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Denise Johnson

Where Does It Go

    Simply vocals and acoustic guitar.

    Denise Johnson's debut acoustic album 'Where Does It Go' is a very Mancunian affair.

    Recorded in Ancoats with Thomas Twemlow on acoustic guitar, she covers iconic songs that mean something to her from Manchester bands including New Order, The Smiths & 10cc as well as her own compositions.

    After performing on Primal Scream's 'Screamadelica', A Certain Ratio and New Order's 'Music Complete', this Manchester girl's album is well overdue but not before time.

    Where does it go, with Denise's voice that ''does something to you'' has been eagerly awaited.

    The Wytches

    Three Mile Ditch

      The Wytches announce their third album Three Mile Ditch, recorded with Luke Oldfield at Tile House Studios it will be released on their own label Cable Code Records on Friday 2nd October.

      “This is the first thing that I've ever been proud of for longer than a week,” says The Wytches frontman Kristian Bell of the band’s latest album Three Mile Ditch. This sense of vigour and enthusiasm coming from Bell about the band’s third album is matched by its contents. The album is an explosive collection of 10 tracks that weaves seamlessly between gut-wobbling monster riffs, swampy rock, slick surf, and finely tuned songcraft. It’s also the result of a band coming back from the brink of collapse.

      The band’s early trajectory was a steep and speedy one as they quickly established themselves as one of the country’s most exciting and pulverising new bands. Major festival slots stacked up at places such as Glastonbury, SXSW, Reading and Leeds, and British Summertime with the Strokes. As did the tours across the US with METZ, traversing Europe with Fat White Family and Death Grips. They garnered support from BBC 6 Music, DIY, MOJO, NME and more. However, when the ascent to the stratosphere is moving at such a speed, there’s a risk of burning out and imploding, and the band came close to this.

      They were on the rocks for a while, unsure of themselves and if the band should - or even could - go on. “I had it in my head that this kind of thing only really happens once and to try it again might be a big waste of time,” Bell reflects. However, despite the difficulties, the powerful pull of the band was too great to ignore.

      “We had an album’s worth of songs that was some of our best material. The mission became to complete a Wytches album rather than get The Wytches back on the touring circuit. This album helped us make the decision to try it again.”

      Whilst the album is bursting at the seams with hard rock screamers, with hooks and riffs so infectious they burrow deep into the brain, there’s also other more nuanced elements at play. Bell’s love of classic songwriting from Bob Dylan to Elliott Smith via Big Star’s Alex Chilton can be heard reverberating throughout the record; the result is a blend between his honed and subtle knack for songcraft and crunchy, eruptive bursts of noise.

      A leaving member left them feeling they couldn’t face introducing a new drummer and teaching them all the new songs so they simply pounced on their momentum and took on that role themselves, sharing drumming duties. Joining the two, was a familiar face in Mark Breed. “It was the first time Mark was present for most of the recording sessions. Mark was our original bassist before we moved to Brighton. He decided to stay in Peterborough to focus on his own work and a few years later re-joined us on guitar and keyboard. He added a lot of depth to the song arrangements. Also, I think when he saw things were starting to fall apart, he stepped in to help bring back the band dynamic we were missing.”

      For Bell, the band has never felt more vital or alive and that’s come with a degree of confidence and assuredness when looking to the future. “Early on a few negative comments would be enough for me to disassociate from my own work. But you grow up and you mature. I never felt like I could stand behind what I was doing all that much but with this album I really can.”


      FORMAT INFORMATION

      Dinked Edition LP Info: • Exclusive Splatter vinyl.
      • Exclusive signed 16 page full-colour fanzine.
      • Exclusive Sticker Sheet.
      • Numbered Dinked sticker.
      • Limited edition of 500.

      Coloured LP Info: Solid red coloured vinyl.

      Fontaines D.C.

      A Hero's Death

        Preorder the album from us for an invite to a very special album release show, filmed at 2FM Radio's studio in Dublin. "A Night In Montrose, Dublin" will air on Monday 3rd August at 8pm BST, 9pm CEST / 3pm EDT.

        All you have to do is order the album from us before midnight on Sunday 2nd August and we will email you a link to the show. IMPORTANT!!!: Links will be emailed after 4pm on Monday 3rd August, make sure you check your junk mail if it hasn't arrived in your inbox.

        Fontaines D.C. will perform new album A Hero’s Death in its entirety for the very first time, along with selected tracks from their award-winning debut Dogrel. A live Q&A with the band will also mark the occasion.

        See you down the front!!!

        You can also sign up to the bands mailing list for an invite.


        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

        Barry says: Well, well.. Fontaines follow up the stunning Dogrel with yet another killer LP. We get the brash distortion and rawkous chant-along melodies from the previous outing but imbued with a more mature songwriting focus and more refined sound. Stunner.

        FORMAT INFORMATION

        Coloured LP Info: Limited Edition Stormy Blue Vinyl.

        2xDeluxe LP Info: 45rpm cut double-LP on 180g black vinyl.
        Cut at Abbey Road Studios.
        Double gatefold LP.
        Comes with 12”x12” photo/lyric book.

        Richard Norris

        Elements

          Hypnotic sequences, majestic drones and deep listening ambience collide on a new album from Richard Norris entitled ‘Elements’.

          The five long tracks use warm, pulsing electronics and washes of synthesiser to create an evocative and widescreen sound.

          Electronic Sound magazine called Richard “the electronic musician’s electronic musician’, whilst Time Out New York referred to him as an ‘unhinged sonic magician’ He has a deep and broad history spanning decades of electronic culture, which serves him well on ‘Elements’.

          His background includes working alongside Soft Cell’s Dave Ball in the Grid, alongside Erol Alkan in Beyond The Wizards Sleeve, and collaborating and mixing countless artists including Brian Eno, Sun Ra, Robert Fripp, Warpaint, Tame Impala, Joe Strummer, Yello and many more. He has also recently released two deep listening ambient albums entitled ‘Abstractions’ on the Group Mind label, as well as a series of weekly 20 minute pieces called ‘Music For Healing’ during lockdown.


          FORMAT INFORMATION

          Dinked Edition LP Info: • Exclusive picture disc.
          • Gatefold sleeve.
          • Hand Numbered.
          • Limited to 300 copies.
          • Custom Dinked sticker.

          LP Info: Black vinyl edition.

          Weyes Blood

          Cardamom Times - 5th Anniversary Edition

            • On vinyl for the first time since its first sold-out pressing in 2015, the fifth anniversary of Weyes Blood’s (Natalie Mering) warm and elegiac record, Cardamom Times, is celebrated with a deluxe Dinked edition.

            • Since the EP’s release, Weyes Blood’s Front Row Seat to Earth (Mexican Summer, 2016) and Titanic Rising (Sub Pop, 2019) were both named Best New Albums by Pitchfork, with the latter making multiple Best Albums of 2019 lists, including The Guardian, Pitchfork, and The Independent. Different from these elaborate albums, Cardamom Times was recorded onto reel-to-reel tape at Mering’s home studio in Rockaway Beach, New York.

            • The songs of Cardamom Times demonstrate Mering’s reverence of devotional music and the avant-garde, channeling the domestic hymns of Sybille Baer through the lens of Baltimore’s experimental DIY scene; the minimal, melodic drones of Terry Riley accompanied by the voices of the Sacre Coeur; the confrontational words of Anaïs Nin along with the warm embrace of St. Augustine.

