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William Doyle

Great Spans Of Muddy Time

    It’s nearly a decade since William Doyle handed a CD-R demo to the Quietus co-founder John Doran at a gig, who loved it so much he set up a label to release Doyle’s debut EP (as East India Youth). Doyle’s debut album, Total Strife Forever, followed in 2014, as did a nomination for the Mercury Music Prize. A year later, he was signed to XL, touring the world and about to release his second album – all by the age of 25.

    After self-releasing four ambient and instrumental albums, Doyle’s third full-length record – and the first under his own name – Your Wilderness Revisited arrived to ecstatic reviews in 2019: Line of Best Fit described it as “a dazzlingly beautiful triumph of intention” and Metro declared it an album not only of the year, but “of the century”. Just over a year later, as he turns 30, Doyle is back with Great Spans of Muddy Time.

    Born from accident but driven forward by instinct, Great Spans’ was built from the remnants of a catastrophic hard-drive failure. With his work saved only to cassette tape, Doyle was forced to accept the recordings as they were – a sharp departure from his process on Your Wilderness Revisited, which took four long years to craft toward perfection. “Instead of feeling a loss that I could no longer craft these pieces into flawless ‘Works of Art’, I felt intensely liberated that they had been set free from my ceaseless tinkering,” Doyle says.

    “The album this turned out to be – and that I’ve wanted to make for ages – is a kind of Englishman-gone-mad, scrambling around the verdancy of the country’s pastures looking for some sense,” says Doyle. “It has its seeds in Robert Wyatt, early Eno, Robyn Hitchcock, and Syd Barrett.” Doyle credits Bowie’s ever-influential Berlin trilogy, but also highlights a much less expected muse: Monty Don, presenter of the BBC programme Gardeners’ World, Doyle’s lockdown addiction.

    “I became obsessed with Monty Don. I like his manner and there's something about him I relate to. He once described periods of depression in his life as consisting of ‘nothing but great spans of muddy time’. When I read that quote I knew it would be the title of this record,” Doyle says. “Something about the sludgy mulch of the album’s darker moments, and its feel of perpetual autumnal evening, seemed to fit so well with those words. I would also be lying if I said it didn’t chime with my mental health experiences as well.”

    Great Spans of Muddy Time is a beautiful ode to the power of accident, instinct and intuition. The result, however, is far from an anomaly: this celebration of the imperfect album is one that required years of honed craft and dedicated focus to achieve. “For the first time in my career, the distance between what I hear and what the listener hears is paper-thin,” Doyle says. “Perhaps therein reveals a deeper truth that the perfectionist brain can often dissolve.”


    FORMAT INFORMATION

    Dinked Edition LP Info: • 'Algal Bloom' Colour Vinyl *
    • Hand-Numbered *
    • Bonus 7” feat. 2 exclusive songs *
    • Edition of 500
    * Exclusive to Dinked Edition

    Coloured LP Info: 'Pelican white' vinyl.

    Andrew Weatherall

    A Jockey Slut Tribute (Reprint)

      Andrew Weatherall was the acid house generation’s most inspiring DJ and producer, renowned for his work on Primal Scream’s epoch-defining ‘Screamadelica’ and his own bands Sabres Of Paradise and Two Lone Swordsmen. As a DJ he was peerless and unpredictable, helming club nights that played techno, rockabilly or music that “never knowingly exceeded 122 bpm.”

      Weatherall featured in seminal dance music magazine Jockey Slut many times during its lifetime. All his interviews from the publication are included within this tribute to The Guv’nor. Further articles cover the tenure of his professional life from the mid-80s to 2020. They include his beginnings at the influential Boy’s Own fanzine, his DJ sets at landmark nights Shoom and Sabresonic, and the plethora of ventures he still had running including the Woodleigh Research Project, A Love From Outer Space and festival Convenanza.

      Jockey Slut magazine ran from 1993 - 2004. The influential club culture publication was started by John Burgess and Paul Benney as a self published Manchester based fanzine. It became a monthly when it moved to London in 1999. Jockey Slut was notable for being more music-centric, left-field and irreverent than other dance music magazines. It also bagged some real exclusives during its tenure giving first ever interviews to The Chemical Brothers, Daft Punk and The Avalanches.

      Included in the 160 page, perfect bound book edited by founding Jockey Slut editor John Burgess is:

      - All Andrew Weatherall's Jockey Slut interviews collated (1993-2004) including Weatherall Gets His Tats Out, I’m A Classic Underachiever, Two Lone Swordsmen and An Audience With... and more.
      - Further new features and classic articles from Luke Una, Richard Norris, Kris Needs, Joe Muggs, Jim Butler, Mandi James, Lee Brackstone and more.
      - Brand new 10,000+ word oral history of Andrew Weatherall’s early years from Shoom & Screamadelica to Sabres of Paradise featuring interviews with Bobby Gillespie, Ed Simons, Danny Rampling, Justin Robertson, Andrew Innes, David Holmes, Keith Tenniswood, Anna Haigh, Terry Farley and more.
      - Retrospective of Andrew Weatherall’s club nights Sabresonic, Bloodsugar, Double Gone Chapel, Wrong Meeting, A Love From Outer Space by John Burgess.
      All proceeds from the book will go to the charities that were important to Andrew Weatherall: Amnesty International, Multiple Sclerosis Society, Thrombosis UK, Crisis.

      Sleaford Mods

      Spare Ribs

        Poised to blow the cobwebs off life and unleash some much-needed wit and charm upon us, Sleaford Mods announce the forthcoming release of their astonishing 6th studio album, entitled ‘Spare Ribs’, on 15th January 2021.

        Recorded in lockdown in a furious three-week studio blitz at JT Soar in July, the polemical Jason Williamson and dexterous producer Andrew Fearn kick against the pricks with unrivalled bite, railing against hypocrisy, inequality and apathy with their inimitable, scabrous sense of humour. And ‘Spare Ribs’, featuring Amy Taylor of Melbourne punks Amyl and the Sniffers and the British newcomer Billy Nomates, finds the duo charged with ire at the UK Government’s sense of entitlement, epitomized by its devil-may-care approach to the coronavirus crisis.

        Quote from Jason on Spare Ribs
        'Our lives are expendable under most governments, secondary under a system of monetary rule. We are stock if you like, parts on a shelf for the purposes of profit, discarded at any moment if fabricated or non-fabricated crisis threatens productivity. This is constant, obviously and notably in the current pandemic. The masses cannot be present in the minds of ill-fitting leaders, surely? Or else the realisation of their catastrophic management would cripple their minds. Much like the human body can still survive without a full set of ribs we are all 'spare ribs’, preservation for capitalism, through ignorance and remote rule, available for parts.’

        STAFF COMMENTS

        says: Sleaford Mods have one of the most rabid fanbases of all and 'Spare Ribs' is further proof as to why. Wry takes on modern issues and the politics, pitch-perfect commentary and delivered in their usual no-holds-barred way. Every bit the continuation of their rightfully enduring legacy.

        FORMAT INFORMATION

        Coloured LP Info: Indies exclusive transparent Green LP.

        Stereolab

        Electrically Possessed (Switched On Volume 4)

          The fourth in the Switched On series that compiles non-album tracks and sought after deep cuts by the groop. Following on from the first volume released in 1992, 1995's Refried Ectoplasm, and 1998's Aluminum Tunes, the long-awaited fourth installment spans 1999 - 2008 in the Stereolab story and collates 3 LPs worth of material, all remastered from the original tapes and overseen by the band. It features all the tracks from out-of-print and sought after mini-album The First Of The Microbe Hunters, one-off and impossible to find tour 7"s, compilation tracks, art installation work and a couple of unreleased outtakes from the Mars Audiac Quintet and Dots and Loops recording sessions

          FORMAT INFORMATION

          Deluxe LP Info: Mirriboard sleeve edition, very limited.
          Vinyl comes in bespoke gatefold sleeve with download card, housed inside a polythene wallet.

          LP Info: Vinyl comes in bespoke gatefold sleeve with download card, housed inside a polythene wallet.

          Deluxe CD Info: Mirriboard sleeve edition, very limited.

          Hannah Peel

          Fir Wave

            Hannah Peel announces the release of a new album, ‘Fir Wave’, out on 26 March 2021 via her own label imprint, My Own Pleasure.

            The new album, a sonic shimmer of textures and pulses that switches between raw atmospheric edges and environments, arrives with a fascinating history. As Peel explains, “The specialist library label KPM, gave me permission to reinterpret the original music of the celebrated 1972 KPM 1000 series: Electrosonic, the music of Delia Derbyshire and the Radiophonic Workshop.” This process of re-generation and finding fresh inspiration in pioneering, experimental electronics from the early 1970s is at the core of the album. Peel has made connections and new patterns that mirror the Earth’s ecological cycles through music.

            Peel explains, “I’m drawn to the patterns around us and the cycles in life that will keep on evolving and transforming forever. Fir Wave is defined by its continuous environmental changes and there are so many connections to those patterns echoed in electronic music - it’s always an organic dis-covery of old and new.” As Delia Derbyshire revealed in 2000 to BBC sound engineer, journalist and academic Jo Hutton: “I like new things that don’t seem new . . . as though they’ve always been there.”

            Known more recently for curating and presenting on BBC Radio 3’s Night Tracks, the Northern Irish Emmy-nominated composer and producer’s work is ambitious and forward-looking, adapting and re-inventing new genres and hybrid musical forms. Recent albums include the solo electronic and pop work of Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; the electronic ruralism of Chalk Hill Blue, an album recorded with the poet Will Burns; and the space and the unparalleled vastness of Mary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band. In 2019 she composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’. 


            FORMAT INFORMATION

            Dinked Edition LP Info: • Blue Vinyl *
            • 4 x 120x120mm Postcard Set *
            • Hand-Numbered Sleeve in PVC Wallet *
            • Limited Pressing of 375 *

            *Exclusive to Dinked Edition

            LP Info: Black vinyl edition.

            THE PICCADILLY RECORDS ALBUM OF THE YEAR 2020.

            After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

            The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration of dance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

            We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

            Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album by this recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here. On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

            Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

            STAFF COMMENTS

            says: Bringing groove, gloom and glamour aplenty, Belgian mavericks Rheinzand have crafted a powerhouse of a disco album, dragging even the most rhythmically challenged of us onto the metaphorical dancefloor.

            ‘Rheinzand’ had hardly been out a week before Mine and I founded The Rheinzand Alliance: an intra-Piccadilly splinter group hell-bent on securing the band a spot in our coveted top 10. We played the album a lot, and watched as our Piccadilly pals were drawn in by the seductive synths, smart bilingual lyrics and ethereal grooves. Fast-forward five months, and ‘Rheinzand’ has marched into our Album of the Year spot with practically the whole shop united under its dark and sparkling banner.

