself she recorded two EP's and began touring, appearing on bills with the likes of Moses Sumney, Lucy Dacus, Frankie Cosmos, Jay Som, Julien Baker, Soccer Mommy and Big Thief. During this time the signature artful songcraft heard on I Was Born Swimming was formed.

                          FORMAT INFORMATION

                          Dinked Edition LP Info: Exclusive transparent blue vinyl.
                          Exclusive bonus 7” with two tracks (A: Take It Or Leave It / B: Hold On (Tom Waits cover).
                          Exclusive signed postcard.
                          Hand numbered sleeve.
                          Download code.

                          Ltd LP Info: Standard edition on recycled vinyl.

                          Ltd LP includes MP3 Download Code.

                          Real Estate

                          The Main Thing

                            The brand new album delivers the band’s most inspired and self-aware set of songs to date, created over the course of a year at upstate New York’s Marcata Sound. Following his work on 2011’s Days, engineer Kevin McMahon returns as producer, and, for the first time ever, Real Estate have brought in outside instrumentalists and special guests like Sylvan Esso, whose vocalist Amelia Meath features on first single, “Paper Cup.”

                            Across the album’s 13 interrogative tracks – as full of depth, strangeness, and contradictions as they are lifting hooks – the band balances existential, environmental, and political anxieties with fatherly sentiments, self-satirizing lyrics, forever-lively guitar lines, and shimmering strings.

                            The Main Thing arrives with a fresh commitment the members of Real Estate - Alex Bleeker (bass), Martin Courtney (vocals, guitar), Matthew Kallman (keyboards), Julian Lynch (guitar, vocals), and Jackson Pollis (drums and drum programming) - have made to each other, 10 years and 5 full-length LPs into a career spent crafting unmistakable and influential palettes of sound. The band underwent a collaborative evolution for this album, which saw each member experimenting in new roles, and alongside Sylvan Esso’s Amelia Meath, Matt Barrick of The Walkmen, Aaron Johnston of Brazilian Girls and a string quartet all play on the record.

                            FORMAT INFORMATION

                            2xDeluxe LP Info: Deluxe double LP (tip-on gatefold jacket with Bjorn Copeland’s collage piece mounted on the front cover).

                            The Orielles

                            Disco Volador - Piccadilly Records Exclusive Bonus Disc Edition

                              Defiant in the face of existential dread, The Orielles were always going to approach their second album with nothing but stellar levels of intent. Disco Volador sees the 4-piece push their sonic horizon to its outer limits as astral travellers, hitching a ride on the melodic skyway to evade the space-time continuum through a sharp collection of progressive strato-pop symphonies.

                              “Its literal interpretation from Spanish means flying disc but everyone experiences things differently. Disco Volador could be a frisbee, a UFO, an alien nightclub or how you feel when you fly; what happens to your body physically or that euphoric buzz from a great party,” suggests bassist and singer, Esme. “But it is an album of escape; if I went to space, I might not come back.”

                              Voyaging through cinematic samba, 70s disco, deep funk boogies, danceable grooves and even tripping on 90s acid house, Disco Volador is set to propel The Orielles spinning into a higher zero-gravity orbit. Written and recorded in just 12 months, it captures the warp-speed momentum of their post-Silver Dollar Moment debut album success; an unforgettable summer touring, playing festivals like Green Man and bluedot, and deepening their bond whilst witnessing the sets of their heroes Stereolab, Mogwai, and Four Tet. Disco Volador’s library catalogue vibes stem from a band lapping up and widening their pool of musical discovery whether nodding to Italian film score maestros Sandro Brugnolini and Piero Umiliani, or the Middle Eastern tones of Khruangbin and Altin Gün. “All the influences we had when writing this record were present when we recorded it, so we completely understood what we wanted this album to feel like and could bring that to fruition,” tells drummer, Sid. “This is the sound of where we are at, right now.”

                              Returning to Stockport’s Eve studios where the band cooked together, went swimming, took walks, and relaxed in the soundwaves of an occasional gong bath, Henry, Sid and Esme called a family reunion under the watchful whisker-twitching of studio cat, Adam (“He was probably a producer in a past life,” they say). With keysman Alex now adding texture through his classically trained know-how, they re-joined engineer Joel, and producer Marta Salogni (Liars, Björk, The Moonlandingz) whose vast expertise of drones, delays and mad effects were so intrinsic to their Disco Volador vision – sketched out by the band in Sharpie doodles on the studio wall. “Marta is so positive, she has a great way of getting the best out of us,” guitarist, Henry tells. “Marta is the 5th Orielle,” affirms Sid. “Because we’d worked together before, we were even tighter; it’s a shared mind-set.” For Marta, the feeling is mutual; “It’s sonic tidying really, the band just do their thing and I work with that.”

                              Built from instrumentals around the concept of “boogie to space, space to boogie,” Disco Volador’s energy comes from the melodic fission of tension and release. Recurring motifs explore space, not only of earth’s celestial atmosphere, but also what happens within the gaps and how sound manipulation has the power to carry, or displace, its listener. “We like throwing in wide curveballs by taking the music somewhere different then figuring our way back… like jumping off,” says Henry. “Jez from ACR taught us about pauses and that’s massive on this record; space can be the most beautiful part of a song.” In fact, by unleashing the tension with their own smattering of esoteric noise through delay pedal fuckery, the layered poetics on ‘Whilst The Flowers Look’ and ‘Memoirs of Miso’s saxophone stylistics (loaned by Glasgow band Lylo’s Iain McCall), filling voids is exactly what gives the album its magic. “Those unplanned moments are great,” Sid says, “mistakes can become something special. For these next shows we’ll have to change our tech spec up so much!”

                              At times haunting and unsettling, Disco Volador’s film-like structure flows from fact to fiction. Its tales are culled from waking life as easily as they become a soundtrack for lucid dream sequences. Watching Foley-inspired 70s thriller Berberian Sound Studio whilst recording may account for the album’s dynamic sound effects – created with Eve’s array of instruments plus Henry’s flexatone - a Secret Santa gift from Esme. Lynchian outros capture the album’s thematic dread as they spiral into infinity and pave the way for potential loops, imitating the fades between the songs of the band’s summer DJ sets. Brian Eno-inspired dreams about a rocket-fuelled mission may or may not have inspired ‘Rapid’ or ‘Come Down On Jupiter’ after ideas sunk deeper into their subconscious. “I’d been reading about phenomenology and Czechoslovakian writer Milan Kundera’s ideas about existence; the weight of your own body, what you feel and how that interacts with your surroundings,” hints Esme, at possible inspiration behind the lyrics.