            • This anniversary edition of Cardamom Times features reimagined cover art with the focal image of a desolate paradise during sunset — Jamaica Bay in Queens, NY surrounded by rust. A couple is laying on the ground, caught in a comfort beyond time. With Cardamom Times, Mering invites listeners into that space of love and longing, struggle and change, surrounded by the decay of time that perpetually embraces us.


            FORMAT INFORMATION

            Dinked Edition LP Info: • Exclusive transparent Blue vinyl *
            • New 2020 edition sleeve
            • Exclusive fold out 12” x 24” poster *
            • Dinked Archive OBI-strip *
            • Dinked Archive gold foil sticker *

            *Exclusive to Dinked Edition.

            LP Info: Black vinyl edition.

            Fuzz

            III

              One only knows one. Two is balanced therefore stagnant. III both active and reactive. Charles Moothart, Ty Segall and Chad Ubovich are Fuzz. Fuzz is three. And III has returned. Songs for all, and music for one. III was recorded and mixed at United Recording under the sonic lordship of Steve Albini.

              Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave the trio the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar-based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for the band—three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long one can hold on before getting thrown off. Three points reflected in three mirrors; a pyramid of sonic destruction and psychic creation. Nothing people feed the roots while the freaks fly free in the treetops—blind to vines, eyes closed, stuck in spit, triumphing the returning of beginnings and ends returning while beginning to see the time collapse. Love is the only way to annihilate hate, and sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.

              FORMAT INFORMATION

              Coloured LP Info: Indies exclusive coloured vinyl. Very limited!!

              Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state. Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases.

              Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage – a self-styled fusion Kamaal describes as Wu Funk.

              New players on this record include LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside a vocal feature from Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod.

              Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia.

              FORMAT INFORMATION

              Coloured LP Info: Indies exclusive red vinyl.

              Belle And Sebastian

              Push Barman To Open Old Wounds

                The intriguingly titled ‘Push Barman To Open Old Wounds’ is a chronological double CD / triple LP collection of all 25 songs from Belle and Sebastian’s Jeepster EP and single releases compiled onto one album. 

                On first release in 2005 ‘Push Barman To Open Old Wounds’ appeared in two formats, a hardback casebound 2CD with deluxe booklet and a 3LP vinyl pressing in a beautiful triple gatefold sleeve. Now, for the first time we have produced a coloured vinyl edition of the 3LP and are making this available exclusively to independent retailers along with the deluxe CD. 

                The songs included on the album date back to the early days of the band’s career in 1997 when they released 3 four track EPs (‘Dog On Wheels’, ‘Lazy Line Painter Jane’ and ‘3..6..9 Seconds of Light’) to bridge the time between the release of their albums ‘If You’re Feeling Sinister’ (1996) and ‘The Boy With The Arab Strap’ (1998). Also included is the band’s most successful single ‘Legal Man’ which reached number 15 in the UK chart in May 2000. The set concludes with the band’s last Jeepster single release ‘I’m Waking Up To Us’ providing an attractive access point to the band’s catalogue for new fans who may have only heard their later work.

                None of these songs feature on Belle & Sebastian’s albums and as individual singles they are increasingly rare. 

                The album is named for a piece of graffiti seen in some toilets in a bar in Glasgow. 

                FORMAT INFORMATION

                3xColoured LP Info: Clear vinyl edition.

                2xLtd CD Info: The limited double CD comes in a hardback casebound CD sleeve with a deluxe booklet.

                Fiona Apple

                Fetch The Bolt Cutters

                  Fetch the Bolt Cutters is a strange and exceptional record, even within the context of an uncommon career. It shakes, rattles and rolls with unorthodox percussion, and on the opening track – I Want You to Love Me – the singer hiccups in ecstasy, facing off against an arpeggiating piano as though competing to climax first.

                  Although veteran engineer/producer Tchad Blake had some input, and Apple sought the assistance of her drummer’s father, sound engineer John Would, Fetch the Bolt Cutters marks the first time she has entirely overseen production on one of her albums. Knowing her own mind is a major theme. “I would beg to disagree, but begging disagrees with me,” she swaggers on Under the Table, a wickedly funny song about how she is a nightmare date at pompous dinner parties. (“Kick me under the table all you want.”)

                  STAFF COMMENTS

                  Barry says: Toeing the line skilfully between mellow jazz, soulful r&b and good old-fashioned indie, Fiona Apple has a sound all of her own. Spoken word sections segue seamlessly into more driven rhythmic material before calming right back down into almost ambient instrumentation. Brilliant, and bonkers.

                  FORMAT INFORMATION

                  2xColoured LP Info: Limited double Pearl Opaque vinyl LP.

                  2xColoured LP includes MP3 Download Code.

                  2xLP Info: 180 gram, double black vinyl.

                  2xLP includes MP3 Download Code.

                  CD Info: Jewel case, 20 page 4/4 booklet.

                  Soul Jazz Records’ new album ‘Kaleidoscope – New Spirits Known and Unknown’ brings together many of the groundbreaking artists involved in the new jazz scene that has developed in the UK over the last few years.

                  Featured artists include Matthew Halsall, Yazmin Lacey, Ill Considered, Tenderlonious, Theon Cross, Emma-Jean Thackray and many, many more in this ground-breaking release.

                  As well as sharing a pioneering spirit in these new artists’ approach to frontier-crossing musical boundaries, a further theme of this album is that many also share a determination to independent practices – and most of these artists’ recordings featured here are either self-published or released on independent labels. While the attention of this new wave of jazz artists up until now has been London-based, this album shows how this movement is spread across the whole of Britain (and indeed beyond).

                  ‘Kaleidoscope – New Spirits Known and Unknown’ shows that while there is commonality in these artists’ approach to music, there is a wide variety of styles – from deep spiritual jazz, electronic experimentalisation, punk-edged funk, uplifting modal righteousness, deep soulful vocals and much more.

                  FORMAT INFORMATION

                  3xIndies Exclusive LP Info: Deluxe edition with bonus 7".

                  Doves

                  The Universal Want

                    Just two weeks after revealing their first new music in eleven years, Doves break their silence on new album rumours by announcing that their fifth long player 'The Universal Want', will be released on Fri 11 September 2020 on Virgin EMI. Buoyed by refreshed chemistry, restless studio creativity and public reaction to their return, Doves set free the album’s first single, Prisoners, on Thu 09th / July /2020.

                    Only the second track and first single proper to be revealed, Prisoners forces attention upon itself, not least with the poignancy of Goodwin’s repeated greeting to ‘old friends’, but as an unstoppable, driving tale of caution in a world of unending desire. Produced by Doves with Dan Austin and recorded at the band’s own Frank Bough Sound III studios in North West England, the high heat of its Northern Soul beat is fanned by wiry guitar breaks and cuts of ethereal noise contorting beneath layers of stacked vocals. A statuesque musical statement, Prisoners guides Doves’ second chapter to a peak now within touching distance, the lyrics contrasting to express unease with modern ills.

                    FORMAT INFORMATION

                    Coloured LP Info: Heavyweight white coloured vinyl, gatefold sleeve, printed inners and download card.

                    LP Info: Heavyweight black vinyl, gatefold sleeve, printed inners, download card.

                    CD Info: Minpack, 16 page booklet.

                    Ltd Box Set Info: Lenticular Cover of album artwork on box.
                    Ex Picture Disc LP
                    Cassette (limited to box set only)
                    High quality 12 x 12 prints (art)
                    Digital Download Code
                    Numbered Limited Edition
                    Set of 5 postcard prints using album/single artwork
                    Remix LP - 12” LP featuring two Doves Remixes (A/B)

                    FREE SHIPPING This item has FREE UK shipping!