            Released on the much-loved Music for Dreams label, ‘Rheinzand’ is as atmospheric as it is insistent; behind the four-to-the-floor beats, funking basslines and slick Balearic production sheen, something sinister lurks. Monstrous synth-basses squelch and stomp while distant choruses yell and clamour for our attention. Old Testament logic is carried out to its perverse conclusion on the stellar “Blind” with singer Charlotte Caluwaerts imparting that “an eye for an eye will make you blind”, while the album’s more pensive moments, “Porque'' and “You Don’t Know Me”, see Caluwaerts evoke the spirit of Julee Cruise. There’s something very Twin Peaks about the album as a whole too - ‘Rheinzand’ is like a David Lynch wet dream recorded straight to tape (or vinyl, or whatever else you're into…)

            There’s bangers in them hills, too. “Fourteen Again” puts a nostalgic singalong chant over a rugged DFA-style backdrop (expertly crafted by producer Reinhard Vanbergen), while “Obey” combines batshit grit with pop brilliance, in part thanks to the sub-Iggy Pop growl of Mo Disko in the vocal booth. Rheinzand’s distinctive brand of nu-disco is ballsy and joyous - an album to celebrate and savour in a year that’s been anything but.

            FORMAT INFORMATION

            2xColoured LP Info: Red coloured vinyl edition exclusive to Piccadilly Records.

            Ltd CD Info: CD exclusive to Piccadilly Records.

            Shame

            Drunk Tank Pink

              There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018’s Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner’s blood and guts spirit, that wink and grin of devious charm, is still present, it’s just that it’s grown into something bigger, something deeper, more ambitious and unflinchingly honest.

              The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day’s escalating aural panic attack or the shapeshifting darkness of Snow Day. There’s a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that’s what it sounds like.

              From the womb to the clouds (sort of), Shame are currently very much in the pink.

              STAFF COMMENTS

              says: As uncompromising and incendiary as ever, Shame's 'Drunk Tank Pink' takes all of the riotous guitars and pummeling percussion and twists them into a recognisable but refreshing take on their trademark sound. A lot more intricate, elaborate and nuanced, Shame go from strength to strength.

              FORMAT INFORMATION

              Coloured LP Info: Opaque pink vinyl.

              Indies Exclusive LP Info: Indies exclusive on "Galaxy Pink" vinyl comes with signed insert.

              Madlib

              Sound Ancestors (Arranged By Kieran Hebden)

                Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs.

                “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” Kieren Hebden AKA Four Tet.

                Kelly Lee Owens

                Inner Song

                Kelly Lee Owens' masterful second album "Inner Song" finds the convention-blurring techno producer and singer/songwriter diving deep into her own psyche—excoriating the struggles she's faced over the last several years and exploring personal pain while embracing the beauty of the natural world. It's a leap in artistry from a musician who burst forth on the scene with a confident, rich sound, and "Inner Song" is endlessly enticing when it comes to what Owens is capable of.

                "Inner Song" follows the star-making debut of her 2017 self-titled album, a quixotic blend of body-moving beats and introspective songwriting that garnered numerous accolades from the music press. Owens has indeed come a long way from her background as a nurse, since then she has remixed Bjørk & St Vincent, released an indelibly clubby two-tracker, 2019's "Let It Go" b/w "Omen," and teamed up with likeminded auteur Jon Hopkins on the one-off "Luminous Spaces."

                Her latest album also comes off of what Owens describes as "the hardest three years of my life," an emotionally fraught time that, in her words, "Definitely impacted my creative life and everything I'd worked for up to that point. I wasn't sure if I could make anything anymore, and it took quite a lot of courage to get to a point where I could make something again." So while the lovely cover of Radiohead's "Arpeggi" might strike some as an unconventional way to open a sophomore effort, to Owens the winding take on the classic tune—recorded a year before work on "Inner Song" properly kicked off—represents the sort of sonic rebirth that's so essential to Inner Song's aura.

                "Inner Song" was largely written and recorded over a month last winter. As with her debut, Owens holed up in the studio with co-producer and collaborator James Greenwood —and letting loose in the studio and being open to whatever sonic whims emerge was essential to Owens' craftwork. The evocative title of the album is borrowed from free-jazz maestro Alan Silva's 1972 opus, which was gifted to Owens by Smalltown Supersound's Joakim Haugland for her 30th birthday: "I'm so grateful for him and his perspectives—he's always thinking outside of the box. Those two words really reflect what it felt like to make this record. I did a lot of inner work in the past few years, and this is a true reflection of that." The hair-raising bass and tickling textures of "Inner Song" drive home that, more so than ever, Owens is locked in to delivering maximal sonic pleasure—as evidenced by the decision to make the album's vinyl release a sesqui album, or triple-sided album: "I'm still obsessed with frequencies that don't do well on vinyl if they don't have the space."

                "The power of conceptualizing who you are has really informed this album," Owens states about Inner Song's essence, and her second album is truly a discovery of self— the latest statement from a fascinating artist who continues to surprise, gesturing towards a rich and varied career to come.


                STAFF COMMENTS

                says: Three years on from her championship season and KLO returns to the long format with a deeper, more refined distillation of her trademark techno pop style. If her debut album delivered on the promise of those early singles, ‘Inner Song’ offers us a dizzying premonition of just how far she could go.

                By her own admission, this album emerged after the hardest three years of her life, and even a cursory scan of the lyrics hints at a little darkness before the dawn. “‘On” and “L.I.N.E.” explore the end of a troubled relationship, “Melt” references the climate crisis and “Wake Up” warns against extended screen time. Rather than wallowing in the melancholy though, Kelly strikes an optimistic tone, serving a resilient reminder that we all have the power to overcome adversity, mirrored in the vital beats and healing frequencies which underpin her emotive songwriting.

                Much like Arthur Russell, an early inspiration, Owens revels in the space between genres, providing a fresh perspective on established styles. Crystalline electronics sit beneath a shoegaze shimmer on “Night”, the bastard offspring of the Cocteau’s and Kraftwerk in a fresh pair of dancing shoes. “Re-Wild” splits the difference between futuristic RnB and taut Detroit techno, a new Minimal Nation woozy on lean, while “Jeanette”, a celebration of the life of her nan, renders an organic landscape in precise electronics.

                On this complex yet cohesive album, Owens tackles serious subject matter with poetic sensitivity, pop hooks and thunderous beats, all the while retaining the ethereal beauty of her Welsh heritage.

                FORMAT INFORMATION

                2xLove Record Stores LP Info: LRS Purple Vinyl.

                2xColoured LP Info: White vinyl edition.

                Since their founding in 2015, Swedish post-punk band Viagra Boys have made a name for themselves burning up stages around the world. There's a little Iggy Pop spit and seethe, a David Yow drunken stumble, and a bite of Nick Cave's haunted bark. Add a dash of motorik groove, a pinch of post-punk grime, and a dose of no wave howl. For every gruff and gritty croak in the outfit's catalog, they come back with a pair of bongos, squared-off synths, and a squonky saxophone, with songs that deftly lay waste to society's normalization of toxic masculinity, racism, misogyny, classism, and self-obsession.

                Viagra Boys' Sebastian Murphy dreams about everyone hating his guts. A lot. "I kept having this recurring nightmare where my mom was crying and my friends were all pissed off at me," he recalls, almost reverently.

                The band's new album, Welfare Jazz, doesn't bargain with the anxiety in that defeated feeling, but rather a boiling certainty that nothing and no one is absolute. There's plenty of blame to go around, and things are just a lot more interesting when you admit that you're not always going to be nice, you're not always going to pick the right words in a fist-fight. So why not keep moving forward, swaying and strutting into the night.

                FORMAT INFORMATION

                Coloured LP Info: White vinyl.

                Bicep

                Isles

                  Belfast-born, London-based duo Bicep (Matt McBriar and Andy Ferguson) will release their hotly anticipated second album, “Isles”, on 22 January 2021 on Ninja Tune.

                  Two years in the making, “Isles” expands on the artful energy of their 2018 debut “Bicep”, while digging deeper into the sounds, experiences and emotions that have influenced their lives and work. They describe “Isles” as “a snapshot in time” of their work in this period, with the tracks designed to evolve in their different iterations from record to live show and beyond. “This is definitely the home listening version,” says Matt, “the live version will be much, much harder”.

                  On the title, “We have strong mixed emotions, connected to growing up on an island” they say, “wanting to leave, wanting to return”. For two natives of Belfast, any talk of islands, communities and identities will also have other, more domestic connotations, and has always been an aspect of their lives they’d been reluctant to talk about. “It’s always been an unquantifiable topic for us” says Matt. “We’re not religious, but we're both from different religious backgrounds. There was always a lot of interest in us talking about those issues, but we always felt that one of the things we loved about dance music was that freedom it gave you to be released from talking about those things.”

                  “You’d enter the club and it would be people from both sides of the tracks and they’d be hugging” says Andy, referring to massively influential Belfast club Shine, where both cut their musical teeth. “And the following week, they’d be with their mates rioting. It felt like the safest place but, on paper, it should have been the most dangerous”. Musically, too, they find echoes of those days in their work. “It was like being smacked in the head with a hammer” Matt says, of the tunes that defined that scene, and which find expression in “Isles’” most raw and energetic corners. “It was either very intense, in-your-face Italo tinged electro or really aggressive techno”.

                  From those early days living and clubbing in Belfast, to their move to London over a decade ago, the breadth of music they’ve been exposed to during this time informs “Isles’” massive sonic palette. Both cite the joy of discovering Hindi vocals overheard from distant rooftops, snatches of Bulgarian choirs drifting from passing cars, hitting Shazam in a kebab house in the vain hopes of identifying a Turkish pop song.

                  Lead single ‘Apricots’ encapsulates these disparate influences perfectly. Sampling traditional Malawian singers—recorded by ethnomusicologist Hugh Tracey in 1958 and released via the label Beating Heart, whose profits go towards supporting the ongoing music conservation work of the International Library of African Music—and a 1950’s performance by The Bulgarian State Radio & Television Female Vocal Choir, steeped in a shimmering bath of warm synths, its spare percussion and arresting vocals bring the big room chills of 90s rave, while still evoking something lost or forlorn. The accompanying video—also released today—is directed by Mark Jenkin, who recently took home a 2020 BAFTA for Outstanding Debut by a British Director for his 2019 film ‘Bait’.

                  ‘Atlas’, the first track drawn from the record, was released to massive acclaim in March, making both the Radio 1 and Radio 6 playlists, its euphoric energy and bittersweet heft hit all the harder in uncertain times. It is, as Resident Advisor called it, “music that commiserates with you while you try to dance out your anxieties”.