                              Whilst the future of the world and its current cosmic wasteland might be up in the air, The Orielles’ new album has its feet beating out a much-needed four to the dancefloor. Welcome to Disco Volador; time really does fly when you’re having this much fun.

                              FORMAT INFORMATION

                              Coloured LP Info: Transparent orange vinyl with green blob centre.
                              Initial quantities include "The Universe Is Blue" bonus 'mixtape' on CD.

                              CD Info: Initial quantities include "The Universe Is Blue" bonus 'mixtape' on CD.

                              Smoke Fairies

                              Darkness Brings The Wonders Home

                                In the making of their new album Darkness Brings The Wonders Home, Smoke Fairies drew inspiration from mysteries both real and imagined: sea monsters, flocks of crows taking flight in extravagant formation, strange creatures dwelling in the mud near their new South London abode. With their mesmeric vocal presence and starkly poetic lyrics, singer/multi-instrumentalists Katherine Blamire and Jessica Davies embed all that odd magic into songs that speak to the realities of modern times—isolation, insomnia, an overall unease with the state of the world—and ultimately uncover an unlikely sense of hope.

                                “Times of darkness are when people are often the most imaginative,” says Davies in reflecting on the album’s title. “It helps you to see all the wonders of the world you hadn’t noticed before—the things you’ve been blind to because you’ve been on autopilot for so long.”

                                Produced by Phil Ek (Fleet Foxes, The Black Angels, The Shins), Darkness Brings The Wonders Home merges Smoke Fairies’ musings and meditations with a decidedly guitar-driven sound, the duo’s unearthly harmonies endlessly floating atop lead-heavy riffs. Over the course of a rigorous month-long session in Seattle, Smoke Fairies adopted a purposely intimate approach to achieving that singular sonic tone.

                                ‘We spent a long time trying to fathom the direction we wanted to take on this album. At times the options seemed overwhelming, but as new songs started to form we realized we needed to take them back to our core sound – our interplaying guitar parts’ says Davies. “So then we had to really step up and do it ourselves, without relying on a band to fill anything in, which was quite a challenge—physically, mentally, everything.”

                                While Smoke Fairies initially intended to return to the earthy folk of early work like 2011’s Through Low Light and Trees, the duo soon found themselves assuming a new boldness in their guitar style and, in turn, pushing into much wilder terrain. In doing so, Blamire and Davies spent much of their time perusing the guitar shop near Ek’s chosen studio, experimenting with countless guitars and amps to augment the album’s sonic palette. “It was like being in a sweet shop, getting to try all these guitars we’d normally never be able to afford,” says Blamire. “We ended up making friends with guitars we never thought to use before, like this weird vintage Kay that sounded great but was so hard to play—to the point where there were days when our fingers were bleeding, or we had blisters in places you didn’t even know you could get them.”

                                Opening with “On the Wing,” Darkness Brings The Wonders Home quickly proves the power of matching that pummeling guitar work with Smoke Fairies’ finespun songwriting. With its woozy intensity and spellbinding rhythms, the song also introduces one of the album’s most prominent themes: the often-futile attempts at true connection at a time when the most impetuous behavior tends to prevail. “When we were little my brother wrote a poem about waking up and finding he’d changed into a swan overnight, with feathers growing out of his arms,” says Blamire of the song’s inspiration. “To me that’s an interesting metaphor for how people can grow into becoming quite flighty, where they’re never really able to settle in one place or with one person.”

                                An album deeply informed by aberrations of nature, Darkness Brings The Wonders Home delves into a different kind of fascination on “Out of the Woods”—a song sparked from Smoke Fairies’ study of the overgrown pond behind their house. “There’s something magical about all these weird things living out there in the mud,” says Blamire. “We started to project onto that, like the idea of something unexpected and good coming from the mud of your emotions.” Another song attuned to the fear of the unknown, the hypnotically ominous “Chew Your Bones” mines inspiration from the titular beast of Sarah Perry’s novel The Essex Serpent and from a local urban myth involving a character called The Croydon Cat Killer. “For years people thought someone was going around killing cats—they put a proper police force on it and everything, and then realized it’s just foxes,” Davies notes. “I’d also recently read an article about how some people feel uncomfortable with the idea of bringing kids into the world at the moment,” she adds, “We needed to write about the growing feeling that the world is on the verge of real change, there is the sense that there is this scary, unknown future lurking just beyond us ’.

                                Despite its many wanderings into otherworldly territory, Darkness Brings The Wonders Home remains rooted in real-life anxieties, particularly on tracks like the fluttering and urgent “Don’t You Want to Spiral Out of Control.” “The modern way of interacting around love seems too empty to me—it feels like it makes us into much colder people than we ever were before,” says Blamire. “It’s like we’re missing that spontaneity, the ability to bind together over something more than an image on a screen. That song came from wanting to just shake people and go, ‘don’t you want to spiral out of control again? Don’t you want to just let loose?’”

                                Throughout Darkness Brings The Wonders Home, Smoke Fairies adorn their observations with so many exquisite flourishes: the swinging melodies and elegant shredding of “Elevator,” the girl-group harmonies and spiky riffs of “Disconnect,” the delicate tension between taut guitar lines and swooning vocals on “Chocolate Rabbit.”

                                For Smoke Fairies, Darkness Brings The Wonders Home signals a strengthening of the inextricable bond they’ve forged through the years. “So many of the songs are about these feelings of disconnection, but the irony is that Jessica and I have each other, and that means so much more than any of the other relationships that come and go,” says Blamire. And because of that connection, the two found the courage essential for bringing such an emotionally trying album to life. “I think what we’re attempting to show is that, in all this chaos that’s so tumultuous and overwhelming, there are always ways to change your perspective,” says Blamire. “Making this album, we conquered so many worries and doubts and felt so much stronger at the end—we went right into the darkness, and somehow brought something incredibly positive out of it.”


                                FORMAT INFORMATION

                                Dinked Edition LP Info: Exclusive Coloured vinyl – Gold & Black Splatter.
                                Exclusive Sleeve.
                                Signed & Numbered 12”x12” Print.
                                Exclusive Lyric Book.
                                Dinked sticker.

                                Coloured LP Info: Gold coloured vinyl.

