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Rolling Blackouts Coastal Fever

Sideways To New Italy

    After years spent looking out at landscapes and loved ones and an increasingly unstable world, Rolling Blackouts Coastal Fever have turned their gaze inward, to their individual pasts and the places that inform them, on their second full-length, Sideways to New Italy.

    Led by singer-songwriter-guitarists Tom Russo, Joe White and Fran Keaney, the guitar-pop five-piece returned home to Australia after the relentless touring schedule that came following their critically regarded 2018 debut Hope Downs. Feeling the literal and metaphorical ground under their feet had shifted, the band began grasping for something reliable. For Keaney, that translated into writing "pure romantic fiction" and consciously avoiding the temptation of angsty break-up songs, while Russo looked north to a "bizarre place" that captured the feeling of manufacturing a sense of home when his own had disappeared.

    The New Italy of the new album’s title is a village near New South Wales’ Northern Rivers – the area drummer Marcel Tussie is from. A blink-and-you'll-miss-it pit-stop of a place with fewer than 200 residents, it was founded by Venetian immigrants in the late-1800s and now serves as something of a living monument to Italians' contribution to Australia, with replica Roman statues dotted like alien souvenirs on the otherwise rural landscape. The parallels to the way the band attempted to maintain connections and create familiarity during their disorienting time on the road was apparent to Russo. "These are the expressions of people trying to find a home somewhere alien: trying to create a utopia in a turbulent and imperfect world."

    The record's geographic identity emerged from the band losing their grip on their own, whether that was through the pressure of touring, the dissolution of relationships, a frustrating distance from their daily lives – or some combination of all three – that came from being slingshotted all over the world, playing sold-out headline tours and festivals including Coachella, Governors Ball, Primavera Sound, All Points East, and Pitchfork Music Festival.

    The notion of crafting, in Russo’s words, “a utopia of where your heart’s from,” permeates Sideways to New Italy, in which early attempts at writing big, high-concept songs about The State of the World were abandoned in favor of love songs, and familiar voices and characters filter in and out, grounding the band's stories in their personal histories. There’s something comforting, too, in knowing the next time they’re buffeted from stage to stage around the world, they’ll be taking the voices of their loved ones with them, building a new totem of home no matter where they end up.

    FORMAT INFORMATION

    Coloured LP Info: Loser edition sky blue vinyl.

    Laura Marling

    Song For Our Daughter

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

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

      FORMAT INFORMATION

      Coloured LP Info: Indies exclusive marble vinyl.

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

      CD Info: Digipak CD with booklet.

      Primal Scream

      Screamadelica

        Primal Scream had been fragile, 60s obsessed  dreamers, influenced by Love and (particularly) The Byrds (85-87) but in 1989 they were NY Dolls leather-clad rockers with the odd Big Star slowie or Stonesy ballad thrown in for good measure. Then BANG acid house and ecstasy hit  and in the spirit of the day, Andy Weatherall took one of those Stones style heartbreakers and made the hit single "Loaded" . Indie-Dance was born, anyone remember?!But this LP is much, much bigger than that. It goes up, it comes down, and covers all the magic in between. There's blues, soul, gospel, house, dub and yes a beautiful Stonesy ballad ("Damaged"). No songs are fillers, it's a perfectly realised musical statement. With the Orb, Andy Weatherall and even the Stones'Jimmy Miller to help them, they created one of the best albums of the 90s that still resonates today. Higher than the sun.

        STAFF COMMENTS

        Andy says: First time on a cd-only box set for every single Screamadelica affiliated track. Lovely new booklet and a storming live set (which better illustrates the band's fusion of rock'n'roll and dance grooves) make this a brilliant collection.

        Martin says: Classic album, perfectly presented.

        Patrick says: Not only do you get a defining moment in musical history, you get all the remixes, live versions and backstory to put the whole thing in context. Raver, do yourself a favour!

        FORMAT INFORMATION

        4xLtd CD Info: Packaged in a hardback book cover with booklet, liner notes and pictures.

        Erland Cooper

        Hether Blether

          Erland Cooper is set to release Hether Blether, the third and final album in a trilogy of releases shaped by the islands where he grew up. Hailing from the archipelago of Orkney in Scotland, the contemporary composer and multiinstrumentalist has explored the birdlife (2018’s Solan Goose), sea (2019’s Sule Skerry) and, on Hether Blether, the land, manifesting an immersive collection of music, words and imagery.

          FORMAT INFORMATION

          Dinked Edition LP Info: • Alternative (green) album cover, reverse board outer sleeve*
          • Pressed on recycled vinyl
          • A4 matt print*
          • Foldable map of Orkney*
          • Hand-Numbered*
          • Limited Edition of 500.
          *Exclusive to Dinked Edition

          Dinked Edition LP includes MP3 Download Code.