                    JARV IS

                    Beyond The Pale

                      JARV IS… are pleased to announce their debut album “Beyond the Pale”. This is the first original music from Jarvis Cocker since the “Further Complications” album in 2009.

                      JARV IS… a band featuring Jarvis Cocker (vocals, guitar, percussion), Serafina Steer (harp, keyboards, vocals), Emma Smith (violin, guitar vocals), Andrew McKinney (bass, vocals), Jason Buckle (synthesiser & electronic treatments) & Adam Betts (drums, percussion, vocals).

                      JARV IS… formed to play a show at the Sigur Ros “Norður og Niður” festival in Iceland at the very end of 2017.

                      JARV IS… was conceived as a way of writing songs in collaboration with an audience. As the material they were playing was in a state of flux the band decided to record their live shows so that they could monitor how the songs were developing. After an appearance at the Desert Daze festival in California, Geoff Barrow (Portishead, Beak>) suggested that these recordings could be used as the basis for an album. Overdubs & vocals were added at Narcissus Studios in Neasden, London. Post-production work took place at Jason Buckle’s Place du Big Boss studio in Raynes Park, London. The album was mixed by Craig Silvey at Toast Studios in West London.

                      The first single from the album “Must I Evolve?” was released in May 2019 & appeared in many “Top 10 Tracks of the Year” lists.

                      JARV IS… an ongoing live experience because life is an ongoing live experience.

                      Or, to put it another way:

                      THIS IS NOT A LIVE ALBUM – it’s an ALIVE ALBUM.

                      STAFF COMMENTS

                      Barry says: Jarv Is the ever-talented ex-pulp frontman with a string of unmissable releases since then, spreading over a wide range of styles. Jarv Is returning with a brand new album and Jarv Is absolutely smashing it. It would maybe be easier to go through the things that Jarv Isn't, and he definitely isn't coming off our stereo anytime soon.

                      Angel Olsen

                      Whole New Mess

                        The time had come, Angel Olsen realized in the fading summer of 2018, to take her new songs out of the house. Olsen's 2016 marvel, My Woman, had been a career breakthrough, but it catalyzed a period of personal tumult, too: a painful breakup, an uneasy recovery, an inadequate reckoning. At home in North Carolina's Blue Ridge Mountains, Olsen penned songs that finally grappled with these troubles, particularly love:"how forever is too much to promise, how relationships can lock us into static versions of ourselves, how you can go through hell just to make someone else happy. These heartsore explorations shape Whole New Mess, Olsen's first solo album since her 2012 debut and an emotional portrait so intimate and vulnerable you can hear her find meaning in these crises in real-time.

                        At least nine of the eleven songs on Whole New Mess should sound familiar to anyone who has heard All Mirrors, Olsen's grand 2019 masterpiece that earned high honors on prestigious year-end lists and glossy spreads in stylish magazines. "Lark," "Summer," "Chance" - they are all here, at least in some skeletal form and with slightly different titles. But these are not the demos for All Mirrors. Instead, Whole New Mess is its own record with its own immovable mood, with Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest. If the lavish orchestral arrangements and cinematic scope of All Mirrors are the sound of Olsen preparing her scars for the wider world to see, Whole New Mess is the sound of her first figuring out their shape, making sense for herself of these injuries.

                        Considered alongside All Mirrors, Whole New Mess is a poignant and pointed reminder that songs are more than mere collections of words, chords, and even melodies. They are webs of moods and moments and ideas, qualities that can change from one month to the next and can say just as much as the perfect progression or an exquisite chord. In that sense, these 11 songs - "solitary, frank, and unflinching examinations of what it's like to love, lose, and survive -" are entirely new. This is the sound of Angel Olsen, sorting through the kind of trouble we've all known, as if just for herself and whoever else needs it.

                        Astrel K

                        You Could If You Can / Gnistrande Snö (Cover Version)

                          Astrel K, based in Stockholm, is the solo project of Rhys Edwards of Ulrika Spacek. 

                          FORMAT INFORMATION

                          Ltd 7" Info: An edition of 492 copies in a generic card sleeve, with a hand stamped band name plus numbering.

                          A Certain Ratio

                          ACR Loco - Signed Art Card Edition

                            All formats come with a limited edition signed art card, 1 of 2 designs, packed randomly with orders of the new album ACR Loco.

                            Signed by Jez Kerr, Martin Moscrop and Donald Johnson as well as designer Trevor Johnson.


                            Back with their first new album in 12 years, a confident and revitalised ACR jumped back into the studio following their most successful tour in over 20 years.

                            ACR Loco feels like an accumulation of ACR's DNA from point zero in 1977 through to 2020 and sounds like a band who have effortlessly perfected their craft. An album to dance to, cry to, fall in love to and most importantly, to party to.

                            ACR Loco by the core ACR members Jez Kerr, Martin Moscrop and Donald Johnson, are joined by long term partners Tony Quigley, Denise Johnson and Matt Steele, plus special guests Sink Ya Teeth’s Maria Uzor and Gemma Cullingford, Factory Floor’s Gabe Gurnsey and Manchester luminaries Mike Joyce and Eric Random.

                            FORMAT INFORMATION

                            Coloured LP Info: Limited edition coloured vinyl. First pressing available on 1 of 4 colours: White, Blue, Red, Turquoise. Each colour is of varying rarity and will be randomly packed with no external cue as to which colour is available within the package.
                            White Vinyl – very rare (300 copies pressed)
                            Blue Vinyl – quite rare (600 copies pressed)
                            Red Vinyl – fairly rare (900 copies pressed)
                            Turquoise Vinyl – rare (1200 copies pressed)
                            Foil blocked sleeve designed by Trevor Johnson + inner sleeve and bo

                            Piccadilly Records

                            Enamel Badge

                              Look at this beauty!

                              Limited edition 25mm x 25mm hard enamel badge with butterfly fastening.

                              Liam Frost & The Slowdown Family - Signed Copies!

                              Show Me How The Spectres Dance

                                The much sought after debut album from Manchester's Liam Frost & The Slowdown Family is back by popular demand.

                                • Includes the singles "The Mourners of St Paul's" and "The City Is At Standstill“
                                • Pressed on 180g translucent blue vinyl.
                                • Signed by Liam Frost
                                • Recently featured on Tim Burgess’s Twitter Listening Party
                                • Released originally in 2006, Liam Frost is described by Guy Garvey as "the UK’s answer to Bright Eyes".
                                • "Young, fun and riotously talented, Liam Frost And The Slowdown Family are a free-wheeling 21st century folk carnival" -- NME

                                FORMAT INFORMATION

                                Coloured LP Info: Translucent blue LP.

                                Rose City Band

                                Summerlong

                                  It is impossible to talk about modern psychedelic music without mentioning Ripley Johnson. As bandleader of Wooden Shjips and half of Moon Duo, Johnson has continually charted new cosmic paths that expand on the language of the genre. With Rose City Band, Johnson’s songwriting and beautiful guitar lines take center stage. While his vocal treatment would be recognizable to any Wooden Shjips fan, the sparseness of the instrumentation lays bare the beauty of his writing. Shimmering guitar lines are free to shine, buoyed by driving rhythms. New to the mix are arrangements and instruments drawn directly from classic country, resulting in songs with more than a hint of twang. Buoyant and joyous, Summerlong is a captivating listen that leaves the listener yearning for more. The record is an ode to freedom, born of a musician stepping out of all routines and whose own liberation is communicated so completely in his music. Summerlong is a record that, taken in its entirety, is an emphatic statement on the songwriting power of Ripley Johnson. Johnson’s joy in every aspect of this album is delightfully infectious.