                                Black Pumas

                                Black Pumas

                                  Sometimes, a mystical, life-changing connection can be closer than you think. In 2017, Grammy Award-winning guitarist/producer Adrian Quesada had recorded some instrumentals in his Austin studio, and he started looking around for a vocalist—he knew a lot of singers, but he wanted something different. He reached out to friends in Los Angeles, in London, but nothing seemed right. Meantime, Eric Burton had recently made his way to Texas. Born in the San Fernando Valley, he grew up in church and then got heavily involved in musical theater. He started busking at the Santa Monica pier, where he brought in a few hundred dollars a day and developed his performance skills. Burton traveled through the Western states before deciding to settle down in Austin—setting up his busking spot on a downtown street corner, at 6 th Street and Congress, for maximum exposure.

                                  A mutual friend mentioned Burton to Quesada, saying that he was the best singer he had ever heard. The two musicians connected, but Burton took a while to respond (“My friends were like ‘Dude, you’re an idiot, you need to hit that guy back!’ “) Finally, he called Quesada, and started singing to one of the tracks over the phone. “I loved his energy, his vibe, and I knew it would be incredible on record,” he says. “From the moment I heard him on the phone, I was all about it.” The results of that inauspicious beginning can now be heard on the self-titled debut album from Black Pumas, the group that Quesada and Burton assembled, which has become one of the year’s most anticipated projects. Described as “Wu-Tang Clan meets James Brown” by KCRW, Black Pumas were the winner of Best New Band at the 2019 Austin Music Awards.

                                  Quesada has a storied reputation from playing in bands like Grupo Fantasma and Brownout, accompanying artists from Prince to Daniel Johnston, and producing such acclaimed projects as 2018’s Look At My Soul: The Latin Shade Of Texas Soul. For the tracks that kicked off this project, though, he had a different direction in mind. “I was looking for somebody with their own identity,” says Quesada, “who liked Neil Young as much as Sam Cooke.” Burton’s taste, range, and experience proved to be exactly what Quesada was seeking. “We just take to the same kind of music,” he says. “I listen to East Coast hip-hop, old soul music, folk music. When Adrian sent me the songs, it was like I had already heard them before. We were on the same wavelength from the get- go.”  The first day they got together in the studio, they recorded the dusty funk that would become the Black Pumas’ first two singles, “Black Moon Rising” and “Fire.” Quesada had written the music for “Black Moon Rising” on the day of the 2017 solar eclipse, and Burton took that concept and ran with it. “Right away, the hair stood up on the back of my neck,” says Quesada. “I knew, ‘This is it—this is the guy.’ ”

                                  Burton sensed the potential, as well. “When I saw that Adrian played with Prince and had a Grammy,” he says, “that he was a serious, respected artist, I knew that I would do my best not to squander that. If you can do it on the street, for a long time, without making yourself crazy, you can do it with a guy who’s won a Grammy.” The duo also knew that they didn’t want their sound to be too retro or imitative. “We didn’t want to just do throwback soul and pretend that hip-hop never happened,” says Quesada, nothing that it was listening to Ghostface Killah that initially triggered him to start writing this material. “It had to feel sincere coming from us. I have a certain aesthetic in the studio, Eric has a voice that evokes a certain era, but I don’t think we reference that too directly.” “Adrian has had the time and the interest to really dive into a specific sound, to recreate something he heard on a Motown record,” adds Burton. “And because of that specific knowledge, he provides an interesting sandbox for me, whose background is in theater, to do something super-unorthodox—to be an art student and play with all the colors I have, but to put it on something that’s more familiar to listeners’ ears.”

                                  With Black Pumas having evolved from an idea to a session to an album, they decided to put a band together and see how this music sounded live. They booked a residency at C Boys (a sister venue to Austin’s famed Continental Club), initially playing every Thursday for a month. “We only rehearsed twice, we had no idea what we were getting ourselves into,” says Quesada. “But with the first show, we knew it was unique, special—the chemistry and fire were there immediately. And what Eric could do as a frontman was like nothing I’d ever seen.”  As word got out, the C Boys shows turned into a local phenomenon (“the hottest party in town,” according to the Austin American-Statesman), with lines around the block despite the fact that the band had only released one song. The reaction to the group’s recent South by Southwest appearance helps explain the mania—the Chicago Tribune called Burton’s performance “a whirlwind of movement and gesture,” while Rolling Stone, in naming Black Pumas “One Of The 30 Best Bands We Saw In Austin,” wrote that “the hometown six-piece’s grooves were funky in a thick, viscous way, oozing out in ambitious jams that wandered into heady territory without meandering” and praising Burton’s “tireless, charismatic energy.”

                                  The other, unexpected result of the C Boys residency was that Burton presented more of his own songs to help fill out the set, which led Black Pumas into new territory. “Eric had all these other songs based on other styles, going back into what he was doing when he was busking,” says Quesada. “It was a real spark that we could huddle around him and his songs, too, and get a real sense of what our sound was.” In fact, the final song recorded for Black Pumas was “October 33,” a tense, pleading ballad by Burton. “I didn’t feel like we had the right last song,” says Quesada, “we needed something with more of Eric on guitar. I said ‘I want to put down one more, do you have anything?’ and he texted me back exactly what I was imagining—it was almost unspoken.”

                                  Quesada and Burton both return, over and over, to this almost mystical connection they felt from the beginning. It’s this sense of common purpose, of shared vision, that gives Black Pumas its focus and power—and that points to great things ahead. “It’s so seamless, it’s like we’re musical brothers to some degree,” says Burton. “It feels so easy to meld together that what’s most important for us now is to continue to look for new sounds—to make sure we’re feeding ourselves the knowledge to continue to evolve. Every time we get together, it’s better than the last time.”

                                  STAFF COMMENTS

                                  Barry says: A beautiful groove-led juxtaposition of classic soul and simmering low-key funk, brimming with tenderly plucked guitars and phased Wurlis, all working their way around the momentum-filled majesty of Burton's perfectly fitting vocals. Stunning stuff.

                                  FORMAT INFORMATION

                                  Deluxe LP Info: Clear vinyl with red and black splatter. Comes with 'Live at Arlyn Studios' bonus CD.

                                  Deluxe LP includes MP3 Download Code.

                                  2xDeluxe CD Info: Includes 'Live at Arlyn Studios' bonus disc & fold-out poster.

                                  Morrissey

                                  It's Over

                                    Sky Blue 7” single with It’s Over from 2019’s covers album ‘California Son’ and previously unreleased It Happens Every Time.

                                    Khruangbin & Leon Bridges

                                    Texas Sun

                                      Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends its name to Bridges and Khruangbin’s new collaborative EP.

                                      “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.”

                                      On Texas Sun, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future—a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys bootscooting at Billy Bob’s in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets.

                                      A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you’re going—especially if you’re in no particular hurry to get there.