          LP Info: Recycled vinyl.

          LP includes MP3 Download Code.

          Hinds

          The Prettiest Curse

            With “The Prettiest Curse” Hinds shrug off any remaining lo-fi accusations and unveil a widescreen beast of an album, not so much a shift as a quantum leap in their evolution as a band. This is a record positively bursting with life, with the band finally harnessing the full extent of their pop prowess and unleashing songs which sound bigger, bolder, and more complex than anything they have done before. Which isn’t to say they have turned their backs on being Hinds – quite the opposite in fact! Here, they double down on what, precisely, makes them so special – the bright melodies betraying heartbreaking themes of isolation and betrayal, the empowering, don’t mess with us all-girl gang glow - while going even further.

            You know how people say that a drop of balsamic vinegar makes strawberries taste more strawberry-ish? Well, on “The Prettiest Curse”, Hinds sound even more Hinds-ish, and marvelously so.

            FORMAT INFORMATION

            Dinked Edition LP Info: - Exclusive tri-striped vinyl (red, orange and yellow)
            - Exclusive 12x12” Double Sided Art Print - signed album sleeve image of band / ‘Exclusive’ print image design (from the artist)
            - Bonus green 7” Flexi Disc of Spanish Bombs (The Clash cover)
            - Gatefold sleeve (same as other LP versions)

            Coloured LP Info: Indies exclusive light blue vinyl.

            Khruangbin

            Mordechai

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

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

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

              Sonic Boom

              All Things Being Equal

                It’s auspicious that Sonic Boom—the solo project of Peter Kember (Spectrum, Spacemen 3)—returns in 2020 with its first new LP in three decades. Kember’s drawn to the year’s numerological potency, and this intentionality shines into every corner of All Things Being Equal. It’s a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness—everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives.

                Sonic Boom’s second album and first for Carpark began in 2015 as electronic jams. The original sketches of electronic patterns, sequenced out of modular synths, were so appealing that Stereolab’s Tim Gane encouraged Kember to release them instrumentally. “I nearly did,” confesses Kember, “but the vibe in them was so strong that I couldn't resist trying to ice the cake.” Three years later, a move to Portugal saw him dusting off the backing tracks, adding vocals inspired by Sam Cooke, The Sandpipers, and the Everly Brothers (which he admits “don’t go far from the turntable pile”), as well as speculative, ominous spoken word segments. His new home Sintra’s parks and gardens provided a different visual context for Kember’s thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. “Music made in sterility sounds sterile,” he says, “And that is my idea of hell.”

                Over the vivid, calculating arps of opener “Just Imagine,” Kember nudges listeners to do as the title suggests. It’s based on a story he read about a boy who healed his cancer by picturing himself as a storm cloud, raining out his illness. “The Way That You Live,” a rollicking drone powered by drum machine rattles and bright chord beds, morphs political distrust into a revolutionary mantra about ethical living. “I try and live my life by voting every day with what I do and how I do it, who I do it with and the love that I can give them along the way,” offers Kember.

                An unusually curated gear list accompanies each song, unexpected layers reinforcing the monophonic skeletons. Mystery soundscapes and grinding sweeps were teased from EMS synths, synonymous with and evocative of ‘60s BBC scoring and ‘70s Eno. Pacing basslines oscillating into warbling heartbeats came from a cheap ‘80s Yamaha. A modern OP-1 generated subtle kicks and eerie theremins, while his toy Music Modem—an unused holdover from sessions Kember produced for Beach House and MGMT—finally found its recorded home.

                It’s rare to see liner notes where synthesizers rather than humans are credited (other than guest vocal stints from “co-conspirators

                FORMAT INFORMATION

                Indies Exclusive LP Info: Limited LP comes with foil single sleeve jacket, inner sleeve with lyrics, 12”x12” foil insert with artwork, 12”x19” poster, black vinyl & download – Indies only.

                LP Info: Standard LP comes with single sleeve jacket with matte coating, inner sleeve with lyrics, 12”x12” foil insert with artwork, black vinyl & download.

                CD Info: Gatefold case, 12pg/6-panel insert with lyrics on front, poster on back.

                PINS

                Hot Slick

                  Bold post-punk, female trio, PINS release their third full-length LP Hot Slick via their own Haus of Pins label. The vibrant album is filled with neon synths, loud guitars, and cheeky melodies that mirror the group’s new boldly-hued imagery and create the sound of a girl gang refreshed and amplified. Hot Slick features a trio of recently released singles: the glitchy and cathartic title track (produced by Jamie Hince of The Kills) and anthemic “Bad Girls Forever” (produced by Rich Woodcraft) as well as the high-heeled skittering beat struts of “Ponytail”.