                                  Rose City Band started purely as a recording project, with Johnson’s role mostly obscured for the self-titled debut album. Released with no promotion, in the style of private press records, it was a liberating, a focus on music without any expectations. With a chuckle, Johnson elaborates, “I always would threaten to my friends that I’m gonna start a country rock band so I can retire and just play down at the pub every Thursday night during happy hour. I love being able to tour and travel, but I also like the idea of having a local band … more of a social music experience.” Freedom from expectation and obligation gave Johnson the space to experiment. The introduction of lap steel, mandolin, and jaw harp enhance Johnson’s lean guitar work with radiant overtones, placing Summerlong more overtly within the country tradition than its predecessor. Work on the album began at Johnson’s home studio in Portland during the summer, but, interrupted by touring, was not be finished until winter. The dark isolation of winter and the pining for summer’s easier days can be felt in the album’s few quieter moments. Summerlong was mixed by John McEntire (Stereolab, Broken Social Scene, Tortoise) at his newly minted Portland Soma Studios and mastered by Amy Dragon at Telegraph Mastering, also based in Portland.

                                  The aptly named Summerlong, born of Johnson’s own fondness for the season, delivers an emotional lift—an expression akin to the joy of getting out there on a warm day, be it gathering for a BBQ, hopping onto a bike, leaping into a swimming hole, or simply reading in a park.

                                  STAFF COMMENTS

                                  Barry says: Ripley Johnson once again brings the good stuff for his second album under this moniker. Swooning guitars and hazy atmospheric ambience underpin the solid backdrop of Ripley's sweet vocal delivery and syrupy, languid melodies. It's an enchanting and evocative collection, and one that continues the (very high) reputation set by last years' eponymous debut.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Clear / orange / blue vinyl.

                                  Coloured LP 2 Info: Summer sunset orange coloured vinyl.

                                  Working Men's Club

                                  Working Men's Club + Album Launch Show Ticket

                                    We are excited to announce an exclusive Working Men's Club show at Night And Day Cafe to celebrate the release of their self titled debut album.

                                    RESCHEDULED DATE THURSDAY 1st OCTOBER!

                                    PRE-ORDER THE LP, CD or CASSETTE BUNDLE OF "WORKING MEN'S CLUB" FOR ENTRY TO THIS EXCLUSIVE ALBUM LAUNCH SHOW.

                                    WE ALSO HAVE A LIMITED NUMBER OF TICKET ONLY PURCHASES AVAILABLE.

                                    NB: NIGHT & DAY CAFE IS AN 18+ ONLY VENUE. ID WILL BE REQUIRED.

                                    NB: ENTRY IS VIA TICKET ONLY!

                                    THE TICKETS ARE ONLY AVAILABLE VIA PRE-ORDER FROM PICCADILLY RECORDS.

                                     About the album:
                                    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

                                    FORMAT INFORMATION

                                    Coloured LP Info: COLOURED LP & TICKET. Neon yellow vinyl in an embossed sleeve with neon pantone and laminated logo.

                                    CD Info: CD & TICKET.

                                    Cassette Info: CASSETTE & TICKET. Clear shell + neon yellow slip-case.

                                    Sault

                                    UNTITLED (Black Is)

                                      SAULT make a stunning return with the powerful, timely and necessary art piece called...UNTITLED (Black Is). The soundtrack to a revolution, SAULT burst out the gate with blistering intent. An album that is triumphant as much as it is painful, evoking stark emotions highlighting systemic racism, injustice and police brutality.

                                      Once again, as is their trademark SAULT sweep everything up into a masterful cacophony of crashing drums, soul and funk inspirations, gospel, afro influences and golden era hip hop that signals a profound and urgent need for real and overdue change. This is protest music, a call to arms, essential and profound. The bar has been raised, call it what you want but they’ve left it….UNTITLED

                                      John Foxx & The Maths

                                      Howl

                                        John Foxx And The Maths return with a new line-up on their 5th studio album, Howl. Former Ultravox guitarist Robin Simon joins Foxx, Benge (Ben Edwards) and Hannah Peel after previously guesting with The Maths at their debut Roundhouse show in 2010. ‘For years, I'd wanted to work with Robin Simon again,’ says Foxx. ‘There’s something central about what he does - and I always miss it, no matter who I work with. It’s what Rob can do with a song, and with the sheer power of sound.’

                                        Work on the album began back in April 2019 at Benge’s Memetune studios in Cornwall with Rob Simon involved right from the start, his contributions instantly mutating the original ideas into something new. ‘Give him a song and he’ll give you three takes - all utterly different incarnations,’ enthuses Foxx who first worked with Simon on Ultravox’s Systems Of Romance album in 1978. ‘And it will all be much better. Demolition intercision is what he does and when you get used to the violence he can wreak, it’s a true delight.’

                                        Foxx and Benge originally got together back in 2010, playing a headline show at the Roundhouse in London as the first ever John Foxx And The Maths show before they’d even finished their debut album, Interplay, which came out a few months later in 2011. Forward-looking, intuitive and risk taking from the start (Critic Mark Fisher summed them up as ‘a glimpse into another world in which rock ’n’ roll was invented on Moogs’) their passion for the strange sounds and atmospheres they seduce and rip from the machines in Benge’s studio has inspired a series of fiercely personal electronic records - the Shape Of Things (2012), Evidence (2013) and The Machine (2017), an eerie instrumental score for the theatre production of E.M. Forster’s The Machine Stops. Along the way they’ve collaborated with The Soft Moon, Gazelle Twin, ADULT., Xeno & Oaklander, Gary Numan, Matthew Dear and many more, but at the core of everything is Foxx and the Cornish-based artist/producer. ‘Benge is this generation’s Conny Plank’, grins Foxx. ‘Original thinker, open mind, eager conspirator in insanity and the desire to push everything beyond its limits and record it all perfectly - but holding no daft prejudices. In other words, the kind of captain you always want at the helm of the Enterprise.’

                                        Hannah Peel joined the line-up on the Interplay tour in 2011 and has played every show since, while also adding violin to Evidence and of course, Howl. ‘Hannah did a few star turns on the album,’ says Foxx, referring to the vicious noises that she conjured up as textures on a few songs. However on the electro-psychedelic ‘Everything Is Happening At The Same Time’, the complex interplay of the ‘The Dance’ and the romantic longing of ‘Strange Beauty’, Foxx describes her string-led contributions as ‘luscious, expansive and eloquent.’

                                        The Maths have created an album of dark, writhing glamour. Opener ‘My Ghost’ sounds like haunted static in a cold wind, the title track is a twisted glam-punk celebration of ‘the outsider’ who leaves the fringes to make himself visible, while Foxx switches to a sinister Ferry-esque croon on ‘Tarzan And Jane Regained’.‘New York Times’ is a report back from the city of the 1970s, with Foxx’s vocals gently coaxing out the vulnerability of its street characters and Factory stars, while ‘Last Time I Saw You’ revels in an ice-cool narrative illuminated by neon-lit transformations and flickering revelations - this song is built for streets and strobes. The album ends with ‘Strange Beauty’, where Foxx sounds like an echo from the 1950s - a voice that is still searching across all these years for something just out of reach.


                                        STAFF COMMENTS

                                        Barry says: There's a whole world of influence here being semlessly integrated into one cohesive whole. Elements of post-punk and synthpop mix with the headier aspects of industrial (distorted basses, jagged melodies a-la NIN), and more percussive, beat-led DFA style rhythms. A collection that is, amazingly, more than the sum of its parts.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Orange Coloured Vinyl UK Indies Exclusive.