                                      FORMAT INFORMATION

                                      Coloured LP Info: First pressing on limited translucent orange vinyl.

                                      Georgia

                                      Seeking Thrills

                                        Georgia’s new album, ‘Seeking Thrills’, is a musically daring story of hedonism, self-discovery and, above all, the transcendental power of the dancefloor.

                                        The North West Londoner has been on a long, dazzling journey since the release of her critically acclaimed debut album in 2015. Her first self-titled collection of percussive, punk-inflected pop songs was lauded by The Guardian, Vice, The FADER and others - but nobody predicted the about turn she would make when she returned with two rough-hewn diamonds of house music in 2019.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Available to independent retailers on red heavyweight vinyl with 16-page booklet and digital download code.

                                        Erratics & Unconformities is the first album by Craven Faults. It follows three EPs: Netherfield Works, Springhead Works and Nunroyd Works. Long-form analogue electronic journeys across decades and continents, and swathes of post-industrial northern Britain.

                                        The journey on Erratics & Unconformities picks up where Netherfield Works left off. We take the canal towpath out of the city. We fork north shortly afterwards. Is this where it started? The terrain gradually becomes more rugged. Familiar. Wild. Evidence of human activity is less immediate in this glacial landscape. It’s there if you seek it. But easy to ignore. If you listen carefully, you can still hear the weight of the ice-sheet carving its way through the rock.

                                        Everything in its own time. The output from the old textile mill Craven Faults calls home is no longer as linear as it once was. There was no clear start point for the project, rather simply rediscovering the joy in experimentation with no material goals. Some of the recordings that make up Erratics & Unconformities go back almost seven years. Tracks have come and gone in that time. They don’t leave until they’ve undertaken a stringent quality control process. It started slowly, but has picked up momentum in the last eighteen months. Recorded and re-recorded to the correct level of imperfection, and then left to breathe. Mixed and re-mixed. Carefully compiled when the time was right.

                                        The journey is just as important as the destination.


                                        STAFF COMMENTS

                                        Matt says: Inna kinda Will Bevan / Burial type fiesco, Craven Faults has got us all eagerly scratching our heads trying to work out who this post-industrial-obsessed Northerner could possibly be! The music is phenomenal, conjuring desolate sonic canvasses of a forgotten North. His interest in textile mills and the history of the industrial revolution, alongside other lesser known monuments of northern England show an artist with a keen interest in local history; but his application of these ideas and themes to his musical composition is nothing short of breathtaking. A majestic artist in the making - get to know.

                                        FORMAT INFORMATION

                                        2xLP Info: Black vinyl edition.

                                        Easy Life

                                        Junk Food

                                          7 track mini album from hotly tipped Leicester 5 piece Easy Life. They take elements of hip-hop, funk, soul, jazz and r&b and shake 'em up into an infectious blend of modern essential pop, spearheaded by their talismanic singer, songwriter and multi-instrumentalist Murray Matravers.




                                          FORMAT INFORMATION

                                          Coloured LP Info: Red ketchup coloured vinyl.

                                          Tame Impala

                                          The Slow Rush

                                            Tame Impala (Kevin Parker) has officially announced his fourth studio album, The Slow Rush out via Fiction Records.

                                            The Slow Rush was recorded between Los Angeles and Parker’s studio in his hometown of Fremantle, Australia. The twelve tracks were recorded, produced and mixed by Parker. The Slow Rush is Parker’s deep dive into the oceans of time, conjuring the feeling of a lifetime in a lightning bolt, of major milestones whizzing by while you’re looking at your phone, it’s a paean to creation and destruction and the unending cycle of life. Parker told the New York Times earlier this year, “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it.” The album cover was created in collaboration with photographer Neil Krug and features a symbol of humanity all but swallowed whole by the surrounding environment, as though in the blink of an eye.

                                            In the last six months Tame Impala have headlined multiple major festivals including Glastonbury, Coachella, Primavera, Lollapalooza, ACL and more. He debuted two new songs on Saturday Night Live and sold out arenas around the world including two nights at New York City’s Madison Square Garden.

                                            Tame Impala is Kevin Parker. His last album Currents was released in 2015 earning him a BRIT Award for Best International Group, a second GRAMMY nomination and went platinum in Australia, Gold in the USA, Canada, UK, France, Netherlands and Belgium, and enjoyed word-wide critical acclaim. The New York Times labeled it a "a tour de force" and Pitchfork said, "nearly every proper song on 'Currents' is a revelatory statement of Parker's range and increasing expertise as a producer, arranger, songwriter, and vocalist while maintaining the essence of Tame Impala." NPR noted, "[Parker] advocates for constant reinvention... That commitment to evolution helps make Tame Impala an unlikely but worthy candidate for major stardom."


                                            FORMAT INFORMATION

                                            Coloured LP Info: Double dark forest green coloured vinyl, includes folded A3 poster.

                                            Indies Exclusive LP Info: PLEASE NOTE THIS IS A DIFFERENT EDITION TO THE ONE BEING SOLD ON THE TAME IMPALA WEBSITE.
                                            Indies exclusive double red and light blue coloured vinyl (one disc red, one disc light blue), includes folded A3 poster.

                                            2xLP Info: Standard double black vinyl, includes folded A3 poster.

                                            Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.

                                            Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.

                                            Taking disco as its groove-oriented departure point, Stars Are the Light shimmers with elements of ’70s funk and ’90s rave. Johnson’s signature guitar sound is at its most languid and refined, while Yamada’s synths and oneiric vocals are foregrounded to create a spacious percussiveness that invites the body to move with its mesmeric rhythms. With Sonic Boom (Spacemen 3, Spectrum) at the mixing desk in Portugal’s Serra de Sintra, (known to the Romans as “The Mountains of the Moon”) the area’s lush landscape and powerful lunar energies exerted a strong influence on the vibe and sonic texture of the album.

                                            On embracing disco as an inspiration, Yamada says, “It’s something we hadn’t referenced in our music before, but its core concepts really align with what we were circling around as we made the album. Disco is dance music, first and foremost, and we were digging our way into the idea of this endless dance of bodies in nature. We were also very inspired by the space and community of a disco – a space of free self-expression through dance, fashion, and mode of being; where everyone was welcome, diversity was celebrated, and identity could be fluid; where the life force that animates each of us differently could flower.”