                  Bicep’s globe-trotting sound was forged as their own rapid ascent through the musical ranks began. After starting their legendary FeelMyBicep blog in 2008, its humble trove of Italo, house and disco deep cuts grew into a runaway success, regularly chalking up over 100,000 visitors a month. Once the blog had spawned a record label and club night, the duo were propelled on to the international stage via sought-after DJ sets that reflected the eclecticism of their online curations. Following success with productions for Throne of Blood and Aus Music, Bicep were signed to Ninja Tune in 2017, where they released their wildly acclaimed self-titled debut album the following year, attaining a Top 20 entry in the UK charts, and a cover feature in Mixmag to add to the magazine’s gong for “Album of the Year”. Tracks like ‘Opal’—and the subsequent Four Tet remix—as well as he record’s lead single ‘Glue’, with and its iconic Joe Wilson-directed video, became touchpoints for electronic music in 2017, with the latter named DJ Mag “Track of the Year”. The ‘Glue’ video, alongside Bicep’s RA Live performance were also recently included in the lauded ‘Electronic’ exhibition, first shown at the Philharmonie de Paris last year and currently at London’s Design Museum.

                  The album was followed by a massively successful tour, which saw them raise the roof at Primavera, Coachella and Glastonbury before a triumphant three-night sold-out run of shows at Printworks in London. The pair sold out their two forthcoming Brixton Academy shows in a matter of minutes, and amassed a 10,000 person waiting list once tickets were all gone. Additional headline dates across the UK, EU and US are hoped for in 2021, including a headline slot at Field Day in London, as well as performances at Parklife, Roskilde, Creamfields, Primavera, MELT! And more.

                  With the live music & touring industry in a state of flux, Bicep recently undertook a one-off ticketed livestream performance—one of the first of its kind for an electronic artist—broadcast across 5 different timezones, and watched by people in over 70 countries, with visuals by close BICEP LIVE visual collaborator Black Box Echo. Bicep will also launch their ‘FeelMyBicep Radio’ show on Apple Music in October, giving listeners an insight into the music that has shaped everything in the world of Bicep, with shows set to continue monthly throughout the coming year.

                  Bicep are also ambassadors for Youth Music, a charity working to change the lives of young people through music and music production. Both take an active role in mentoring young people coming through YM programmes, reflecting their own eagerness to give back as musicians who themselves received industry support when they were coming up. 

                  FORMAT INFORMATION

                  3xDeluxe LP Info: 3 x 140g 12” neon orange transparent vinyl housed in purple paper inner sleeves.

                  3xDeluxe LP includes MP3 Download Code.

                  2xPicture Disc Info: 2 x 140g 12” picture disc vinyl housed in purple paper inner sleeves.

                  2xPicture Disc includes MP3 Download Code.

                  2xLP includes MP3 Download Code.

                  The Avalanches

                  We Will Always Love You

                    Building on the sample-based approach of their classic albums "Since I Left You" and "Wildflower", but stepping boldly into new terrain, "We Will Always Love You" is the new full length masterpiece from The Avalanches. Check the cover for a photo of Ann Druyan (Director of the Voyager Golden Record Project), her cosmic love story with Carl Sagan inspiring this body of work.

                    An exploration of the vibrational relationship between light, sound and spirit, We Will Always Love You doubles as “an exploration of the human voice” and a spiritual reckoning via the big questions “who are we really? What happens when we die?’”. So says Robbie Chater, who alongside bandmate Tony DiBlasi and collaborator Andrew Szekeres has moved beyond the party-up exuberance of The Avalanches’s youthful music to a tender, reflective sound infused with hard-earned life wisdom.

                    If there’s a single spark for We Will Always Love You it’s the story of the love affair between Ann Druyan and Carl Sagan: “science communicators” whose writings and TV programs brought the ever-deepening mysteries of astronomy and astrophysics to the mass audience. Chater was profoundly moved by the fact that the couple’s romance was captured and carried into space, thanks to the Voyager Interstellar Message Project. Druyan served as Creative Director in charge of curating the Golden Record: earthling music and assorted terrestrial sounds gathered for the contemplation of any alien civilisations that might be out there and be advanced enough to construct a playback system.

                    Originally, Druyan was set to be a presence on We Will Always Love You: a studio was booked to record her telling her own story. That never transpired, but Druyan “gave us permission to use her photo on the album cover,” says Chater. “We photographed it off a static-y television set and ran it through a spectograph to make the cover image. So that was a beautiful way that Ann could still be part of the record. We turned her into sound and back again”

                    Sampling remains at the core of The Avalanches sound, but alongside all of the sample ghosts, We Will Always Love You features an array of living guests who contribute vocals and lyrics: Blood Orange, Rivers Cuomo, Pink Siifu, Jamie xx, CLYPSO, Denzel Curry, Tricky, Neneh Cherry, Sampa the Great, Sananda Maitreya and Vashti Bunyan and many more exciting collaborations to be revealed over the coming months. The Avalanches’s music has always dripped with melody, but because of this expanded role for guest singers and writers, We Will Always Love You is their most song-oriented album yet.

                    “For us, to make the same record again, no matter how well executed, wouldn’t have been satisfying," says Chater. "We were looking to do something that would open up possibilities for the future. Take a bit of a left turn that frees us up to do whatever we want to next.”


                    STAFF COMMENTS

                    says: Inspired by love, humanity, space and at least 6,000 sample-able records, 'We Will Always Love You' sees The Avalanches return in record time for a third album The album dips into hip hop, disco, house and electronica with all the warmth, wit and wanderlust we've come to expect from the Aussies.

                    FORMAT INFORMATION

                    2xColoured LP Info: Indies Exclusive.
                    Double 180 gram coloured vinyl, COLOUR IN COLOUR Configuration - Coke Bottle Green & Kelly Green.

                    2xDeluxe LP Info: Double 180 gram coloured vinyl, A SIDE / B SIDE Configuration - Doublemint & Electric Blue.

                    2xLP Info: Double 180 gram black vinyl.

                    "Róisín Machine" is the culmination of a rich, decades long partnership between Murphy and one of her most trusted collaborators Crooked Man aka DJ Parrot. Although packed to the rafters with masterclass singles, including “Simulation”, “Jealousy”, “Incapable”, Narcissus” and “Murphy’s Law”, it is also an ingeniously and seamlessly edited listening experience, designed to be listened to in one uninterrupted sitting, from start to dazzling finish.

                    From the intoxicating disco-funk of “Incapable”, to the quintessential “Narcissus” which crystallised New-Disco and established a high watermark for the genre, to “Murphy’s Law”, a 70s inflected stomper, “Roisin Machine” offers up everything you could ask for on an exquisite plate. Added to the familiar tunes are five new songs, including the Dalek-funk of ‘We Got Together’ and the fantastical “Shellfish Mademoiselle”. An album that works perfectly on the home sound system but also comes alive in a basement sweatbox, it impeccably sits alongside Murphy’s stellar cannon of work released across 25 boundary pushing, trailblazing years, a career encompassing iconic music, directorial, art and fashion moments.


                    STAFF COMMENTS

                    says: Róisín Murphy has always had that certain indefinable something; a self-assured demeanour that although grandiose never seems pretentious. Perky and eccentric, but always charming - someone you can look up to in an artistic way but equally just want to take out for a pint and a bit of banter. Add to her showmanship, incredible voice and pop sensibility the musical genius of long-time collaborator Richard Barratt aka Crooked Man / DJ Parrot and you end up with an irresistible mix of shimmering disco strut, pulsating synths and thumping club beats.

                    ‘Róisín Machine’ seems like the culmination of and logical conclusion to Murphy's 25-year career - from her time as one half of Moloko through to collaborations with the likes of Boris Dlugosch, Maurice Fulton and Crooked Man - but at the same time feels new and exciting and oozes with confidence, as if Murphy is only just getting started. “I feel my story is still untold, but I'll make my own happy ending...” are the revealing opening words of the album which has been a decade in the making.

                    Even though every song on the record is a standalone winner that would feel at home on most dancefloors, the album also works extremely well as a whole, with one track seamlessly blending into the next. It therefore equally lends itself to an afternoon on the sofa - headphones on, choice of drink in hand and dreaming of a time when we can finally hear it blasting through the speakers of our favourite clubs. Luckily, there is a wealth of lockdown video content by Murphy herself that will keep us entertained until then!

                    FORMAT INFORMATION

                    2xColoured LP Info: Limited edition transparent double vinyl with zine and signed photo.

                    2xLtd LP Info: Standard heavyweight vinyl.

                    CD Info: Digipack CD.

                    Working Men's Club

                    Working Men's Club

                      A rumble on the horizon. Gritted teeth, nuclear fizz and fissured rock. A dab of pill dust from a linty pocket before it hits: the atom split, pool table overturned, pint glass smashed — valley fever breaking with the clouds as the inertia of small town life is well and truly disrupted. Here to bust out of Doledrum, clad in a t-shirt that screams SOCIALISM and armed with drum machine, synth, pedal and icy stare are Working Men’s Club, and their self-titled debut album.

                      It’s hard to believe that the three fresh-faced music college kids who bounced out of nowhere and onto the 6 Music playlist with the sweet-but-potent, twangy guitar-led ‘Bad Blood’ (Melodic Records) in 2019 are the same band who clattered back there with maddening techno-cowbellpuncher ‘Teeth’ less than half a year later — and that’s because for the most part, they’re not. Having signed to Heavenly and with the hype around them building, underlying tensions came to a boil a mere five days before the band’s all-important first London headline show, and wunderkind frontman Syd Minsky-Sargeant was left high and dry; guitarist Giulia Bonometti had decided to focus on her blossoming solo career, and drummer Jake Bogacki was against the new electronic direction Minsky-Sargeant saw Working Men’s Club taking. (“I guess WMC started off as a bit more guitar-based, tryna copy stuff in our own way, like the Velvets and stuff like that, but I didn’t want it to be that anymore. It became dancier and dancier as I tried to experiment”, he explains.) All that remained of the outfit was Minsky-Sargeant himself, recently recruited bassist Liam Ogburn, and — given the band’s indebtment to wood panelled, community-run venues for an early leg-up — a rather pertinent name. But with staunch determination burning in his belly, Minsky-Sargeant quickly assembled a lineup consisting of himself, Ogburn, and Mairead O'Connor (The Moonlandingz) and Rob Graham (Drenge, Baba Naga) — both of whom he had met at the Sheffield studio of producer Ross Orton (The Fall, M.I.A., Arctic Monkeys) — replaced the live drums with a drum machine, and rush-rehearsed the new setup before going ahead with the show. “If it wasn’t for Sheffield then we probably wouldn’t have played that gig” he says. “I was shitting myself, because I didn’t know what would work or not.” Luckily, something stuck: “After about three gigs with that lineup it was already way better than what we’d had before.” Two original members lighter and three new ones the richer, Working Men’s Club took on a new hard-edge permutation, their shows becoming ever more sweaty, pulsating and rammed to the rafters; their energy raw; their vigour renewed; their interplay as musicians growing ever-more intuitive and elastic. Their eponymous collection of songs is equal parts Calder Valley restlessness and raw Sheffield steel; guitars locking horns with floor-filling beats, synths masquerading as drums and Minsky-Sargeant’s scratchy, electrifying bedroom demos brought to their full potential by Orton’s blade-sharp yet sensitive production.