                  The 10 new original tracks found the trio of singer/guitarist Faith Vern, guitarist Lois MacDonald and bassist Kyoko Swan welcoming a rotating cast of collaborators following the departure of their original rhythm section. Rich Woodcraft oversaw the entire project as producer and engineer, while Jamie Hince and Dean Horner contributed additional production and Nathan Saoudi of Fat White Family lent his talents on the keys. The resulting album highlights an expanded soundscape with nods to influences such as Soulwax, LCD Soundsystem, Suicide, and New Order.

                  Since the release of Girls Like Us in 2013, PINS has exuded strength in their danceable alternative post-punk transmissions and earned the trust, endorsement, and creative blessings of rock royalty such as Iggy Pop, with whom they collaborated on 2017’s The Bad Thing EP. 2015’s Wild Nights earned widespread critical acclaim including an Album of the Week nod from Stereogum and profiles in Harper’s Bazaar, Interview Magazine, The Guardian, DAZED, and i-D.

                  FORMAT INFORMATION

                  Coloured LP Info: Indies exclusive transparent orange vinyl.

                  Christine And The Queens

                  La Vita Nuova

                    Following her unexpected new single ‘People, I’ve been sad’ earlier this month, Christine and the Queens today unveils a surprise new EP. La vita nuova - a prospect for a new life - draws strength from extreme vulnerability. 

                    La vita nuova arrives with an accompanying short film of the same name, imagined by Christine and featuring the EP’s five new songs in as many sequences. The 14 minute film is an inward journey that sees the artist invest Opéra Garnier, the world famous Paris opera house, filling it with stories of ghosts and mythical creatures. Through the lens of long-time collaborator Colin Solal Cardo (Robyn, Charli XCX) and with choreography by Ryan Heffington (VMA Award 2014, Grammy Award nominated), Christine and her dancers appear in succession on the Opéra rooftop, its grand stage and most secret recesses, culminating into a feverish moment with Caroline Polachek, a collaborator on the EP’s title track.


                    Fontaines D.C.

                    A Hero's Death

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

                      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.

                      The Clash

                      London Calling - 2013 Remastered Edition

                        "Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs -- particularly "London Calling," "Spanish Bombs," and "The Guns of Brixton" - are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary. But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote "The Guns of Brixton") explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it's rockabilly greasers or "Stagger Lee," as well as mavericks like doomed actor Montgomery Clift. The result is a stunning statement of purpose and one of the greatest rock & roll albums ever recorded." - Allmusic.

                        FORMAT INFORMATION

                        2xLP Info: 180 gram legacy edition.

                        Thee MVPs

                        Science Fiction

                          Thee debut longplayer from Thee MVPS, on their own label, taking cues from all of their favourite labels…Influenced by SST, In The Red, Au Go Go, Goner, Stiff, Castle Face, Dischord etc. (you know, the good ones!!).

                          The band lives in the same house in Leeds, they have a whole slew of 7” records out all over the world, some sold out, some, not, they are steeped in music, playing live and this album shows that: Thee MVPs (Most Valuable Players) love music a whole bunch and hope they made a record that shows that.

                          Thee MVPs believe you can do a band just as well as anyone else

                          Thee MVPs ran in to quite the hurdles trying to do make this album, a good few Gs sank in the wrong places and to say bad luck follows them would be an understatement

                          Thee MVPs have already done 350+ shows all over the world.

                          Thee MVPs have played with all your favourite bands.

                          Thee MVPs mastered the record in Chicago with Bob Weston of Shellac.

                          Thee MVPs wanted the first record to be 10 songs, Blue Album style.

                          Thee MVPs think some of the guitar solos are like J Mascis.

                          Thee MVPs think the bass is the best sounding instrument on this album.

                          Thee MVPs like Hot Snakes, The Stranglers, Sleep, Meatbodies, Marked Men, Quelle Chris, CAN, Black Sabbath, Black Flag and Super Furry Animals. Please add on whatever else that makes them sound like they have cool influences.
                          Thee MVPs ditched the reverb and space echo on the vocals and traded it for better lyrics.

                          Thee MVPs consider this album part concept - tying in references and homages to Sci Fi with themes of difficulties all of us face as we get a little less away from youth. Some themes include always having camaraderie in the face of any dire straight, how being contactable 24/7 probably isn't best for any of us and how really we're not any more different/cooler/better/worse/charming/narcissistic than anyone else because we do a band

                          Thee MVPs were lucky enough to have Edd's mum Sahrah, an architect student to design the cover based off Joel's readings of polymath Walter Russell.