                                        Phoebe Bridgers

                                        Punisher

                                          Phoebe Bridgers doesn’t write love songs as much as songs about the impact love can have on our lives, personalities, and priorities.

                                          Punisher, her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. The arrival of Punisher cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era.

                                          Bridgers is the rare artist with enough humour to deconstruct her own meteoric rise. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others, Bridgers herself is more interested in discussing topics on Twitter, deadpanning meditations on the humiliating process of being a person, she presents a sweetly funny flipside to the strikingly sad songs she writes. Fittingly, Punisher is fascinated with, and driven by, that kind of impossible tension. Whether it’s writing tweets or songs, Bridgers’s singular talent lies in bringing fierce curiosity to slimy and painful things, interrogating them until they yield up answers that are beautiful and absurd, or faithfully reporting the reality that, sometimes, they are neither.

                                          Bridgers pulls together a formidable crew of guests, including the Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst as well as Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys). The album was mixed by Mike Mogis, who also mixed Stranger In The Alps. On the album’s epic, freewheeling closer, “I Know The End,” Bridgers orchestrates wails and horns, drums and electric guitar into a sumptuous doomsday swirl, culminating in her own final whispered roar.

                                          This is Punisher in a nutshell: devastating elegance punctuated by a moment of deeply campy self-awareness.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Blue green swirl vinyl.

                                          The Psychedelic Furs

                                          Made Of Rain

                                            Highly influential post punk stars, The Psychedelic Furs release their new album, their first in nearly 30 years. From its exhilarating opening bars, Made Of Rain - sounds like The Psychedelic Furs and them alone. It’s a joy to hear again, fresher than ever. Their peerless permutations of art, aggression and ambience drive the dynamics, and it’s always been this originality which has set them apart, a cut above. The album was produced by Richard Fortus, whilst mixing duties were handled by Tim Palmer (David Bowie, U2, Robert Plant). 


                                            STAFF COMMENTS

                                            Barry says: From the outset, this absolutely sounds like a Psychedelic Furs album and after 30 years of not recording, that's quite an achievement. Walls of distortion and chorused guitar solos all behind Butler's instantly recognisable vocals.

                                            FORMAT INFORMATION

                                            2xColoured LP Info: Limited purple vinyl, gatefold sleeve.

                                            2xLP Info: Black vinyl, gatefold sleeve.

                                            Protomartyr

                                            Ultimate Success Today

                                              Following the release of Relatives In Descent, the band’s critically acclaimed headlong dive into the morass of American life in 2017 (featured on myriad “best of” lists, including The New York Times, Esquire, Newsweek, Loud & Quiet and more), Ultimate Success Today continues to further expand the possibilities of what a Protomartyr album can sound like. 

                                              “There is darkness in the poetry of Ultimate Success Today,” says punk legend, founding member of The Raincoats, and friend of the band Ana da Silva. “The theme of things ending, above all human existence, is present and reminiscent of Cormac McCarthy’s The Road. Our world has reached a point that makes us afraid: fires, floods, earthquakes, hunger, war, intolerance…There are cries of despair. Is there hope? Greed is the sickness that puts life in danger.”

                                              "The re-release of our first album had me thinking about the passage of time and its ultimate conclusion,” says singer Joe Casey of Ultimate Success Today. “Listening to No Passion All Technique again, I could hear myself hoping for an introduction and a long future, but also being cognizant that it could be ‘one and done’ for us. So, when it came time to write Ultimate Success Today, I was reminded of that first urgency and how it was an inverse of my current grapple with how terribly ill I’ve been feeling lately. Was that sick feeling colouring how I felt about the state of the world or was it the other way around?”

                                              “This panic was freeing in a way. It allowed me to see our fifth album as a possible valediction of some confusingly loud five-act play. In the same light I see it as an interesting mile marker of our first decade of being a band - a crest of the hill along a long highway. Although just to cover my bases, I made sure to get my last words in while I still had the breath to say them.”

                                              “There are exquisite, subtle gifts from other instruments that always heighten the guitar, instead of fighting with it,” explains da Silva. “They help to create a harmonious wall of sound all of its own. This was intentional. Greg Ahee wanted to use different textures other than pedals, and the drone quality of some of those instruments colours the guitar and the whole sound with a warm, rich in reverb, yet all-consuming landscape for Joe Casey’s voice.”

                                              Protomartyr is Joe Casey (vocals), Greg Ahee (guitars), Alex Leonard (drums), and Scott Davidson (bass guitar). Ultimate Success Today was recorded at Dreamland Recording Studios, a late 19th century church, in upstate New York and co-produced by the band and David Tolomei (Dirty Projectors, Beach House) with mixing by Tolomei. Featured guest musicians on the album include Nandi Rose (vocals) a.k.a. Half Waif, jazz legend Jemeel Moondoc (alto sax), Izaak Mills (bass clarinet, sax, flute), and Fred Lonberg-Holm (cello).


                                              STAFF COMMENTS

                                              Barry says: 'Ultimate Success Today' is a superb, burning fire of an LP from start to finish. Dark and foreboding while somehow managing to elicit a headnod from even the most stationary of listeners, this is Protomartyr's finest moment yet. Javi is right to love it

                                              FORMAT INFORMATION

                                              Coloured LP Info: 140g transparent blue vinyl with 24"x24" poster, 'zine' booklet and download card.

                                              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.

                                                FORMAT INFORMATION

                                                Coloured LP Info: Limited edition translucent pink coloured vinyl.

                                                Coloured LP includes MP3 Download Code.

                                                Coloured LP 2 Info: Limited edition clear vinyl.

                                                LP includes MP3 Download Code.

                                                After a handful of singles (all of are included here), one of the most talked about new bands of the last 12 months finally release their debut album. Their visceral pop has drawn comparisons to Idles amongst others, but what really stands out and sets them apart is their roots. Straight from the off, there is no doubt where they’re from; Irish through and through. Their hometown of Dublin is a constant reference point throughout from it’s literary past to modern day life in the city. Considering the band have only actually been a band for three years, this is a remarkably assured debut that’s hard to ignore.

                                                STAFF COMMENTS

                                                Andy says: One of the year's most eagerly awaited albums did not disappoint when it arrived in April. A punk/post punk rock'n'roll band who actually sing about stuff, this record hits with the power of an early Smiths, Arctic Monkeys or even Oasis (more in attitude than anything else). It's like a poem to Dublin, getting out as much as revelling in, and singer Grian Chatten is the most authentic frontman we've heard in a long time.

                                                Idles

                                                Ultra Mono

                                                  Following Brutalism (2017) and Joy as an Act of Resistance (2018), two releases that garnered global critical acclaim, IDLES return with their highly anticipated third album – Ultra Mono. Sonically constructed to capture the feeling of a hip-hop record (including production contribution from Kenny Beats), the album doubles down on the vitriolic sneer and blunt social commentary of their past work. Not far beneath the surface of their self-admitted sloganeering lies a deeply complex and brutally relevant album that chews up clichés and spits them out as high art for the masses. This is momentary acceptance of the self. This is Ultra Mono.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Limited edition Vortex vinyl.

                                                  Deluxe LP Info: Black vinyl in deluxe gatefold packaging with 28 page debossed Ultra Mono catalogue.

                                                  Sufjan Stevens

                                                  The Ascension

                                                    Sufjan returns with the long awaited follow up to Carrie & Lowell.

                                                    FORMAT INFORMATION

                                                    2xColoured LP Info: Limited edition clear vinyl.