                      It was at home in the town of Todmorden in the Calder Valley, West Yorkshire, feeling hemmed in, that 18-year-old Syd Minsky-Sargeant first began assembling these 10 songs. “There’s not much going on, not much stuff to do as a teenager” he says. “It’s quite isolated. And it can get quite depressing being in a town where in the winter it gets light at nine in the morning and dark at four”. It is this sense of cabin fever, of “thinking that you will never escape a small town in the middle of nowhere” on which the album opens, with the boredom-lamenting and rave-reminiscent ‘Valleys’. In a post-punk talk-sing over an old-skool beat, Minsky-Sargeant begins:

                      Trapped, inside a town, inside my mind

                      Stuck with no ideas, I’m running out of time

                      There’s no quick escape, so many mistakes, I’ll play the long game

                      This winter is a curse

                      And the valley is my hearse, when will it take me to the grave?

                      Fortunately for Syd and a thousand other bored-shitless, dark-dwelling teenagers, the Calder Valley boasts a burgeoning grassroots music scene, chiefly centred around The Golden Lion in Todmorden, and the Trades Club in Hebden Bridge — both of which were instrumental in the early life of the band. “Without those venues we probably wouldn’t have been able to get into playing live music”, Minsky-Sargeant reflects. Working Men’s Club’s first ever gig, at The Golden Lion, was self-booked and self-promoted, landlord Waka having allowed the band to use the 100-capacity room above the pub for free. Even before booking himself onto the stage though, Minsky-Sargeant regularly snuck into the venue to watch the internationally renowned DJs, like Justin Robertson and Luke Unabomber, who passed through its doors. This, combined with the discovery of 808 State, his stepdad’s extensive afrobeat record collection, YouTube videos of Jeff Mills making beats on a Roland TR-909, and a chance festival encounter with Soulwax, provided sustenance and inspiration for Working Men’s Club’s developing sound. Though it is songs almost entirely written and sung by Minsky-Sargeant that appear on the record, he is quick to point out the influence of the other members of his band on the record too; that “everyone that’s been involved in this band, from the old lineup to the new lineup, played on the record, contributed and shaped it in some way, through the phases”, wheedling in and around Minsky-Sargeant’s songs, embellishing them with their own bass, guitar, key or backing vocal parts. And without Orton, “it wouldn’t have been half as good a record.” Working with the producer radically changed MinskySargeant’s songwriting practice — “I tried to replicate what he was doing in his studio in my bedroom, and think more about drum sounds and making them more complicated and messing around with synths and stuff like that. It made me think about more components than just a guitar.”

                      The songs following ‘Valleys’ come fast and relentless — momentum ever increasing, mission well and truly stated as the frenetic, pew-pewing ‘A.A.A.A’ speeds through to nonchalant existential groove ‘John Cooper Clarke’ — centred around the realisation that yes, even the luckiest guy alive, the Bard of Salford himself, will someday die.

                      Hard holds hands with soft, and rough with smooth. On washily-vocalled, Orange Juicily-guitared ‘White Rooms and People’, there are simultaneously beautifully blooming flowers and ‘people talking shit about you’, and the hazy, ricocheting ‘Outside’, the gentlest track on the album, flips straight into the tough-as-shit, industrially-geared ‘Be My Guest’, which opens the second half of the record with markedly E. Smithian brio. The opening bars of ‘Cook A Coffee’ are momentarily reminiscent of ‘Bad Blood’, but spiral into direct and uncomfortable eye contact in song-form; a lost Joy Division number from an alternate universe, about taking a dump live on the telly. ‘Tomorrow’ glitches and glimmers, whilst outro track ‘Angel’ moves between psychedelic languidity and hardcore thrash, the album playing itself out on a 12-and-a-half-minute noodle.

                      It is with war, free-fall, and re-birth already behind them that Working Men’s Club emerge, resilient; inspiration from across breadth of eras, genres and tour-mates merely strata in their very own indie-cum-dance-cum-techno niche in the crag.

                      Diva Harris, February 2020

                      STAFF COMMENTS

                      says: It's perhaps unsurprising that a band from the Calder Valley on the edge of the Pennines draws on influences from both sides of the hills. Todmorden’s WMC have done just that, splicing the synth led sounds of 80s Sheffield with doomy Mancunian post punk stylings to create a forward thinking monster of a debut album. The acidic synths and pulsing beat of album opener “Valleys” encapsulate the claustrophobia of growing up in a small town and the smothering intensity is maintained through the industrial clatter of “A.A.A.A.”. With its funk fuelled grooves, nonchalant vocals and bitter sweet chorus, “John Cooper Clarke” could easily be an undiscovered classic from early Factory days. As side one draws to a close, the mood is lifted with the choppy guitar groove of “White Rooms and People”, and on “Outside”, it feels like they’ve escaped the town for sun kissed wide open spaces. Side two reverts to pounding industrial grooves and distorted guitars on “Be My Guest”. “Tomorrow” marries monotone vocals with a super catchy chorus while “Cook a Coffee” takes a cheeky snipe at a certain TV presenter. “Teeth” is aimed squarely at the dancefloor with its relentless synth stabs interwoven with doomy guitar riffs and “Angel” brings the album to a triumphant close: Jangling guitars and crashing cymbals over a driving rhythm that morphs into a sprawling psychedelic wig-out.

                      They set out to make a dance record that wouldn’t be pigeonholed as a dance record. I think they’ve nailed it.

                      FORMAT INFORMATION

                      Love Record Stores LP Info: Picture Disc. Includes a "Live In The Northern Quarter" bonus CD while stocks last.

                      LP Info: Includes a "Live In The Northern Quarter" bonus CD while stocks last.

                      CD Info: Includes a "Live In The Northern Quarter" bonus CD while stocks last.

                      Cassette Info: Clear shell + neon yellow slip-case. Includes a "Live In The Northern Quarter" bonus CD while stocks last.

                      Mogwai

                      As The Love Continues

                        Preorder the album to be in with a chance of winning a signed test pressing. NPN. 

                        The album was produced by Dave Fridmann (Mogwai, Mercury Rev, The Flaming Lips) and features guests Atticus Ross (Nine Inch Nails) and Colin Stetson (saxophonist who has collaborated with Bon Ivor, Arcade Fire). Recorded at Vada Studios, England by Tony Doogan (Grey Dogs, Mogwai, Belle & Sebastian) with Fridmann in full remote control from the US. 

                        This new album will please old fans and gain new as it has something for everyone. Both transcendent and surprising, As The Love Continues shows that Mogwai are still offering solace from the mundane, supplying the soundtrack to whatever movie you are making in your head.

                        FORMAT INFORMATION

                        2xColoured LP Info: Yellow vinyl edition.

                        LP Box Set Info: The vinyl box set features: gatefold double standard weight red vinyl, gatefold CD, single standard weight black EP vinyl of 5 demo tracks, photo booklet, and download code in box.

                        CD Box Set Info: The CD box set features: gatefold CD, CD of 5 demo tracks, photo booklet in box.

                        Lana Del Rey

                        Chemtrails Over The Country Club

                          Today Lana Del Rey releases her new song and visual ‘Chemtrails Over The Country Club’. The song is co-written by Lana Del Rey and Jack Antonoff, with the visual being directed by BRTHR.

                          Following the success of her 2019 GRAMMY®-nominated album Norman Fucking Rockwell, Lana has announced that March 19th, 2021 is the official release date for her highly anticipated seventh studio album Chemtrails Over The Country Club.

                          FORMAT INFORMATION

                          Coloured LP Info: Yellow vinyl. 1LP gatefold, indies-only.

                          David Bowie

                          Station To Station - 45 Anniversary Edition

                            Originally released 23rd January 1976, Station To Station was David Bowie’s tenth studio album. To celebrate its 45th anniversary Parlophone is proud to announce a special limited edition red & white vinyl pressing of the album.

                            45 years on from its release 'Station To Station' is now seen as a musical bridge between the 'plastic soul’ of 1975’s 'Young Americans' and the experimental beginning of Bowie’s Berlin era that was 1977’s ‘Low'.

                            The album’s first single 'Golden Years’ was a hit on both sides of the Atlantic and one of five singles released from the six-song album (though the title track was only released on 45 in France and ’Stay’ was a single exclusively in the USA).

                            David Bowie

                            Mother / Tryin' To Get To Heaven

                              To celebrate what would have been the 74th birthday of David Bowie on the 8th January, two previously unreleased cover versions John Lennon’s MOTHER and Bob Dylan’s TRYIN’ TO GET TO HEAVEN will be released as a very special limited edition 7” single.

                              Originally recorded by Lennon for his 1970 album John Lennon/Plastic Ono Band, Bowie's version of MOTHER was produced by Tony Visconti in 1998 for a Lennon tribute that never came to fruition. Bob Dylan’s original TRYIN’ TO GET TO HEAVEN was released on his 1997 Album of the Year GRAMMY winning Time Out Of Mind. David’s version was recorded in February 1998 during the mixing sessions for the live album.

                              FORMAT INFORMATION

                              Ltd 7" Info: Black vinyl edition.
                              The 7” single is limited to 8147 numbered copies.

                              Japan

                              Quiet Life - 2021 Remaster

                                That Japan’s breakthrough record Quiet Life was released in both 1979 and 1980 is uniquely fitting for a band who were about to step out of the glam rock, post punk shadows of the late 70s and deliver an as yet genre-less record that would come to define the 80s.

                                Quiet Life was the third, final and most successful release on the Hansa Records label. A forerunner for the alternative/new wave sound of the new decade, the album would become one of the great classic British albums.

                                The record is now the subject of a major new reissue featuring a brand new Abbey Road half-speed remaster of the original album, alt mixes, b-sides, singles, rarities and live material – including the sought after ‘lost’ Live at Budokan show from March 1980 previously only available as the 4 track EP ‘Live in Japan’.

                                We are working directly with original band members Steve Jansen and Rob Dean, producer John Punter and with consultant advice from band biographer Anthony Reynolds and the Japanese Shinko archive.

                                The release features newly restored original album artwork, new liner notes with contributions from band members and original producer, rare and unseen photography and memorabilia.

                                FORMAT INFORMATION

                                Coloured LP Info: 140 gram red vinyl.

                                LP Info: 180 gram black vinyl.

                                Khruangbin

                                Mordechai

                                  Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it’s finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it. And it all started with them coming home.