                                            STAFF COMMENTS

                                            Andy says: Formed in 2009 by Wooden Shjips' main man Ripley Johnson and his wife Sanae Yamada, Moon Duo had been chugging along quite nicely until 2017's two records in a month opus (‘Occult Architecture’ Volumes 1 and 2) signalled a slight detour, but here we are a further two years hence at a veritable fork in the road. Moon Duo now groove! Not rockin' grooves like Hawkwind of old (very cool still, obviously), but proper, disco and funk inspired, pitter-pattering grooves like Peaking Lights. Helped in no small part by Spacemen 3's Sonic Boom, a lot of the sounds here do actually recall the late 90s UK post rave scene in their blissed out, bubbling buoyancy and hippie, repetitive, lose yourself in nature vibes. This record glides! Synths are further to the fore but Ripley's ever evolving infinite ether guitar flickers and dances around them to maximum effect. Apart from one throbbing song which is a throwback to their previous records (“Eye 2 Eye”) this albums glows with a kind of contained euphoria, languid and laid back, looping and luscious. The beats here are never obtrusive, it still sounds exactly like them, but them that's swapped pot for ecstasy, a couch for a field! There has been the sneaking suspicion, of late, that Ripley Johnson was squirelling his better songs away to this, his so-called band on the side, and now, finally, with ‘Stars Are The Light’, the proof is in the pudding; he does! It's a majestic record.

                                            FORMAT INFORMATION

                                            Coloured LP Info: Indies only opaque red coloured vinyl.

                                            Coloured LP includes MP3 Download Code.

                                            LP includes MP3 Download Code.

                                            Gil Scott-Heron

                                            I'm New Here - 10th Anniversary Expanded Edition

                                              In February 2010, the late, legendary musician, poet and author Gil Scott-Heron released his thirteenth, and last, studio album. First conceptualised in 2005, and ultimately produced by XL Recordings head Richard Russell during New York recording sessions that commenced in January 2008, I’m New Here was Scott-Heron’s first album in thirteen years and found him sounding as vital, boundary-pushing and insightful as ever before.

                                              In addition to the original album, this 'I'm New Here' 10th Anniversary Edition features two unreleased tracks - a cover of Richie Havens’ 'Handsome Johnny’ and a previously unheard Scott-Heron song 'King Henry IV’ - as well as a selection of other recordings from the original I’m New Here sessions that were only previously available on a rare, vinyl only deluxe version of the LP.

                                              "Ten years ago I was in the midst of recording “I’m New Here” with Gil. There was a lot more to the experience than it was possible to process at the time, and there was some great material that never made it onto the album. Our cover of “Handsome Jonny” was the last recording Gil and I made on the last day of the last session for “I’m New Here”, at Clinton Studio in Hell’s Kitchen, NY, on September 19, 2009. Gil had introduced me to the original version of the song, explaining how Richie Havens had performed it in his opening set at Woodstock some forty years earlier, and we added it to a list of material we were considering for the album. In the end we recorded some of these songs, like Bobby Blue Bland’s “I’ll Take Care Of You”, Bill Callahan’s “I’m New Here” and Robert Johnson’s “Me and the Devil”, and didn’t get round to some others, including Joy Divison’s “Disorder”." - producer Richard Russell

                                              FORMAT INFORMATION

                                              2xColoured LP Info: Double LP (one green and one pink disc).

                                              Moses Boyd

                                              Dark Matter

                                                'Dark Matter’ is a landmark record, a producer album by a young auteur, threading several thrilling musical traditions into a bold new tapestry: the raw energy of grime and afrobeats and the rolling club rhythms of the London underground, combined with the freewheeling creativity and collaborative spirit of his jazz training. With that mentality in mind, it’s no surprise that his talents have trickled over into fashion, producing original compositions for the Louis Vuitton Foundation x MoMa Archive film (2017) and most recently scoring the Men's Dunhill Paris Fashion shows in both 2018 and 2019.

                                                A double MOBO & Jazz FM Award winner, Boyd’s live and studio collaborations have been as varied as they have been prolific, from touring with Sampha & Kelsey Lu, to drumming on Sons of Kemet’s Mercury-nominated album, to his recent collaboration with South African Gqom king DJ Lag, which made its way onto Beyonce’s official soundtrack for The Lion King. He produced Zara McFarlane 's 2017 full-length, Arise, in its entirety, for Gilles Peterson’s Brownswood label, and released several acclaimed solo projects though his Exodus record label. Boyd has produced original scores for major Paris fashion shows, and with saxophonist Binker Golding, he’s co-leader and co-producer of the ferocious semi-free group Binker and Moses.

                                                FORMAT INFORMATION

                                                2xDinked Edition LP Info: Limited to 500 copies
                                                Double 140g Grey Vinyl.
                                                90cm x 90cm Flag Wrap.
                                                Silver Foil Inners.
                                                Numbered Edition & Dinked Stickered.

                                                2xIndies Exclusive LP Info: Double LP with 2 x 140 gram.
                                                Splattered pressings.
                                                Silver foil inners.

                                                2xLP Info: Double LP with 2 x 140g.
                                                Black pressing, Foil inners.

                                                Holy Fuck

                                                Deleter

                                                  Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

                                                  Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

                                                  From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.



                                                  STAFF COMMENTS

                                                  Barry says: It's been too long since the last Holy Fuck outing, but when a return shows this level of refinement and furthering of the sound we all expected from them in the first place, it's all worth it. Huge electronic throbs and hypnotic kosmische pulses shine through, all underpinned with a more commercial sensibility and even the unmistakeable vox of Alexis Taylor making an appearance.

                                                  We've come an awful long way since Floating Points' first utterances entered our stratosphere. That opening trio of twelves ("J&W Beat", "Love Me Like This" and "Vacuum Boogie") immediately caught the attention of us and our customers and we've been hooked on this cat throughout the last ten years.

                                                  Whereas the incredible "Elaenia" (2015) was a five-year process, "Crush" was made during an intense five-week period, inspired by the invigorating improvisation of his shows supporting The xx in 2017. He had just finished touring with his own live ensemble, culminating in a Coachella appearance, when he suddenly became a one-man band, just him and his trusty Buchla opening up for half an hour every night. He thought what he’d come out with would 'be really melodic and slow-building' to suit the mood of the headliners, but what he ended up playing was 'some of the most obtuse and aggressive music I've ever made, in front of 20,000 people every night,' he says. 'It was liberating.'