                          This is the best MVPs record until the next one is out.


                          FORMAT INFORMATION

                          Dinked Edition LP Info: ● Super exclusive “super-on-the-nose-sci-fi-warpspeed-hyperspace” Splatter blue.
                          ● Dinked X MVPs Slipmat.
                          ● Hand- numbered album art insert.
                          ● Exclusive label sticker.
                          ● Limited 350 pressing.

                          Produced by David Bowie and Mick Ronson, also handling guitar duties on all songs, "Transformer" was Lou Reed's second solo album, but the first containing new songs (his debut consisted reworks of songs he wrote in his Velvet Underground days). "Transformer" is considered Lou Reed's signature album and includes his most known songs as "Satellite of Love", "Vicious"(inspired by Andy Warhol) and "Perfect Day". Rumours has it that, though not credited on the album, "Wagon Wheel" is actually written by David Bowie.






                          Neil Young

                          Homegrown

                            Neil Young has said this album is “the unheard bridge between Harvest and Comes a Time”, which perfectly describes the warm, semi-acoustic feel of these twelve songs. Originally intended to be released in 1975, the album has remained unreleased since then, and has a legendary status among Neil’s fans.

                            Seven of the songs are previously unreleased on any album, and different versions of the other five songs would appear on later Neil Young albums. Neil plays guitar, piano and harmonica on the album, and is accompanied by a stellar group of musicians including Levon Helm, Ben Keith, Karl T Himmel, Tim Drummond, Emmylou Harris and Robbie Robertson.

                            FORMAT INFORMATION

                            Indies Exclusive LP Info: RSD stores exclusive.
                            One 12” Black vinyl disc in plain white paper inner sleeve.
                            12” 4/colour Gatefold jacket.
                            Includes a very limited inner sleeve litho of the album cover.

                            LCD Soundsystem

                            American Dream

                              Deep breaths...headphones on...needle dropped. LCD Soundsystem are back. Seven years after their last long player, and six years since their premature retirement, NYC's era defining, life changing indie-dance/alt-disco/punk-funk legends are back on wax with their fourth LP "American Dream". As the live hats and staccato pulse of "Oh Baby" give way to tender arps, dramatic synth bass and Murhpy's crooning vocals, all seems well in the world once more. Imbued with the same cinematic quality with which "All My Friends" and "Someone Great" stole our hearts a decade ago, this album opener is vintage LCD. One track in and I'm already hooked. "Other Voices" pushes the tempo and picks up the intensity, fusing low slung bass, sizzling 4/4 and buzzing synthwork into the kind of hypnotic, disco-rock groover the world's been crying out for. Backwards guitar solos and strange synth riffs lend a little psychedelic colour while Murphy's vocals, ably supported by Nancy Wang and Korey Richey, retain all the sardonic lyricism of a particularly arch Larry David. Closing the first side out with shimmering synths, slow rolling bass and a moody piano, "I Used To" details a midlife moment of clarity before the squawking guitar, loose groove and Bowie-styled vocals of "Change Yr Mind" bring the punk to the funkshow. Tumbling toms, immersive reverb and distant vocals march around nagging violin and spectral arpeggios on "How Do You Sleep?", creating a gloomy Joy Division ambience which soon bursts into a slo-mo technicolour via chugging percussion and big bass blasts - Far from your average drug ballad, this is gonna bring the house down live! Blasting through the speakers on a tank full of squelching synthbass, snapping electronic percussion and Murphy's trademark half spoken/ half sung vocals, current single "Tonite" picks up the electroid baton from "Yeah" and "Pow Pow" and treats us to relentless barrage of Murphy's needle-point self referencial wit. Hilarious, danceable and deeply on point, this could well be an album standout. Presumeably inspired by his time working on Bowie's "Blackstar", "Call The Police" pairs an achingly sincere, occasionally bleak lyricism with anthemic rock drums and buzzing guitars, relishing in the bittersweet beauty of life. Electro-pop ballad "American Dream" continues the quest for understanding and acceptance in the tough climate of 2017 as Murphy leads us waltzing through the richest synth tones of his career. As we arrive at the final side Murphy et al blitz through the punk inspired rage of "Emotional Haircut", a hair-raiser in the style of early !!! or Outhud, before embracing the existential melancholy of "Black Screen", the medicated lullaby which closes the set with buzzing synth tones and delicate piano. Though this album may lack the immediacy of its predecessors, it offers infinite emotional depth, sincerity and faultless songwriting. Leave your skepticism at the door, this is the best LCD Soundsystem LP to date.