                                  By the summer of 2019, the Houston group—bassist Laura Lee Ochoa, guitarist Mark Speer, drummer DJ Johnson—had been on tour for nearly three-and-ahalf years, playing to audiences across North and South America, Europe, and southeast Asia behind its acclaimed albums The Universe Smiles Upon You and Con Todo El Mundo. They returned to their farmhouse studio in Burton, Texas, ready to begin work on their third album. But they were also determined to slow down, to take their time and luxuriate in building something together. Musically, the band’s ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night.

                                  In those years away from home, Khruangbin’s members often felt like they were swimming underwater, unsure of where they were going, or why they were going there. But Mordechai leads them gently back to the surface, allowing them to take a breath, look around, and find itself again. It is a snapshot taken along a larger journey—a moment all the more beautiful for its impermanence. And it’s a memory to revisit again and again, speaking to us now more clearly than ever.

                                  STAFF COMMENTS

                                  says: The international peddlers of smooth, stylish grooves are back, and this time they’ve returned with a slightly revamped sound. They haven’t stopped trawling the globe for sonic inspiration and this could be some of their most eclectic work to date, adding elements of East and West African music to their already diverse sound palette. The vocals are far more present on ‘Mordechai’ than previous albums, but Khruangbin haven’t completely abandoned the deep instrumental format that they started out with. There is plenty of stripped back Cymande style elegance to be enjoyed in tracks like “If There is No Question” and “Father Bird, Mother Bird”. Perhaps one of the prettiest tracks is “One to Remember”, a shimmering dub incarnation of “So We Won’t Forget” which makes for a satisfying self-referential moment. Let’s hope their winning streak endures until they’ve distilled the essence of the entire globe into their singular soundworld.

                                  FORMAT INFORMATION

                                  Love Record Stores LP Info: Black vinyl with signed insert.

                                  Coloured LP Info: Limited edition translucent pink coloured vinyl.

                                  Coloured LP includes MP3 Download Code.

                                  LP includes MP3 Download Code.

                                  Fleet Foxes

                                  Shore

                                    Fleet Foxes' Robin Pecknold shares, "SHORE feels like a relief, like you'd feel when your feet finally hit sand after getting caught in a riptide.

                                    It's a celebration of life in the face of death, honoring our lost musical heroes, from David Berman to John Prine to Judee Sill to Bill Withers, embracing the joy and solace they brought to our lives and honoring their memory.

                                    SHORE is an object levitating between the magnetic fields of the past and the future."

                                    SHORE was released digitally in its entirety today (on the fall equinox) alongside an album length Super-16mm landscape film captured and edited in Washington State by the filmmaker Kersti Jan Werdal.

                                    The album was recorded in upstate New York at Aaron Dessner's Long Pond Studio, in Paris at Studios St. Germain, in Los Angeles at the legendary Vox, in Long Island City at Diamond Mine, and New York City's Electric Lady.

                                    FORMAT INFORMATION

                                    2xColoured LP Info: Indies exclusive double crystal clear 180 gram vinyl in a gatefold sleeve, include a 24”x24” poster & D Side etching by visual artist Dino Matt

                                    2xLP Info: Double black vinyl 180 gram vinyl in a gatefold sleeve, includes a 24”x24” poster & D Side etching by visual artist Dino Matt.

                                    Laura Marling

                                    Song For Our Daughter

                                      Laura Marling’s exquisite seventh album 'Song For Our Daughter' arrives almost without preamble or warning in the midst of uncharted global chaos, and yet instantly and tenderly offers a sense of purpose, clarity and calm. As a balm for the soul, this full-blooded new collection could be posited as Laura’s richest to date, but in truth it’s another incredibly fine record by a British artist who rarely strays from delivering incredibly fine records.

                                      Taking much of the production reins herself, alongside long-time collaborators Ethan Johns and Dom Monks, Laura has layered up lush string arrangements and a broad sense of scale to these songs without losing any of the intimacy or reverence we’ve come to anticipate and almost take for granted from her throughout the past decade.

                                      STAFF COMMENTS

                                      says: Laura Marling returns once again for more of her unmistakeable plucked guitars and brittle, Americana-tinged folk progressions and tender, effecting vocal. Song For Our Daughter is as much a progression as it is a comforting hark back to the songwriting of the early years. Beautifully orchestrated and an enchanting journey throughout.

                                      FORMAT INFORMATION

                                      Love Record Stores LP Info: Limited purple vinyl.

                                      Coloured LP Info: Indies exclusive marble vinyl.

                                      LP Info: Single LP, black 140g vinyl, gatefold packaging.

                                      CD Info: Digipak CD with booklet.

                                      Various Artists

                                      SEX: Too Fast To Live Too Young To Die

                                        First time ever on vinyl, the legendary compilation taken from the infamous Kings Road ‘SEX ’shop jukebox. Curated by Marco Pirroni of Siouxsie & the banshees, Adam & the Ants and SEX shop regular, a hand-selected treasure trove of underground/outsider classics – All of which were on heavy rotation throughout the mid-70s on Malcolm and Vivienne’s SEX boutique jukebox..

                                        Originally released in 2003 on OLLA records, “Sex: Too Fast To Live Too Young To Die”, The 2020 Stranger Than Paradise Records edition includes new updated artwork plus testimonials from Marco Pirroni, Don Letts, Jon Savage, Jordan, Paul Cook, and Manicured Noise’s Steven Walsh.

                                        “…in my all-important role as ‘Sex’ shop layabout 1974-1976, it was my self-appointed duty to sit around and do nothing except be snide about everyone who came into the shop and continually play my favourite 20 records on the jukebox over and over again, until Jordan or Michael could stand no more and pulled the plug out of the wall……

                                        .. I had never heard of any of the 19 artists who had made my 20 favorite records (I still haven’t) and couldn’t imagine what they were thinking when they made them (I still can’t) but whatever it was they were thinking, they believed it - body and soul - and were making the records they wanted to make against all odds, including at times their own lack of talent. The one thing I learnt from those days was that it’s more important for an artist to be actively discouraged than encourage”

                                        Marco Pirroni

                                        “Memories of a jukebox. The first thing we did when going into the shop was head to the jukebox and fire up some music. It was great listening to all those 50’s/60’s tracks and it was a bit of an education music wise.

                                        Blasting out great Rock’n’Roll, Garage / Rebel Rock, it had to be the coolest jukebox in London at the time and we’d spend hours hanging around, digging the scene and looking cool. As time went by we’d add our own 45’s into the mix but the jukebox choice had Malcom’s stamp all over it with a selection of outsider, freaky misfits. ..Long live outsider, freaky misfits and R’n’Rollz “

                                        Paul Cook, Sex Pistols

                                        STAFF COMMENTS

                                        says: Back in 1975, one time Banshee and 80s Ant Marco Pirroni was a dedicated teenage delinquent, spending his days surrounded by the pornographic polyester of McLaren and Westwood’s infamous King’s Road boutique. For this compilation, originally released on CD in 2003 and now finally available on vinyl, Pirroni raids the shop jukebox to bring us twenty tracks brimming with hormones, solvents and teen spirit, each playing its own small part in the genesis of punk.

                                        FORMAT INFORMATION

                                        2xColoured LP Info: Pressed on limited pink vinyl and includes a bonus 7" featuring two exclusive tracks taken from the jukebox –
                                        A - side - Ian Hunter ‘Once Bitten, Twice Shy’
                                        B- side - Jerry Byrne ‘Lights Out’

                                        Fontaines D.C.

                                        A Hero's Death

                                          Barely a year after the release of their hugely acclaimed debut album 'Dogrel', which earned a Mercury Prize nomination and Album of the Year 2019 at both BBC 6Music and Rough Trade record store, Dublin’s Fontaines D.C. have returned with an intensely confident, patient, and complex follow up album. 'A Hero's Death' arrives battered and bruised, albeit beautiful - a heady and philosophical take on the modern world, and its great uncertainty. 

                                          STAFF COMMENTS

                                          says: Following the moody brilliance of the universally lauded ‘Dogrel’ was never going to be easy. Such a weight of expectation! Add to that a relentless schedule that goes with maintaining the momentum of success and a lifestyle that stretches minds and bodies to the limit (all too often beyond) and Fontaines D.C. could well be forgiven for buckling under the pressure. They certainly weren’t immune. Instead of blunting their creativity however, they channelled the world weariness and cynicism into their music, giving darker breadth and depth to the snarl and vigour of their debut. Grian Chatten is as poetic and articulate as ever, his wry observations irreplaceable, but here they are shot through with defiant nihilism and a wish for independence, from everything and everyone.

                                          They cite the Beach Boys as an influence on this album, but, while their chopping, post punk growl certainly has added harmony and changes of pace for sure, this ain't surfing weather. Where they do throw in a ballad, the gorgeous drunken drawl of “No” that closes the record, it's under leaden Dublin skies. The glorious, rolling sneer of “Televised Mind” and the tortured glam of the title track are perhaps other standouts, but then this album is full of them. All killer, certainly that.

                                          ‘A Hero's Death’ is absolutely and identifiably Fontaines D.C., it couldn't be anyone else, but it’s a leaner, more layered and brooding upgrade. If ‘Dogrel’ was a victory, ‘A Hero's Death’ is a reflection on the cost. It’s just magnificent.

                                          Arlo Parks

                                          Collapsed In Sunbeams

                                            Highly anticipated debut from 2020 breakthrough artist, London-based musician and poet Arlo Parks Speaking about her LP, Arlo says "My album is a series of vignettes and intimate portraits surrounding my adolescence and the people that shaped it. It is rooted in storytelling and nostalgia - I want it to feel both universal and hyper specific." 

                                            Bonus CD for indie retailers, Best Of The Lofi Lounge, is a collection of bedroom recordings from Arlo, including versions of the singles ‘Cola’, ‘Hurt’ and ‘Black Dog’, an exclusive ‘Black Dog’ poem, and intimate covers of songs from Clairo, Phoebe Bridgers, King Krule and Frank Ocean

                                            FORMAT INFORMATION

                                            LP Info: 180g deep red vinyl with foldout poster and digital download code.

                                            Jane Weaver

                                            Flock

                                              ‘Flock’ is the record that Jane Weaver always wanted to make, the most genuine version of herself, complete with unpretentious Day-Glo pop sensibilities, wit, kindness, humour and glamour. A consciously positive vision for negative times, a brooding and ethereal creation.

                                              The album features an untested new fusion of seemingly unrelated compounds fused into an eco-friendly hum; pop music for post-new-normal times. Created from elements that should never date, its pop music reinvented. Still prevalent are the cosmic sounds, but ‘Flock’ is a natural rebellion to the recent releases which sees her decidedly move away from conceptual roots in favour of writing pop music. Produced on a complicated diet of bygone Lebanese torch songs, 1980's Russian Aerobics records and Australian Punk.