                                                  Fundamentally, this is still stylistically a Floating Points record. Classically informed pieces drift into focus without beats, only to dissolve into a mist of modular-generated textures. There's some speaker-tested mainroom techno moments, namely the lead single "LesAlpx" which concludes side A's meticulously programmed schedule with a moment of undiluted dancefloor energy. Fans of his jazz-flecked house will find tracks like "Last Bloom" and "Anasickmodular" a joy to behold; possessing that idiosyncratic shuffle and swing that instantly characterize an FP production. "Bias" opens side B with a unfathomably futuristic, attitude-ridden bass monster until Sam unexpectedly flips into his patented, cerebral jazz-house hybrid. Don't get me wrong though, he's not resting on his laurels in any way. His New Sounds bite and spit, as he seems to harness extraordinary levels of intricacy and power from his trusty Buchla synthesizer and his much lusted-after Arp Odyssey. More refined, more evolved, deeper, richer - but the same Floating Points - sound up your tree? It should be. 


                                                  STAFF COMMENTS

                                                  Matt says: The Chetham's graduate has been a permanent fixture on our shelves for the last decade. 'Crush' embodies everything we love about him across a succinct and direct two sides. Drifting through a highly musical sanctum, we get expressions on modular and synth informed, and indeed elevated, by Sam's well documented and rich musical education.

                                                  FORMAT INFORMATION

                                                  Indies Exclusive LP Info: 140g black vinyl housed in a glossy sleeve with exclusive cover art, artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’.

                                                  Indies Exclusive LP includes MP3 Download Code.

                                                  LP Info: 140g black vinyl housed in a glossy sleeve with artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’.

                                                  LP includes MP3 Download Code.

                                                  CD Info: CD in digipak with fold-out booklet featuring a score of album track ‘Birth’.

                                                  Porridge Radio

                                                  Every Bad

                                                    Porridge Radio grew out of Dana Margolin’s bedroom, where she started making music in private. Living in the seaside town of Brighton, she recorded songs and slowly started playing them at open mic nights to rooms of old men who stared at her quietly as she screamed in their faces.

                                                    Though she eventually grew out of them, for Margolin these open mic nights unlocked a love of performing and songwriting, as well as a new way to express herself. She decided to form a band through which to channel it all, and be noisier while she was at it – so Porridge Radio was born.

                                                    Inspired by interpersonal relationships, her environment - in particular the sea - and her growing friendships with her new bandmates (bassist Maddie Ryall, keyboardist Georgie Stott, and drummer Sam Yardley) Margolin’s distinctive, indie-pop-butmake-it-existentialist style soon started to crystallise. Quickly, the band self-released a load of demos and a garden-shed-recorded collection on Memorials of Distinction, while tireless touring cemented their firm reputation as one of UK DIY’s most beloved and compelling live bands.

                                                    As the band’s sound – bright pop-rock instrumentation blended with Margolin’s tender, open-ended lyrics – has developed and refined, Porridge Radio have also received enthusiastic radio airplay on the BBC, Radio X and more. Now, they are taking that development a step further, as they put out their label debut, Every Bad.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Indies exclusive milky white vinyl.

                                                    Tino Contreras

                                                    Musica Infinita

                                                    Gilles Peterson launches his new imprint Arc Records with a reissue of cult record “Musica Infinita” by Mexican drummer and composer Tino Contreras. A psychedelic, experimental jazz record, originally released in 1978, it marked a daring step forward by the Mexico City-based musician, and is now re-released for a chance to get the widespread dues it deserves. A limited private press, copies of the original are highly sought after, despite the drummer being much overlooked in both his home country as well as abroad, with a career that started in the 1950s, and which has seen him share stages with many of the greats – including Dave Brubeck, Cannonball Adderley and the Duke Ellington Orchestra.

                                                    The story behind Peterson re-releasing the record is serendipitous. Several years ago, he bought a copy before a gig in Japan, and it soon became one of his most cherished discoveries; he was awed by its otherworldly blend of jazz fusion and psychedelia. Years later, booked to play at a festival in Mexico, Peterson was introduced to Carlos Icaza, a record collector and musician, who also had a copy of the record – in fact, he has two – and to whom it was also an extremely special album. To Peterson’s delight, Icaza suggested they meet up with Contreras who, at 95, is still active and based in Mexico City. Soon enough, the three of them were sat down together and agreed upon a plan to re-issue “Musica Infinita”.

                                                    The album is the product of a long, varied musical development for Contreras, and of his productive partnership with Estrella Newman, a scholar who championed pre-Columbian culture and Mexico’s experimental traditions, such as the micro-tonalism pioneered by musician and academic Julián Carrillo. On “Musica Infinita”, Contreras filtered these local traditions through an American-influenced jazz lense, his playing and compositions honed through formative experiences seeing the likes of Art Blakey and Shelly Manne, decades of touring internationally, and of being part of a series of orchestras and ensembles central to Mexico’s jazz history.

                                                    By the time he recorded “Musica Infinita”, Contreras had been a part of the Luis Arcaraz orchestra, had led a series of outfits to record albums for the Musart label, been part of recordings for the Polydor, Typic and Berta imprints, and had introduced Mexico to the Dominican Republic’s merengue rhythm, through his 1953 recording debut with an orchestra, the ‘Volado por los merengues’ 10”.

                                                    The group name adopted for the album, Quinto Sol, reflects the influence of the Aztec Calendar, a concept which Contreras and Newman were inspired to build their shared musical project around. It’s a concept based around an Aztec carved stone structure, known as the Sun Stone, discovered in the late eighteenth century, believed to outline five periods – or suns – which explain the transformations of the earth. Inspired by a nighttime visit to the Pyramid of the Sun, in the ancient city of Teotihuacan, Contreras decided to adopt a group name in reference to the fifth period of the Aztec Calendar. Thus, he picked Quinto Sol – or, “Fifth Sun”.

                                                    Re-issued for the first time, it’s a chance to get acquainted with an especially bright moment for an artist whose legacy is surely due for greater attention. Bridging strongly-felt Mexican tradition with a grounding in a primo jazz schooling, “Musica Infinita” channels grand concepts into a visceral musical experience.

                                                    THE PICCADILLY RECORDS ALBUM OF THE YEAR 2019.

                                                    W. H. Lung’s arrival at their debut album has been less conventional than most. A trait shared with the music they make, which weaves between shimmering synth pop and the infectious grooves of 70’s Berlin. The band never had any intention of playing live when forming, aiming instead to be a primarily studio-based project.

                                                    That approach was challenged when they released their debut 10” ('Inspiration!/Nothing Is') in 2017, which meant that they were quickly in demand. Booking requests started to flood in and W. H. Lung found themselves cutting their teeth on festival stages that summer. Though whilst some new bands may have let that interest change the course of the project, W. H. Lung stayed true to their original reticence and worked mainly as a studio band with their formidable live shows kept sporadic.