                                                    DMA's

                                                    The Glow

                                                      On their first two albums Aussie band DMA’s wore their love for early 90s Brit pop well and truly on their sleeve. Although they’ve dabbled with synths before, on their third album they’ve taken their love of rave to edge themselves nearer the dancefloor. They manage to combine rock’n’roll energy with a euphoric groove that nods to Primal Scream and the Chemical Brothers.

                                                      STAFF COMMENTS

                                                      Barry says: Following on from last years' riotously received 'MTV Unplugged' the DMA's return with their newest LP of driven rock, catchy hooks and jangling arm-waving indie anthems. Lovely stuff.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: RSD stores exclusive tri-coloured vinyl.

                                                      Biffy Clyro

                                                      A Celebration Of Endings

                                                        Biffy Clyro can announce that their eagerly anticipated new album ‘A Celebration of Endings’ will be released on 15 May. It follows the band’s previous two studio albums – ‘Ellipsis’ (2016) and ‘Opposites’ (2013) – both of which went straight to #1.

                                                        The band’s approach to opus eight was simple. Keep things fresh and maintain the wide-eyed wonder of what they do. Surprise themselves and each other. Push things to their furthest extremes. Their first building block in embracing the new was to turn to an old friend. In came Rich Costey, producer of ‘Ellipsis’.

                                                        “This is a very forward-looking album from a personal perspective and a societal perspective,” explains frontman Simon Neil. “The title is about seeing the joy in things changing, rather than the sadness. Change means progression and evolution. You can retain everything you loved before, but let’s lose the bad shit. It’s about trying to take back control.”

                                                        That idea manifests itself in various ways. On a personal level that might be a relationship which has reached a point where it’s in both parties’ interest to separate. And on a wider scale, it’s about standing up for what you believe in.

                                                        Sonically, Biffy Clyro playfully push the outer reaches of their sound to the extreme – often in the case of the same song. Opening track ‘North of No South’ hits hard before finding the space for the Johnston brothers to unleash some soaring Queen-style vocal harmonies, before ‘The Champ’ throws piano, cinematic strings (conducted by Bruce Springsteen collaborator Rob Mathes at Abbey Road) and Biffy’s prototyped jagged rhythms into the mix without ever losing any of its sleekness.

                                                        Other songs are far more direct. ‘Tiny Indoor Fireworks’ is the best direct rock anthem they’ve ever written, somehow snappy, melodic and light on its feet while feeling so natural you could imagine it was conceived in minutes. Meanwhile, ‘Space’ is a natural successor from previous lighters-in-the-air highlights ‘Many of Horror’ and ‘Rearrange’. It’s a sincere message of reconciliation for someone you love, and Biffy’s most tender, unguarded moment from the sweet spot of their catalogue.

                                                        How can you conclude an album of such esoteric diversity? Biffy launch headfirst into ‘Cop Syrup’. There’s the rush of ‘The Vertigo of Bliss’, a detour into Sub Pop-style grunge and manic shrieks which wouldn’t sound out of place on a Liturgy record. But then it contorts again, first into ethereal orchestration and then with a final burst of violence. It’s an ending to celebrate.


                                                        Various Artists

                                                        Some Neon Reason

                                                          Previous PY collections (“They Make No Say” & “Popcorn Lung”) are firmly established gems in the label’s (completely sold out) back catalogue; so the news of a third’s arrival is a joyous moment for fans of the label.

                                                          This collection came about under way more unusual circumstances than the previous pair; recovery from the lockdown period resulted in a daunting list of promised releases; far too many for what time was left in 2020. So mercifully, ‘SNR’ not only acts to shorten this list by a 12” and 3 x 45s, it also runs wonderfully seamlessly into the bargain!

                                                          The set kicks off with a long-held favourite here at PY HQ. Cyril Bihan’s “PHIL WAVE” project. Sadly, Cyril passed away in 2019, and we are hugely grateful that Cyril’s family allowed the inclusion of the thumping “Hacking Sequence” to open proceedings here. Following that, KLAUDYNA POP offer up the fabulous “Contempt”, which, in their own words, contains an equal mix of “anger, resentment and general 2020 disillusionment expressed as a three-and-a half minute Northern Minimal pop song”.

                                                          Closing both sides of the record are two epic tracks from one man Swedish outfit VIB, planned initially as a 12” before the year ebbed away. “Vendel” and “The Deep i” both clock in at ten minutes plus; killer, slow building, meditative kosmische pieces recalling Klaus Schulze and Tangerine Dream with latter day nods to Emeralds, Eat Lights Become Lights and perhaps some Chris and Cosey. Recorded at home -beneath a bunk bed as his son slept- true DIY home recordings, epic in breadth and motorik goove.

                                                          Side two kicks off with the latest in a long line of French artists to have featured on PY. RECIDIVE NOIRE follow in the footsteps of Alexandre Bazin, Bernard Grancher, Cite Lumiere and many more; a Parisian trio with a love of old analogue, synth and cold wave. Professing a love especially for Martin Dupont, Wire and Air amongst others. Following them is the incredible S.A.P.T (Soloist Anti-Pop Totalization); the project of Japanese experimental electronic musician Rikinari Hata. The label is hugely excited about future releases with Rikinari, who offers up the fabulous “Other” for the record here.

                                                          Another wonderful PY collection, expected to follow the trends set by the first two and sell out immediately upon release. An absolute must for all fans of early Mute, the late 70s Sheffield electronic scene, Heldon / Pinhas, the Illuminated and (TG’s) Industrial labels. One time vinyl only pressing of 500 copies. 

                                                          STAFF COMMENTS

                                                          Barry says: The Last PY compilation was a SUPER seller,so much so that it got repressed with another LP and THAT sold out too! It's obvious that you're in safe hands with Dom curating another one and in even safer hands when you see the lineup. Some stunning tunes here, and after all, who needs to even read anything else... It's on Poly Youth.. you're safe.

                                                          On her 3rd album for both Fat Possum and Loose Records, Courtney Marie Andrews has seemingly pulled in to one package all the songwriting skill, vocal prowess, and musicianship displayed on previous albums, into one career defining statement. A break-up record for sure, though due to CMA's extraordinary storytelling gifts, more of a modern day coming-of-age tale of love won, love sustained, and unfortunately, love's inevitable dissolution.

                                                          STAFF COMMENTS

                                                          Barry says: A bittersweet and majestic collection of heartfelt ballads and more upbeat, jangling pieces all rendered in Andrews' typically effervescent and emotive style. Slide guitars, rich acoustics and those unmistakable vocals. Gorgeous.

                                                          FORMAT INFORMATION

                                                          LP Info: Random copies of the preorder of this album will include a limited edition signed postcard!

                                                          LP includes MP3 Download Code.

                                                          OSEES

                                                          Protean Threat

                                                            Latest iteration of John Dwyer’s everchanging, impossible-to-describe band.

                                                            Witness the ever-changing, ever-mutating threat that is reality. Perception is under duress; sensibility is bending everyday under the barrage of nonsense. One must make note of whom one is and what one has become: look into the mirror of the planet-killers—psychic cannibals infiltrate and contaminate once familiar and seemingly secure territories… formidable foes indeed! What powers these beasts? What fuels discord and hatred? The behemoth of a “civil” society? What are the weapons at one’s disposal? Generosity is the aegis against greed, empathy is the armor to deflect apathy, love is the club to abate hate…the fog is lifting and humans are opening their eyes.