                                              Amongst this broadcast of glistening sounds is ‘The Revolution Of Super Visions’, an untelevised Mothership connection, with Prince floating by as he plays scratchy guitar; it also features a funky whack-a-mole bass line and synth worms. It underlines the discordant pop vibe that permeates ‘Flock’ and concludes on ‘Solarised’, a super-catchy, totally infectious apocalypse, a radio-friendly groove for last dance lovers clinging together in an effort to save themselves before the end of the night.

                                              The musician’s exposure to an abundance of lost records served as a reminder that you still feel like an outsider in this world and that by overcoming fears you can achieve artistic freedom. Jane Weaver continues to metamorphise…

                                              “A mind-expanding delight, devoid of retro posturing.” The Guardian.

                                              “Ominous and luminous, expansively spacious and sonically imploding, scientific, ephemeral and eternal” The Quietus.

                                              FORMAT INFORMATION

                                              Coloured LP Info: Light Rose Vinyl, includes DL card.

                                              Indies Exclusive LP Info: Indies Only vinyl is on Cream Vinyl, includes DL card.

                                              Signed LP Info: PICCADILLY EXCLUSIVE SIGNED EDITION.
                                              Indies Only vinyl is on Cream Vinyl, includes DL card.

                                              Signed CD Info: PICCADILLY EXCLUSIVE SIGNED EDITION.

                                              Cassandra Jenkins

                                              An Overview On Phenomenal Nature

                                                “Nothing ever really disappears,” Cassandra Jenkins says. “It just changes shape.” Over the past few years, she’s seen relationships altered, travelled three continents, wandered through museums and parks, and recorded free-associative guided tours of her New York haunts. Her observations capture the humanity and nature around her, as well as thought patterns, memories, and attempts to be present while dealing with pain and loss. With a singular voice, Jenkins siphons these ideas into the ambient folk of her new album.
                                                An Overview on Phenomenal Nature honors flux, detail, and moments of intimacy. Jenkins arrived at engineer Josh Kaufman’s studio with ideas rather than full songs — nevertheless, they finished the album in a week. Jenkins’ voice floats amid sensuous chamber pop arrangements and raw-edged drums, ferrying us through impressionistic portraits of friends and strangers. Her lyrics unfold magical worlds, introducing you to a cast of characters like a local fisherman, a psychic at a birthday party, and driving instructor of a spiritual bent.

                                                Jenkins’ last record, 2017’s Play Till You Win, confirmed the veteran artist’s talent. Evident of Jenkins’ experience growing up in a family band in New York City, the album showcased her meticulous songwriting and musicianship, earning her comparisons to George Harrison and Emmylou Harris. Jenkins has since played in the bands of Eleanor Friedberger, Craig Finn, and Lola Kirke, and rehearsed to tour with Purple Mountains last August before the tour’s cancellation. Her new record departs from her previous work in its openness and flexibility, following her peripatetic lifestyle. “The goal is to be more fluid, to be more like the clouds shifting constantly,” she says. The approach allowed Jenkins to express herself like she never has.

                                                On album opener “Michaelangelo,” before the heavy drum beat and fuzz guitars enter, Jenkins sings quietly “I’m a three-legged dog, working with what I’ve got / and part of me will always be looking for what I lost // there’s a fly around my head, waiting for the day I drop dead.” Phenomenal Nature thrives in this dichotomy between ornate sonics and verbal frankness, a calming guided tour to the edge. Later, on “Crosshairs,” amid lush strings, she sings conversationally: “Empty space is my escape / it runs through me like a river / while time spits in my face.”

                                                “Hard Drive,” the third track and album centerpiece, opens with a voice memo Jenkins recorded at The Met Breuer: a guard muses about Mrinalini Mukherjee’s hybrid textile and sculpture works, which were then on display in a retrospective titled Phenomenal Nature. “When we lose our connection to nature, we lose our spirit, our humanity,” she explains. Stuart Bogie's saxophone & Josh Kaufman's glittering guitar make way for Jenkins' spoken word which constellates scenes from her life, gradually building and blossoming as she recreates a meditation guided by a friend who incants, “One, two, three.”

                                                Sounds of footsteps and bird calls run through the album’s glittering conclusion, “The Ramble.” Meditative and bright, it recalls how Jenkins felt while writing and recording her new material: “Everything else is falling apart, so let’s just enjoy this time,” she said. If Phenomenal Nature has a unifying theme, it’s the power of presence, the joy of walking in a world in constant flux and opening oneself to change.


                                                FORMAT INFORMATION

                                                Dinked Edition LP Info: • Exclusive “soft pink” colour vinyl.
                                                • Signed Riso-Graph Postcard.
                                                • Sticker Set.
                                                • Numbered Edition of 300.

                                                Coloured LP Info: Translucent blue vinyl.

                                                PJ Harvey

                                                Stories From The Sea - Demos

                                                  Collection of unreleased demos of every track written for the fifth PJ Harvey studio album Stories From The City, Stories From The Sea, including demos of ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator Head. Features brand new artwork with previously unseen photos by Maria Mochnacz.

                                                  Hot on the heels of ‘Mordechai’, the critically acclaimed third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series.

                                                  Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s ‘A Calf Born in Winter’ in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. “The LateNightTales series is such a special thing to be a part of because we wouldn’t have made it if it wasn’t for Bonobo’s LateNightTales, because that’s how we got into the LNT family – and got a break.”

                                                  With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin’s deep love of global grooves – from Asian pop to Nigerian reggae – Japanese mellow groove to Latina flavas – are steeped in eclecticism; Nazia Hassan’s Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for Песняры and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas.

                                                  Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang’s ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie’s ‘Gnossienne’.

                                                  “It’s cool to think about what you would listen to late at night, as a band together, lighting a spliff, kinda vibe. We definitely wanted to cover as much global territory as possible; so it was the globe and then home. We wanted to show the treasures from our hometown, or people from our hometown that the rest of the world probably doesn’t know. That’s what makes Khruangbin Khruangbin. The stubbornness about being so hometown-centric but what makes Houston is this this constant international influence. That’s that gulf stream, bringing it right into Houston. So I guess that’s kind of the theme.”

                                                  The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Hot Chip, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.

                                                  STAFF COMMENTS

                                                  says: Though I swiftly snapped up a copy of their first RSD single on the advice of my more experienced Balearic brethren, it was an early online mixtape which truly turned me on to this Houston Trio. Awash with Thai funk, Brazilian soul and hazy dub, this set beguiled rather than banged, encompassing that soothing, grooving style which has since become their signature. Naturally I came to this, their first official compilation, and on the excellent Late Night Tales no less, with the highest expectations; all of which were exceeded over the course of this mesmeric mix.

                                                  Through the cascading strings and shimmering harp of Santana & Coltrane’s opener, Khurangbin begin their dream sequence, an uncanny hour of vignettes in a land free from the conventions of space and time. The loved up dub of Houston contemporaries Brilliantes Del Vuelo gives way to blistering disco from 80s Bollywood, a cult art-pop classic from NY’s Downtown follows the sublime Blaxploitation soul of Gerald Lee. Songs separated by distance and decades sit happily side by side, united by an optimistic mood and ever-present groove. More than this though, each of these songs share a transportive quality; listening to the Nigerian boogie of Mawell Udoh, it’s impossible not to picture a Lagos nightspot, or the skyscrapers of Seoul when Sanullim’s soft pop stunner bounds out of the speakers. Even the band's own exceptional cover of Kool's 'Summer Madness' offers a deep concentration of the Khruangbin style, an invitation into their personal Shangri-La.

                                                  In an era in which the race for the rare can leave even the finest diggers blind to the actual merit of the music, Khruangbin's melodies sans frontières is a remarkable feat, each selection superb on its own and sublime taken together.

                                                  Khruangbin around the world and I, I, I can’t fight it baby.

                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: Unmixed Vinyl Version (includes mixed and unmixed tracks as download).
                                                  Pressed on double 180 gram virgin vinyl.
                                                  Includes 30cm art print.
                                                  Including download codes for the Khruangbin mix and full unmixed tracks as MP3 / FLAC / WAV.
                                                  Indies exclusive orange vinyl.
                                                  The orange vinyl format is limited to 4000 units worldwide and sleeves are numbered.

                                                  2xLP Info: Unmixed Vinyl Version (includes mixed and unmixed tracks as download).
                                                  Pressed on double 180 gram virgin vinyl.
                                                  Includes 30cm art print.
                                                  Including download codes for the Khruangbin mix and full unmixed tracks as MP3 / FLAC / WAV.

                                                  CD Info: Mixed CD Version.
                                                  Includes unmixed tracks as download.

                                                  A record to be enjoyed to its very last second AM Jazz is set to place this songwriter where he just might, finally, receive the recognition he deserves; from unsung hero to a truly worthy candidate for being called up to join the City of Manchester’s ranks of great musical icons. Whether you prefer to know him as Mr. Roberts or simply call him Al, it’s time to become acquainted with the real Jim Noir.

                                                  Tossing his bowler onto the hat stand and sliding on his slippers, AM Jazz sees ‘Jim’ putting his feet up whilst Alan Roberts takes the lead. A creative masterpiece for the record player and the mantlepiece, it’s a multi-layered album that features close friends including those dearly departed, and is his truest record to date, by a songwriter painting his own hypnotic Portrait of the Artist as a Young Man.

                                                  “I haven’t 'felt' like Jim Noir for a long time. I’m not sure I ever did; it was a construct of other people’s imaginations,” reveals Al. “AM Jazz is definitely the kind of music I make generally. It harks back to when I started making music years ago and didn’t worry about capturing a particular style. It will be nice to show people more of that. It's the best album I've written; real hypnotic minimalism, the good stuff!”

                                                  15 years since he recorded the first ever 'Jim Noir' EP, AM Jazz is the record all Noirheads won’t be surprised Al had inside him. Letting the Beatlesesque stylings of his most recent album Finnish Line be (5 years ago no less), AM Jazz suits the Noir repertoire of his catalogue so far and is another homegrown offering which sees the Daveyhulme composer tinkering in his suburban Manchester studio once more, with the magic of his computer work sorcery, analog and tape recordings. “For this I went back to the slightly more haphazard way I wrote my first album, Tower Of Love, wherein I’d use things in front of me, or a bit wrong like headphones for a microphone, to make the most Hi-Fi Lo-fi album ever.”