                                                    W. H. Lung have allowed this album to naturally gestate over the course of two years . The result is a remarkably considered debut - the production is crisp and pristine but not over-polished, the synths and electronics radiate and hum with a golden aura and the vocals weave between tender delivery and forceful eruptions. There is a palpable energy to the songs, as experienced in 10 glorious minutes of opening statement 'Simpatico People'.
                                                    “I think it’s important to erase the distinction between ‘high’ and ‘low’ culture,” states Joseph E. This colliding of worlds not only exists in the potent mix between whip-smart arrangements, lyrics and seamlessly danceable music but also in the fact that they are named after a cash and carry in Manchester. As Tom P. explains, “I thought it was funny juxtaposing those kind of austere associations with W. H. Auden and other initialed poets, writers, artists, etc. with the fact that it’s really just a Chinese supermarket.”


                                                    STAFF COMMENTS

                                                    Mine says: Possibly one of the most anticipated albums of the year here at Piccadilly (we wouldn't interrupt our Christmas do for just anyone but if it clashes with a W.H. Lung gig then that's where we end up!)... Like a joint effort from Talking Heads and NEU! thrown head first into 2019 with an extra portion of shimmery beats and hooks. PLAY IT LOUD!

                                                    Emily says: Around this time last year I found myself in Soup Kitchen’s basement with the rest of the Piccadilly crew, absorbed in what was unfolding onstage. A magnetic frontman was delivering half sung, half spoken vocals over a kaleidoscopic haze of synths and a propulsive motorik beat. It seems fitting that the group we were watching, W.H. Lung, are now sitting at the top of our chart a year later. The homegrown Manchester trio have coalesced a series of hypnotic, synth fuelled krautrock grooves into their first full length release ‘Incidental Music’. In it, they strike a perfect balance between taking reference from the past and keeping their gaze tilted towards the future. Well worth a listen!

                                                    Darryl says: One of the most assured and confident Mancunian debuts of the past few decades, ‘Incidental Music’ is a dream of a Piccadilly Records album. With its sparkling synth laden grooves, motorik beats, sweeping electronics, crisp guitar lines and a hazy psychedelic soundscape it’s no surprise that it’s united both the indie and dance staff divide and taken the number one spot this year. Two years in the making, this is a euphoric and fully-formed masterpiece.

                                                    Barry says: It's clear from the first moments of 'Incidental Music' that the title couldn't be any less true, moving from soaring echoing kosmische into a groove-led psychedelic soup in the blink of an eye. Rich in rhythm but still undeniably melody-led, W.H. Lung are at the top for the important reason that they are something different to everyone, and everything they are is undeniably brilliant.

                                                    FORMAT INFORMATION

                                                    2xLP Info: Black 180g double LP in gatefold jacket.

                                                    2xLP includes MP3 Download Code.

                                                    La Roux

                                                    Supervision

                                                      Grammy-winning and BRIT and Mercury-Prize-nominated artist La Roux returns with her first new album since 2014’s ‘Trouble In Paradise’ is released on her own label Supercolour Records. From the cover to the contents, this is unequivocally the album Elly Jackson always wanted to make a claim that with some artists might ring alarm bells, but in this instance simply means that ‘Supervision’ sounds precisely, unmistakably, gloriously like La Roux.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Heavyweight white vinyl.

                                                      Tennis

                                                      Swimmer

                                                        "I never learned how to swim.

                                                        In years of sailing, I never let the water touch me. The ocean was an abstract dread, an obliterating void as untenable as outer space.

                                                        In January 2018 we went on tour. After years of scraping by, we found our footing with our fourth record Yours Conditionally. It was a commercial success that set us up to to play the biggest rooms of our career. But three shows in, I developed a raging case of influenza. Each night I dragged myself onstage and croaked out the set in a delirium. After a particularly bad soundcheck, Patrick asked me if we should cancel the show. I couldn’t imagine giving up the thing we’d work so hard to achieve. “I’ll be on stage even if you have to mic my coffin,” I joked.

                                                        The next morning I fainted and had a seizure while grocery shopping for breakfast. Patrick carried me through the check-out lanes screaming for a doctor. I woke later in a hospital bed. Patrick leaned over me, crying. “That’s it,” he said. “I’m canceling the tour. I thought you were dead. We’re quitting the band. I’m going to be an accountant.” But I was on the mend. We missed two shows and pressed on.

                                                        During sound check at the 930 club, Patrick stepped out to take a phone call. His fa-ther had been in the hospital all week, but he had cancer and brief hospitalizations were routine. Back at the hotel that night, Patrick poured two shots of whiskey and handed me one. “I’d like to toast my dad.” He said. “The doctors offered to put him on life-support to give me a chance to fly out there, but I didn’t want him to suffer. Instead I said goodbye.”

                                                        Patrick went home to grieve with his family and rejoined us on the road two days lat-er. I couldn’t believe how quickly our lives had unraveledin the midst of what was supposed to be a milestone in our career. As the tour continued, we found refuge in playing music to-gether. Songwriting had always been an extension of our inner-world. Now we retreated to that world every time we stepped onstage.

                                                        After the final show of our tour in Austin, we received another phone call. Patrick’s mother Karen was in the hospital on the brink of a stroke. We got on a plane and went straight to her bedside. Her recovery took weeks. In the hospital waiting room, I wrote the opening line of “Matrimony II”: I only have certainty when you hold my hand.

                                                        On a hot July day, after Karen’s return to good health, we sailed as a family into the Pacific and scattered Edward’s ashes at sea. I marked our position on the chart with a small x. The album was already well under way. In that moment, I realized what I wanted to call it.

                                                        Swimmer is a tour of the darkest time in our lives. But it is not a dark record. Named for the feeling of suspension and upendedness that characterized this period, it is the story of deep-rooted companionship strengthened by pain and loss. These songs carried us through our grief. It is us at our most vulnerable, so we kept a small footprint, recording eve-rything ourselves in our home studio. I set out to describe the love I have come to know after ten years of marriage, when you can no longer remember your life before that person, when the spark of early attraction has been replaced by a gravitational pull."


                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Transparent blue vinyl.