                                                            And so Castle Face offers this field recording, the Osees Protean Threat, from the pits as a quick booster between protein pills and recycled sweat beverage anthems to assist the listener to not worship at the altar of violence and greed, to not offer oneself up for free, to stand up and be vigilant! Truth will not be found in the speeches and photo ops of the overlords— stand strong and together under the gaze of the oppressors. Stand vigilant, united with those who don’t have the same privileges. Demand respect and a peaceful life for all. This recording is at the apogee of scuzz—punk anthem amulets for the ears and heart, a battery for one’s core. Be strong. Be human. Be love.

                                                            PJ Harvey

                                                            To Bring You My Love - Demos

                                                              10 track collection of previously unreleased demos of all songs from the third studio album by PJ Harvey – To Bring You My Love – from 1995. Includes demo versions of the singles ‘Down By The Water’, ‘C’mon Billy’ and ‘Send His Love To Me’. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator John Parish. Features brand new artwork with previously unseen photos by Maria Mochnacz.

                                                              FORMAT INFORMATION

                                                              Ltd LP Info: 1LP, 180 gram black vinyl.
                                                              Full colour outer sleeve, with printed inner sleeve.
                                                              Artwork includes previously unseen photos.
                                                              Download card.

                                                              CD Info: Mini-gatefold outer sleeve.
                                                              Printed inner sleeve.

                                                              Oneness Of Juju

                                                              African Rhythms 1970-1982

                                                                Strut kick off a brand new deal with the seminal independent black jazz and soul label Black Fire in May with ‘African Rhythms 1970-1982’, a comprehensive 2CD / 3LP compilation of Oneness Of Juju, led by Plunky J. Branch.

                                                                Tracing their career from the band’s earliest work in 1970 with South African exiled jazzman Ndikho Xaba in San Francisco, the compilation covers the band’s journey to New York’s loft jazz scene, forming Juju and releasing two landmark albums of hard-hitting percussive jazz on Strata-East. “I saw myself as a cultural warrior,” explains Plunky. “We studied about Africa and tried to infuse our music with an African spirit.” Moving back to his hometown of Richmond, Virginia during the mid-‘70s, Plunky drew in a superb new group of musicians and vocalists and created the band’s new incarnation, Oneness Of Juju, retaining the African influence but fusing his sound with funk and R’n’B on the classic ‘African Rhythms’ album. “We realised that, if we put a backbeat to the Afro-Cuban rhythms, people in Richmond and Washington D.C. could be drawn into it; it didn’t change anything about our message.” The change would lead to a series of enduring soul-jazz classics on Jimmy Gray’s Black Fire label, including ‘River Luv Rite’, ‘Plastic’ and ‘Don’t Give Up’ and their biggest crossover international hit, ‘Every Way But Loose’ in 1982, later famously remixed by Larry Levan. The band received renewed interest in their music during the mid-‘80s as Washington D.C.’s go-go innovators cited the band as a major influence and rare groove DJs revived their albums for London dancefloors.

                                                                ‘African Rhythms 1970-1982’ reprises a compilation released on Strut in 2001 and is newly remastered by Frank Merritt at The Carvery. Both formats feature a 12” sized 4pp booklet featuring rare photos and a comprehensive interview with Plunky Branch within liner notes by Chris Menist.

                                                                Death Valley Girls

                                                                Under The Spell Of Joy

                                                                  The album opens with “Hypnagogia,” an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band’s choral objectives for Under the Spell of Joy are established right off the bat, with Bonnie Bloomgarden’s melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark.

                                                                  The portentous simmer of the opening track yields to the ecstatic rocker “Hold My Hand,” where verses reminiscent of Velvet Underground’s “I’m Waiting For The Man” explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children’s choir chanting the album’s primary mantra “under the spell of joy / under the spell of love.”

                                                                  Death Valley Girls have always vacillated between lightness and darkness, and on “Bliss Out” they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on “The Universe,” where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you’re looking for transcendental rock music, look no further.

                                                                  “Death Valley Girls are a gift to the world.” Iggy Pop.

                                                                  “If Charlie Spahn Ranch girls had formed a band that was part-Stooges, part-Bikini Kill, all groove, then they’d have sounded like this.” Classic Rock Magazine.

                                                                  “A striking record, all brazen fury and bratty beats, something resembling hard rock before Sabbath” Noisey.


                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: First LP pressing limited to 1200 copies on gold vinyl, LP comes with folded poster + DL coupon.

                                                                  Lianne La Havas

                                                                  Lianne La Havas

                                                                    ‘Lianne La Havas’, Lianne’s third album and her first in five years and is an album of startling beauty and insight—made entirely on her own terms which has been quite a journey. In one sense, geographically: La Havas spent a lot of time moving back and forth between the UK and the States working on writing and exploring her own identity. As a result, ‘Lianne La Havas’ feels spacious and luminous. Its sunbaked sounds recall, in places, the Brazilian singer, songwriter, and guitarist Milton Nascimento (on “Seven Times”). You might also hear the curveball chords of Joni Mitchell and Jaco Pastorious’s jazz explorations (“Green Papaya”), or the puttering drums and inviting warmth of golden-era Al Green (“Read My Mind”). And throughout the record, there’s a sense of empowerment that has its roots in the crisp ‘90s R&B of Destiny’s Child.

                                                                    ‘Lianne La Havas is ten songs that span the arc of a love relationship. The album’s opener, ‘Bittersweet’ functions as a kind of an overture, setting out what follows, before the giddy, love-struck rush of ‘Read My Mind’. If these first few songs suggest a flower opening its petals, that’s no coincidence: “What plays a big role in the album is the idea of the life cycle of plants and nature—equating this journey with a seasonal thing that blooms, thrives, goes away, and comes back even stronger,” La Havas says. Over the five years it took for the album to come together, she found herself watching the changing foliage outside her window in south London, struck by how she was growing and changing herself—not always comfortably. “A flower has to dry up and die in order to be reborn,” she says. “You have to get to the rock bottom to rebuild yourself.”

                                                                    After relentless touring and promoting of her first two albums as well as personal and emotional events in her life, it was becoming increasingly difficult to find time, inspiration and confidence to get back in the studio for a follow up. As it came about, the recording process of album number three began in earnest by accident; returning from a glorious, sunny Glastonbury festival performance in June 2019, La Havas and her core band decided to see if they could nail their lithe live version of Radiohead’s ‘Weird Fishes’ in the studio. “I had the most wonderful, nourishing experience recording that,” she says, “And that’s where I decided: the rest of the album needs to be like this. It’s got to be my band, and I’ve got to do it in London, whenever people have time.” By October, she had all ten songs, and by December, everything was recorded—mainly in London, and also in Bath and New York. In keeping with the album’s intimate feel, everyone who contributed to the record is a trusted collaborator, including long-term songwriting ally Matt Hales, co-producer Beni Giles, and guest co-producer Mura Masa.

                                                                    The confidence that La Havas has cultivated, both personally and creatively, is audible in the fact that ‘Lianne La Havas’ is a record that feels utterly real—a living, breathing thing. It hasn’t been polished to a squeak in favor of a “clean” recording; La Havas followed her gut on this album, going with what feels good.

                                                                    Beauty never really goes by the book, and ‘Lianne La Havas’ is a breathtaking example of this. Now thirty years old, she is excited about playing these powerful songs live. “The best part is that I own them, and really believe in them,” she says. “And, you know, it’s me. So I can’t be afraid of doing what I do, and being who I am.”

                                                                    ‘Lianne La Havas’—an exquisite, rich, and tender expression of love, loss, and rebirth that marks a new era for the British artist.