                                                  Whilst a brief disappearance of Jim’s online persona may have provoked bleak theories as to his whereabouts, Al had little time for digital distraction. Whilst writing and creating with friends, he has worked on electronic pet project, FAX with former Alfie guitarist, Ian Smith, and the vintage analogue house meets electro sound of his own solo EP Granada Personnel Recovery, as well as producing local band, Shaking Chainsor, and helping long-time musical colleague, Aidan Smith with his long-awaited 'The Planets' project; “I’ve been writing in dribs and drabs when I feel like it,” Al says. “I used to write all day everyday but it’s a lot harder now I’m (feeling) over 100 years old.” Never not sonically exploring or being inspired by the sounds around him, there was even a red-carpet moment when he appeared as a film premier guest after a couple of his songs were selected for the OST of director Jason Wingard’s film Eaten By Lions.

                                                  Performing all AM Jazz’s instrumental parts himself but also, at the right moment, bringing in present and past pals along the way, sexy lounge song, ‘Hexagons’ features 'Phil Anderson' and Mark Williamson singing and playing “legendary OTT guitar solo” respectively. Meanwhile the orchestration of ‘Peppergone’ waltzes like a beautifully romantic ode to Beethoven’s Moonlight Sonata – a tribute to dearly departed best friend 'Batfinks' who originally wrote the chords in his song 'Peppercorn.' “I hope he doesn’t think it’s shit,” Al jests. Listen closely and you may even find a few unsuspecting celebrity guest appearances as, perhaps, it could be the very first album to feature soundbites of podcasts sneaking onto the recordings. “I will have a podcast on if I’m recording; Adam Buxton, Athletico Mince, Frank Skinner or Richard Herring… I’m sure some mics will have picked them up, like in the old Tower of Love days,” he says referring to his breakout debut.

                                                  Culled from around 50 tunes AM Jazz moves like the time of the day, from dawn to night, stirring from the pop of ‘Good Mood’ and ‘Upside Down’s Beta Band groove. “As the album was playing, I imagined this smoky backstreet with all those neon signs outside clubs at about 4am,” Al says. Mellow ‘TOL Circle’ is like Percy Faith’s Theme From A Summer Place synthesized, capturing the style of TV library music or movie soundtrack obscurity that has always stirred Al’s curiosity, and the album plunges into a vast chasm of instrumental exploration with ‘Mystermoods,’ visiting Japan’s funky synth whiz duo Testpattern and Hakabashi Sakamoto. Darkening and deepening in intensity, ‘Eggshell’ is like an undiscovered gem from Angelo Badalamenti’s cutting room floor, the Panda Bear shimmer of ‘Lander’ is where blissful positivity and sadness meet, about another of his friends who left the world too young. “By the album’s close, its nearly time to let go and enter the ether,” he says of the album’s story. “Like one would do when they take their final sigh on this earth.”


                                                  STAFF COMMENTS

                                                  says: It’s 14 years since Jim Noir’s debut album and the way the music scene works (chew them up spit ‘em out, next!) you could be forgiven for heaving an almighty shrug. Playful, whimsical (his stage name is derived from a Vic Reeves character!) quirky Mancunian, songs used in adverts and video games, cute, charming, retro sounds, etc etc; all kinda true, but only half the story. This guy, real name Alan Roberts, is a genius songwriter, for whom the notion of pop “relevance” should not apply. His way with melody is right up there with the very best, and these harmoniously overlapping songs actually remind me of a Paul McCartney or Brian Wilson.

                                                  This record is quite simply beautiful. Forty one minutes of lush, blissed-out, mesmerising song craft. It starts with a Fanclub-style classic, moves through upbeat Super Furries fun then slides into three Air style velvet funk groovers, including album highlight “Hexagons” which is the best song I’ve heard all year. Then a nine minute mid record three song instrumental passage (a dream!) sets you up perfectly for Side 2 where Alan revisits that stunning opener but with added melancholy, before drifting off into second big standout “Lander” where swathes of shoegaze distortion, heavenly keys and percussive beats provide chillwave vibes as the chords shift gorgeously underneath. All that remains is for the record’s fourth instrumental and title track to play you out; high, lonely, but fuzzy and still beautiful. It’s a trip.

                                                  The Fall

                                                  Live At St. Helens Technical College '81

                                                    "I’ve had the pleasure of being a Fall fan since I was a teen.

                                                    I was lucky enough to have some guidance from my local record shop stoner-lords.

                                                    They turned me on to many of my heroes, but once I heard my first slanted and barky Fall song, I was part of the army for life.

                                                    The word prolific gets tossed around a lot.

                                                    It almost seems like a slag-off in the press, as if they wish the artist would produce less so they wouldn’t have to do their self imposed job of judging releases for the rabble.

                                                    The Fall is subjected to this lazy word often.

                                                    Yet I can honestly say that I am SO thankful for any nugget of Fall that lands at my feet and in my brain.

                                                    Live Fall performances are always a pleasure because they seem to take what already made the Fall great and push it even a bit more into the rough and bloody uncharted wasteland that is drug scorched proto-punk and heady political poetry.

                                                    So, it is with great pleasure that we introduce this Fall bootleg soundboard recording to you.

                                                    Recorded during one of the many strong points in the bands vast and mighty history.

                                                    They really burn bright here and bring every ounce of what you expect from this formidable force.

                                                    We have reached out to every surviving member of the band, the sound person, the bootlegger who recorded it and the photographer and received their blessings & help piecing it all together.

                                                    Castle Face will be donating 50% of our profits to Centrepoint which helps the homeless in the Manchester area get back on their feet, so the local and deserving Fall fans get a little, and give a little back, too.

                                                    Nothing but the hits here folks and as raw as you dig it.

                                                    This one really is exceptional in terms of live sound for The Fall.

                                                    All the stars were aligned over St. Helens that eve.

                                                    And it wouldn’t be complete with a bit of Fall fan saltiness so, fuck you too, Jason.” - John Dwyer

                                                    FORMAT INFORMATION

                                                    Ltd LP Info: 12” and a 7” in a gatefold jacket, including a digital download.

                                                    Introducing Gabriels - an LA based group made up of singer Jacob Lusk and producers Ari Balouzian and Ryan Hope. ‘Love and Hate in a Different Time’ is their new single and the perfect taster of their genre-defying sound. Their debut single ‘Loyalty’ was released on the seminal R&S Records, that and their follow up ‘In Loving Memory’ received support from the likes of Gilles Peterson, Virgil Abloh and Benji B. Both tracks served as solid stepping stones to reach this point in their fledgling career with a full debut EP due for release before the end of the year.

                                                    ‘Love and Hate in a Different Time’ is the next piece of the puzzle and comes alongside an incredible short film devised and directed by band member Ryan Hope. The song itself envelops you in comforting joy as its soulful funk elements meld with gospel warmth backed by muffled drums and distant hand claps. Its intimacy is in its rawness and honesty as Jacobs affecting voice sews the song together.

                                                    The visual is just as unifying; a series of spliced together film footage of the dancefloor over the decades – from as early as 1894 when Thomas Edison became one of the first to film the dancefloor by shooting ‘Buffalo Dance’ - the Sioux Ghost Dance – up to the present day. The video showcases the true power of dance and how it can bring people together through good times and bad as well as its complicated relationship with technology. The short film ends with footage of Jacob singing impromptu through a megaphone at a recent Black Lives Matter protest in LA – making the footage all that more moving and impactful for the complex present time we’re all living through.

                                                    “The actual definition of the dancefloor is something that has always fascinated me. It’s a space we express ourselves ultimately. However as a huge Adam Curtis fan I’ve always been fascinated with origins and definitions. The complex relationships between subjects and the stories we are told to learn about them. When I started researching the history of the dancefloor and found that Edison was one of the first to film a dancefloor and he monetized it in the way he did. I think of where we are at now and ask what have we really learned? That is the concept behind the film for Love and Hate in a Different Time.” Ryan Hope

                                                    King Gizzard & The Lizard Wizard

                                                    K.G.

                                                      King Gizzard & The Lizard Wizard return with new album K.G., their sixteenth since forming in 2010. In the wake of a global pandemic, it’s a collection of songs composed and recorded remotely after the six members of the band retreated to their own homes scattered around Melbourne, Australia. K.G. is a pure distillation of the King Gizzard sound, one that cherry picks the best aspects of previous albums and contorts them into new shapes via defiantly non-western rock scales.

                                                      STAFF COMMENTS

                                                      says: Admittedly, the KG albums don't stop coming but every single one has distinct and defining characteristics that separate them from each-other. We still get the psychedelic groove and soaring melodicism but this time imbued with the influence of eastern microtonality and scales. It's a perfect combination, and as skilfully done as ever.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Indies exclusive "Lucky rainbow" recycled colour vinyl granulate vinyl, embossed single-pocket jacket and printed sleeve on recycled paper stock, wrapped in brown-paper bag.

                                                      LP Info: Recycled black vinyl, single-pocket jacket and printed sleeve on recycled paper stock, wrapped in brown-paper bag.

                                                      Buck Meek

                                                      Two Saviors

                                                        Big Thief’s Buck Meek announces his new solo album, Two Saviors, out January 15th on Keeled Scales. While his last album, 2018’s Buck Meek, is a yarn of blue-collar fairy tales and character driven narratives, Two Saviors emerges as a cathartic, naked confession of heartbreak, resiliency, and enchantment. The first word on Two Saviors is “pareidolia.” It is a word about recognising shapes where none were intended to exist - like searching for images in the clouds. It’s an uncommon word, with a beautiful sound, and serves as an apt guide through these new songs of Buck’s, which are themselves uncommon and beautiful, and which invite a deep, cloud-gaze state of attention.

                                                        Two Saviors was recorded by producer and engineer Andrew Sarlo (who produced the first four Big Thief LPs), under his specific conditions: they make the album in New Orleans, during the hottest part of the year, spend no more than 7 days tracking, all live, on an 8-track tape machine with only dynamic microphones, and no headphones, not allowing the players to hear back any takes until the final day. The band, featuring Adam Brisbin (guitar), Mat Davidson (bass, pedal steel, fiddle), Austin Vaughn (drums), and Buck’s brother Dylan Meek (piano, organ), set up in a Victorian house one block from the Mississippi River and worked within these limitations, encouraging every recording to be imbued with the living, intuitive, and human energy of a first take.

                                                        The rituals that led towards these songs are ones of pain and healing; the power felt through the songs lies in the fact that the pain is never plainly stated, never a note of anguish or resentment, no complaints about the feeling of pain. Pain is not weaponised on this record, but cared for, nurtured, and the songs become meditations on the reality of pain, conducted without resistance.

                                                        Although the song’s narrator runs into several roadblocks in 'Second Sight' - like a pool spiked with turpentine - the chorus is uplifting, with sprightly guitar and upbeat lyrics: “I work for free // because love is all I need // yes I work for free // and love is all I need.” “The value in our world is built by the labour of love - a currency that accrues no debt, enriching both the giver and receiver,” says Buck. “This wealth provides the vitality needed to lift a hammer, to raise a roof, and to lay upon the eaves in silent awe of nature and civilization and the culmination of universal effort. Magic (the left hand of love?) arises from attention, and is accessible to all without prejudice. A creation from nothing, from some uncaused cause, some eternal unmoved mover."