                                                        Mythic Sunship

                                                        Changing Shapes

                                                          Mythic Sunship played three shows at the 2019 edition of Roadburn - ”Changing Shapes” documents the most ferocious and courageous of the three. It follows 2018's ”Another Shape of Psychedelic Music”, where the band incorporated saxophone player Søren Skov, and ventured deep into uncharted sonic territory, somewhere in between fuzzed out space rock and free jazz. A sound that's both challenging and deeply engaging. As the festival described the album before the show: “The kind of album people talk about years afterward. The kind of album that isn’t for everybody, but for those whom it touches are never quite the same again.” ”Changing Shapes” is a continuation of those ideas, not just a live performance of previous material (only two tracks from ”Another Shape...” are featured on this set). Søren Skov joins the band again here as the five-piece burns through a handful of lengthy pieces in front of an ecstatic audience. It's an immersive listen, from the curious opening notes of ”Awakening”, to the relentless roar of ”Ophidian Rising”. ”If Mythic Sunship aren’t the shape of psychedelic music to come, it’s in no small part because there are so few out there who could hope to match what they do.” -The Obelisk ”It’s the sound of a band that have fully found their mojo and can just hammer out these sonic slabs that are devoid of cliche and scream originality.” -The Fragmented Flaneur ”They grind out massive riffs and tribal beats like a soundtrack to the apocalypse...This is psychedelic music unlike you’ve heard before.” -Complex Distractions 

                                                          FORMAT INFORMATION

                                                          LP includes MP3 Download Code.

                                                          Eddie C / Cem G

                                                          On The Coast / By The Sea

                                                          Eddie C's exemplary RED MOTORBIKE hits No. 20 with another fine double A, dinked 7" !!

                                                          A breezy and musical ride awaits on the A, as 'On The Coast' provides a beautifully sliced, pastel linen suited piece of early 80's Japanese Jazz-Funk

                                                          On the B, label regular CEM G's 'By The Sea' is reworked by Eddie into a looped-up and irresistible mid-tempo musical mover.




                                                          STAFF COMMENTS

                                                          Patrick says: Eddie parks his hog in a viewpoint and takes in a stunning coastal vista on the A-side, switching a sophisticated bit of Japanese jazz-funk into a loopy cooler perfect for the Balearic beards or a daytime DJ set. Meanwhile on the flip, "By The Sea" is the kind of warm and sunny slice of looped up disco house we've come to love the Canadian producer for.

                                                          U.S. Girls

                                                          Heavy Light

                                                            The highly anticipated seventh album by U.S. Girls, the protean musical enterprise of multi-disciplinary artist Meg Remy, will be released on 6 March entitled Heavy Light. While Remy has been widely acclaimed for a panoply of closely observed character studies, on Heavy Light she turns inward, recounting personal narratives to create a deeply introspective about-face. The songs are an inquest into the melancholy flavour of hindsight, both personal and cultural. Remy makes this notion formally explicit with the inclusion of three re-worked, previously released songs: ‘Statehouse (It’s A Man’s World)’, ‘Red Ford Radio’, and ‘Overtime’, the latter of which is released today as Heavy Light’s lead single. Its companion video, which stars Andrea Nann of the Dreamwalker Dance Company, was created by Remy.

                                                            Heavy Light follows 2018’s internationally critically-acclaimed breakout album In A Poem Unlimited. Recently named one of the best albums of the decade by Pitchfork, it was lauded across the pond by the likes of The Guardian, The Sunday Times, Crack and Q magazine for being Remy’s most accessible record in her then decade-long career.

                                                            Heavy Light is produced by Remy and was recorded live with 20 session musicians - including E Street Band saxophonist Jake Clemons - in Montreal’s acclaimed Hotel 2 Tango studio. Remy worked with co-writers Basia Bulat and Rich Morel to develop the core of Heavy Light, a set of songs conceived as a balance between orchestral percussion (as richly arranged by percussionist Ed Squires) and the human voice (conducted by Kritty Uranowski). The resulting album finds Remy casting herself as lead voice among a harmonious multitude, the singers of which lend not only their voices, but also share reflections on childhood experiences that are collaged into moving spoken word interludes throughout the album. The album is mixed by long-time collaborators Maximilian ‘Twig’ Turnbull, Steve Chahley and Tony Price.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: White and purple splatter vinyl.

                                                            Greg Dulli

                                                            Random Desire

                                                              For the last 30 years, Greg Dulli, frontman of The Afghan Whigs and The Twilight Singers, has been the poet laureate of the bizarre whims and cruel tangents of desire. A foremost authority on the sell-your-soul rewards of carnal lust, the high voltage epiphanies of chemical enhancement, and the serotonin lows left in their wake.Therein lies Random Desire, the first solo album under Dulli’s own name.

                                                              Random Desire started in the aftermath of the last Whigs record, 2017’s In Spades, which Pitchfork named one of the best rock records of the year, hailing it as a “heavy, menacing work of indie rock majesty…thrilling and unsettling.” Drummer Patrick Keeler was about to take a short sabbatical to record and tour with his other band, The Raconteurs. Dulli’s longtime collaborator, bassist John Curley went back to school, and there was the tragic death of the band’s guitarist, Dave Rosser.

                                                              In response, Dulli returned to his teenage bedroom roots, finding musical inspiration via the model of one-man-band visionaries Prince and Todd Rundgren. The Los Angeles-by-way-of-Hamilton Ohio native wrote nearly every part of the record from piano lines to drums to bass riffs. As always, the music came first and the lyrics were completed later. Recording and writing way stations included his home in Silver Lake, the village of Crestline high up in the mountains above San Bernardino, and New Orleans. But the bulk was finished amidst the arid beauty and stark isolation of Joshua Tree (at the studio of engineer Christopher Thorne). Dulli handled most instrumentation, but an all-star cast of characters appear across the track-listing including The Whigs’ guitarist Jon Skibic and multi-instrumentalist Rick G. Nelson, Mathias Schneeberger (Twilight Singers), pedal steel wizard, upright bassist, and physician Dr. Stephen Patt, and drummer Jon Theodore (Queens of the Stone Age, The Mars Volta).

                                                              Clocking in at a lean 37 minutes, Random Desire is a clinic put on by a veteran master operating at the height of his powers, offering evidence of the hard-fought and weary wisdom learned from setbacks and victories alike. A lucid, confident and self-assured document of the songs of experience, the perils of existence, and the possibilities that offer themselves anew with each breath. Another death and rebirth from an outlaw who has seen it all and somehow lived to tell.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: RSD stores exclusive coloured vinyl.


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                                                              Open and ready. Who’s coming to get themselves warm on this cold but sunny Saturday with some new releases?… https://t.co/X1pvtbqqMC
                                                              Sat 18th - 10:13
                                                              Our very own Emily guesting on keys for @TheOrielles on last night’s @BBC6Music @marcrileydj session. Listen here… https://t.co/ByCXvoKPfm
                                                              Fri 17th - 5:34
                                                              Happy New Music Friday. Loads of great releases out today, brand new banners are up too. Here’s the first few from… https://t.co/Z56PH87hs2
                                                              Fri 17th - 10:51
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