                                                                    STAFF COMMENTS

                                                                    Barry says: Rich, warm vocals meet with grooving keys and flickering guitars. Unmissable brilliant new LP from La Havas here, and the perfect counterpoint to these stressful times. A tonic if ever there was one. Beautiful stuff.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Indie exclusive limited mint coloured vinyl.

                                                                    BDRMM

                                                                    Bedroom

                                                                      Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It’s a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year’s If Not, When? EP. Musically, there are nods to The Cure’s Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints’ The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. “The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs… basically every cliché topic that you could think of,” reveals frontman Ryan Smith. “But that doesn’t mean they ever stop being relevant. It’s a fucker growing up, but I’m lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I’ve ever met.”

                                                                      And that band name, in case it needs explaining, is pronounced the same way as the album title. “I never thought I’d get to the stage where I would have to explain it so much,” says Ryan. “We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We’re all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title.” He’s right. The perfect title for the perfect debut album.

                                                                      STAFF COMMENTS

                                                                      Javi says: Brilliant and building post-punk that touches on everything from goth to shoegaze to post-rock. A real grower

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Exclusive red vinyl edition.

                                                                      Whitney

                                                                      Candid

                                                                        Covers have long been an integral part of Whitney's ethos. Ever since the band first formed in a Chicago apartment in 2014, tackling songs by the Everly Brothers, Allen Toussaint, and more played an important part in the songwriting process for their breakthrough 2016 debut Light Upon The Lake. Since then, their takes on NRBQ's "Magnet" and Neil Young's "On the Way Home" have become live staples, an essential and communal part of their sets. Their love for the music that makes up their deepest influences has always been genuine and tangible. Following their acclaimed sophomore 2019 album Forever Turned Around, Whitney have decided to return with a loving tribute to songs that have been formative and lasting to the entire band. Candid is a 10-song collection boasting covers of artists like Kelela, David Byrne, John Denver, SWV , and others but it's also a band challenging themselves to explore more than their musical comfort zone. "This could've been as simple as saying we really love these songs and we love our bandmates and making a covers record just felt right but it truly became an exploration into how we can evolve as a band going forward,” says drummer and singer Julien Ehrlich.

                                                                        Recorded in January and February of 2020 over multiple sessions at Treehouse Studios in Chicago and Flora Recording and Playback in Portland , Candid finally sees the full touring band in a recording studio together. " This is the first time we really saw what the live iteration of Whitney sounds like in a studio. It was a really celebratory vibe and everyone in the room fed off each other's energy," says guitarist Max Kakacek. It's the band's best reflection so far of their triumphant live show as most of these renditions were recorded live. Featuring keyboardist Malcolm Brown, bassist Josiah Marshall, trumpeter Will Miller, as well as guitarists Print Chouteau and Ziyad Asrar, the entire live unit is firing at all cylinders thanks to its tight-knit and road-tested relationship.

                                                                        Their chemistry exudes throughout the tracklist but it's especially apparent when they open up the dynamic to their friends, like Katie Crutchfield of Waxahatchee joining John Denver's "Take Me Home, Country Roads." On the cover of the classic, Ehrlich and Crutchfield's voices merge for a joyous harmony over the chorus. Over eight days at Treehouse Studios, the band would show up in the morning, learn a song together, and choose an instrument, leading to a freewheeling and adventurous atmosphere. Their renditions of SWV's '90s R&B heater "Rain" or David Byrne and Brian Eno's 2008 track "Strange Overtones" prove this, as they stretch Whitney into new musical directions. "We love these songs and all have an emotional connection to each one, but we really wanted to see if we could take the skeleton of each track and approach it in a way that felt new. We didn't want to recreate what any of these artists already did," says Kakacek. This is most evident on Candid opener "Bank Head," which tackles the sparse and hypnotic electronic single by Kelela. Ehrlich adds, “ It's something we've never done before and probably a direction that we want to explore in our future albums” he continues, “ We knew we couldn't beat these songwriters at their own game. Instead, we wanted to find songs that were great at their core and could be reimagined.”

                                                                        At its core, Candid is a celebration of both the songs Whitney has adored throughout its formation and the band's evolving bond through years of relentless touring and an enduring friendship. "One thing we realized is how these songwriters could make amazing songs with so much simplicity. Taking these skeletons and working with this incredible material means we're keeping our chops and staying tight as a band," says Ehrlich. The LP is a sincere snapshot of their evolving and eclectic tastes that's imbued with a wholly inviting charm. It's Whitney at their most unvarnished and inventive but most importantly, it's a heartfelt tribute to the songwriters who've helped them most.

                                                                        -Josh Terry
                                                                        May 4, 2020
                                                                        Chicago, IL

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: Clear blue vinyl.

                                                                        Catherine Anne Davies & Bernard Butler

                                                                        In Memory Of My Feelings

                                                                          Pre-order the album for a chance to win one of 10 test pressings and signed lyric sheets!

                                                                          Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is proud to announce the very first release of brand new music on the label. ‘In Memory Of My Feelings’ is the result of a one-off collaboration between Catherine Anne Davies and Bernard Butler. The album was recorded over writing and recording sessions covering a four year period, but amounting to just fifteen days in total. Prior to the creation of the record, the two had never met. There are ten songs featured in total on ‘In Memory Of My Feelings’.

                                                                          Key tracks include the unearthly end-of-days address The Breakdown, the triumphant four-to-the-floor excoriations of Sabotage (Looks So Easy) and the luxuriant glam ache of No More Tears To Cry. Work on In Memory Of My Feelings was completed in 2014, but extraneous commitments forced Catherine and Bernard to postpone its release indefinitely. Of the record Butler says: “I’d got used to the idea that the record might never emerge. Occasionally, I’d listen to it on my headphones if I was on the bus, I always had the same thought, “I wish I could go to a record shop and buy this.” Davies adds: “For me, the best thing is that we still don’t know each other that well. The songs were the conversation.” Catherine is best known for her work as The Anchoress. Her debut album Confessions Of A Romance Novelist was released to widespread critical acclaim in 2016 and was named amongst the Guardian critics’ Albums of the Year, earned her the Best Newcomer prize at the PROG Awards and was also named HMV’s Welsh Album of the Year.

                                                                          Since then she has played in the touring line-ups of Manic Street Preachers and Simple Minds. The second Anchoress album is scheduled for release early next year. Bernard Butler is a founding member of Suede, with whom he co-wrote and performed two era-defining albums. He then went on to enjoy top ten success with McAlmont & Butler and as a solo artist before focusing on writing and production work with artists such as Bert Jansch, The Libertines, Duffy, Teleman and Texas.

                                                                          All vinyl copies of In Memory Of My Feelings come with a specially-recorded seven-inch single featuring a rearranged version of album track The Patron Saint Of The Lost Cause (retitled The Patron Saint Of Harmonia) and a stunning, pared-back version of Madonna’s Live To Tell. Of the latter, Butler says, “When I was 16, Live To Tell allowed me to join the dots in songwriting between True Blue and The Queen Is Dead.” Davies adds: “I don’t know what Madonna wrote it about, but the resonances in a post-#metoo world are impossible to miss.”

                                                                          The songs are also featured on the CD and download versions. The artwork for In Memory Of My Feelings was the result of a collaborative process between Catherine Anne Davies, Bernard Butler and the acclaimed Belgian photographer Eva Vermandel, whose work is featured in the collections of the V&A and National Portrait Gallery. Vermandel’s work echoes aspects of the record itself: the relatively formal manner of the duo’s collaboration and the uncertainty that surrounded the outcome of the recording sessions.

                                                                          FORMAT INFORMATION

                                                                          LP Info: Limited LP & 7"


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