                                                        The songs on this album shine with this wisdom and are not ostentatious about it. This is true to Buck’s nature. He is recording life, consciously and unconsciously on a broad spectrum of planes. A new album from him is a gift, a chance to wonder about ways we could be seeing, recording.

                                                        “At its core, Buck Meek feels like a country record, and not just because Meek’s native Texan twang stands at the forefront of every tune. The album has a mischievous spirit like the celebrated self-titled LP from cult-hit country star Willis Alan Ramsey.” Pitchfork // “Writing these songs was a process of creating talismans - little prayers and visions from within the constant flux of pain, healing, and discovery - that I could return to for perspective, and share with those in need.” Buck Meek.

                                                        STAFF COMMENTS

                                                        says: A collection of beautifully brittle ballads and Americana-tinged anthems beautifully conceived and delivered with the assured confidence of an artist at the peak of their skills. A beautiful outing for the increasingly essential Keeled Scales.

                                                        FORMAT INFORMATION

                                                        Dinked Edition LP Info: • “Blue Dream Iceberg Wave” Vinyl.
                                                        • White Flexi disc of "Sam Bridges".
                                                        • Digital print of 1 of 3 Buck Meek original photos (all random).
                                                        • Limited Edition of 400.

                                                        Dinked Edition LP includes MP3 Download Code.

                                                        Coloured LP Info: Clear smoke vinyl.

                                                        Coloured LP includes MP3 Download Code.

                                                        Various Artists

                                                        Piccadilly Records Compilation 2020

                                                          Vinyl fans rejoice! We’re delighted to announce that we’re once again releasing a compilation LP, jam-packed with 12 tracks cherry picked from this year’s Top 20 albums.

                                                          A true representation of the diverse delights we stock, this is an eclectic selection from all across the genre spectrum. This dopest dozen do share a few things in common though, most notably a deadly combination of superior songcraft and production prowess whatever the style. 

                                                          Róisín Murphy starts the party with the bumping and building dancefloor sophistication of "Incapable" before former champ Kelly Lee Owens serves up the sleek, slinking and spectral "Re-Wild", an RnB tinged techno-popper best described as Minimal Nation on lean. It's a gentle transition from there to Zara Macfarlane's "Everything Is Connected", a perfect fusion of jazzy vocal tones and neck snapping beats which softens us up for the disco bliss of 'Obey' by chart topping Belgians Rheinzand. Heading towards the centre label we're seduced by Sufjan's spellbinding avant-pop while the irresisitbly louche Baxter Dury takes us on a midnight stroll through Soho. 

                                                          We shift gears on the B-side with a rocking opening salvo from RBCF and Fontaines D.C., whose guitars chime and churn in sunkissed splendour and punkish pressure respectively. Next up there's a double dose of indie-dance ecstasy via the brooding techno-pop of Working Men's Club and The Orielles' punk funk pearl "Bobbi's Second World". The ever reliable Tim Burgess treats us to a vintage bit of British artpop on the infectious "Empathy For The Devil" before Jim Noir brings the curtain down with "Good Mood", the sophisticated offspring of Air and Brian Wilson. 

                                                          FORMAT INFORMATION

                                                          Ltd LP Info: Limited to 500 copies.

                                                          Black Country, New Road

                                                          For The First Time

                                                            Black Country, New Road is a new seven-piece: Charlie (Drums), Georgia (Violin), Isaac (Guitars/Vocals), Lewis (Saxophone), May (Synthesiser), Luke (Guitar) and Tyler (Bass). Latest stars from the burgeoning and famed Brixton Windmill scene, which also fostered the rise of contemporaries, black midi, Squid, Fat White Family and Shame.



                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Indies exclusive white vinyl. Inverted negative effect artwork, exclusive to this edition, printed on 350gsm cardboard 12” colour sleeve with matte finish.

                                                            Teenage Fanclub

                                                            Endless Arcade

                                                              Teenage Fanclub have announced news of their tenth studio album, Endless Arcade, released 5th March. Even if we weren’t living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body and soul, and to reaffirm that all is not lost in this world.

                                                              Endless Arcade follows the band’s ninth album “Here”, released in 2016 to universal acclaim and notably their first Top 10 album since 1997; a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching; guitars chime and distort; keyboard lines mesh and spiral; harmony-coated choruses burst out like sun on a stormy day.

                                                              In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts - insecurity, anxiety, loss.

                                                              Such is life. But the title track suggests, “Don’t be afraid of this endless arcade that is life.”

                                                              A preview from the album came in February 2019 with Raymond’s ‘Everything Is Falling Apart’, an online single released at the outset of a six-month tour and a highlight of Endless Arcade.

                                                              Everything is falling apart? Well, yes, but the song was written long before COVID-19 arrived. Neither was Raymond’s inspiration political or social, but more, “the entropy in the universe, the knowledge that everything eventually decays,” he explains. But Raymond says relax. Or rather, “Relax, find love, hold on to the hand of a friend”.

                                                              Fortunately, Endless Arcade was virtually finished by the time lockdown was announced, bar the odd tinker under the engine hood. It seems timely, given how everyone had to initially stay home under lockdown, that the album starts with Norman’s ‘Home’, though it was chosen in part because of its opening line: “Every morning, I open my eyes...” The album’s longest track (at seven minutes) typifies TFC’s relaxed groove, culminating in Raymond’s peach of a guitar solo.

                                                              Norman’s search for ‘home’ could be literal: after all, he’s been living in Canada for the last 10 years. But it’s also figurative. Like Norman’s other Endless Arcade songs – The Sun Won’t Shine On Me’, ‘Warm Embrace’, ‘I’m More Inclined’, ‘Back In The Day’ and ‘Living With You’ – his words on ‘Home’ are etched by loss and yearning. “Without going into too much detail, the last eighteen months have been challenging for me on an emotional level,” he admits. “But it’s been cathartic channelling some of these feelings and emotions into song.”

                                                              In contrast, Raymond’s songs – he’s also responsible for ‘Come With Me’, ‘In Our Dreams’, ‘The Future’ and ‘Silent Song’ – are philosophical and questing. As he sings in ‘The Future’: “It’s hard to walk into the future when your shoes are made of lead”, but he’s still going to try, “and see sights we’ve never seen.”

                                                              In the band’s own near future, they’re already planning another new album given they can’t yet tour the one they’re releasing now. Welcome back, Teenage Fanclub, unafraid of this endless arcade that is life.


                                                              FORMAT INFORMATION

                                                              Dinked Edition LP Info: • Exclusive Translucent Yellow Vinyl.
                                                              • Die Cut Sleeve.
                                                              • Numbered.
                                                              • Exclusive Signed 12” X 12” Art Print (Design Exclusive To Dinked Edition).
                                                              • Exclusive Postcard Set (x4).

                                                              Coloured LP Info: Indies exclusive translucent green vinyl in die cut sleeve.

                                                              Signed CD Info: Ultra limited signed CD edition.

                                                              LP Info: Black vinyl.

                                                              Various Artists

                                                              Soul Jazz Records Presents Two Synths, A Guitar (And) A Drum Machine - Post Punk Dance Vol. 1

                                                                Soul Jazz Records’ new ‘Two Synths, A Guitar (And) A Drum Machine’ is a new collection of current DIY post-punk shaped by the mutant sounds of no wave, punk funk and New York Noise bands from the late 70s and early 80s that collided with the world of underground dance music found at the Paradise Garage, Mudd Club in New York City (ESG, Arthur Russell, Bush Tetras, Talking Heads, Suicide, Liquid Liquid).

                                                                Other influences cited here include Manchester and Sheffield’s industrial post-punk sounds of the 1980s (Joy Division, Cabaret Voltaire, Gang of Four) as well as the 1970s German electronic experimentalism of Cluster, Neu!, Harmonia and Can.

                                                                Featured artists from around the globe include Los Angeles DIY band Automatic, New Fries from Toronto, artist/music collaborators Toresch from Germany, Susumu Makai from Japan/UK, Vex Ruffin from the Philippines/California and Madmadmad, Gramme, Tom of England and other UK groups.

                                                                That all the bands featured here manage to make distinctive contemporary music out of these 80s roots is testament to the wide range of other musics that are seamlessly absorbed into a modern melting pot of sound - hip hop, the electronic European avant-garde, rave culture and more.

                                                                FORMAT INFORMATION

                                                                2xColoured LP Info: Indies exclusive on neon green coloured heavyweight double vinyl housed in bespoke individual inner sleeves with pull-out fanzine.

                                                                2xLP Info: Heavyweight double vinyl housed in bespoke individual inner sleeves. Initial pressing of this album comes with free pull-out fanzine on the groups featured.

                                                                Blanck Mass

                                                                In Ferneaux

                                                                  What is the utility of pain? Can it do anything but fester? In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment.

                                                                  An encounter with a prophetic figure on the streets of San Francisco presented the question of “how to handle the misery on the way to the blessing.” This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest – without movement, without the consumerist agenda of “new experiences.” The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that “Hell is other people,” but perhaps this is the Inferno of the present: the space of sitting with the self.

                                                                  A blessing is often thought of as a future reward, above and beyond the material plane. With In Ferneaux, Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Magenta LP

                                                                  Aaron Frazer

                                                                  Introducing…

                                                                    Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that’s both contemporary and timeless. On ‘Introducing...’ - his debut solo album produced by The Black Keys’ Dan Auerbach - Aaron melds mid-60s soul with Auerbach’s particular sensibilities (‘Over You’), songs with a message in the key of Gil Scott-Heron (‘Bad News’) and uplifting tales of love told through a blend of disco, gospel and doowop (‘Have Mercy’).

                                                                    The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multiinstrumentalist and co-lead singer of Durand Jones & The Indications but he’s more than a revivalist act. “I didn’t want ‘Introducing...’ to be an exact recreation of an era or a style,” Frazer says. “I’m excited to keep breaking some of the expectations around what exactly I’m supposed to be artistically and musically, or what this scene as a whole can be.” On ‘Introducing...’, Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love.

                                                                    Where previous records were written in a partial state of turmoil, Aaron’s debut LP shows maturation and range. ‘Introducing...’ is both loving and gracious, critical without losing hope and a showcase of a young artist on a seriously soulful ascent.

                                                                    ‘Introducing…’ features an all-star ensemble including players with the likes of Bruno Mars, Mark Ronson, Dolly Parton and Charles Bradley.

                                                                    STAFF COMMENTS

                                                                    says: There's something warmingly familar about Aaron Frazer's swinging take on classic Northern Soul, nut imbued with a modern tilt that's not only perfect for the home stereo but would go down perfectly in a late night club-based scenario (remember those?)

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Translucent Pink Glass coloured vinyl.


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