                              FORMAT INFORMATION

                              2xLP Info: Includes lyric sheet.

                              Sports Team

                              Deep Down Happy

                                Here’s the thing…Sports Team are a band of six singular characters who have been variously described as one of the most raucous, electrifying and chaotic acts in the UK. Today the band announce their debut album Deep Down Happy. The highly anticipated record, out on 3rd April, follows the acclaimed EPs, Winter Nets and Keep Walking!, and is their first release on the legendary Island Records label.

                                Sports Team came up on the back of word of mouth live hype, drawing round the block queues to chaotic early gigs at The Five Bells and Moth Club before releasing any music. Recording their first EP (Winter Nets) in a converted Timberyard in Hammersmith, the band have consistently set themselves apart from the acts they came up playing with, showing an intoxicating ambition, and their debut album Deep Down Happy, looks set to deliver on all bold claims, and confirm their place at the head of a group of young guitar acts.

                                Talking about the record charismatic frontman Alex Rice says: “I don’t think we were conscious of doing it but the album maps the journey of moving in together in Harlesden, moving back to home towns to sleep on floors for 18 months, then coming back to London, weighing up whether being in a band with your mates, being young in London is still the best thing in the world. I think it probably is.”


                                FORMAT INFORMATION

                                Coloured LP Info: Orange vinyl.

                                The Blue Nile

                                High

                                  To complete their reissue programme The Blue Nile again worked alongside long term producer/engineer partner Calum Malcolm.

                                  This 2CD deluxe set, features all nine tracks remastered plus a bonus disc featuring four previously unreleased songs plus two extended remixes - over 32 minutes of new music!

                                  Also available for the first time on vinyl (full album,9 tracks, remastered) completing the series of catalogue re-issues.

                                  The Blue Nile hope you fully enjoy them!!

                                  Muzz

                                  Muzz

                                    Muzz, the new project of Paul Banks (Interpol), Josh Kaufman (producer/multi-instrumentalist and one third of Bonny Light Horseman), and Matt Barrick (drummer of Jonathan Fire*Eater, The Walkmen, and Fleet Foxes’ touring band),  announce their self-titled, debut album.

                                    Muzz was born out of longstanding friendship and collaboration. Banks and Kaufman have known each other since childhood, attending high school together in Spain before separately moving to New York. There, they independently crossed paths with Barrick while running in similar music circles. They kept in touch in the following years: Barrick drummed in Banks + Steelz and on some of Kaufman's production sessions; Kaufman helped on Banks’ early Julian Plenti solo endeavour; various demos were collaborated on, and a studio was co-bought.

                                    The self-titled debut album, written, arranged and performed by all three, is dark and gorgeous, expansive and soulful. No matter the sonic direction, Muzz goes there effortlessly and with maximum emotional charge.

                                    PJ Harvey

                                    Dry - Demos

                                      11 track collection of demos of all songs from the debut studio album Dry by PJ Harvey, available for the first time since 1992, and previously unreleased as a standalone album.

                                      Features brand new artwork with previously unseen photos by Maria Mochnacz.

                                      FORMAT INFORMATION

                                      LP Info: 1LP, 180gsm black vinyl.
                                      Full colour outer sleeve, with printed inner sleeves.
                                      Artwork includes 3 previously unreleased photos.
                                      Download card.

                                      CD Info: Mini-gatefold style outer sleeve, with printed inner sleeve.
                                      Artwork includes 3 previously unreleased photos.

                                      GoGo Penguin

                                      GoGo Penguin

                                        When a musical ensemble chooses to self-title an album mid-career, it usually signifies their conviction that they’ve struck upon the motherlode, hit the jackpot, stepped up and generally arrived at a point they’ve always striven for but never quite attained before.

                                        Coming from GoGo Penguin at this stage in the game, it’s quite a bold statement: the instrumental trio from Manchester, England have fielded plaudits and rave reviews for inspiration and originality at every turn since 2013,when they settled on their dream line-up of Chris Illingworth (piano), Rob Turner (drums) and Nick Blacka (bass).

                                        Fusing jazz, classical and electronic influences(amongst others) with a thirst for innovation, they’ve been garlanded as makers of one of the Mercury Prize album of the year (in ’14) and have enjoyed success on record and in the live arena matched by precious few vocal-free groups post-millennium.

                                        FORMAT INFORMATION

                                        2xColoured LP Info: Indies exclusive double clear coloured vinyl.

                                        Our review from 2007 - Building on – rather than shrinking from – their tenure as coolest rock band on the planet, Montreal's finest follow up "Funeral" with a record at once more furious, more melancholy and more widescreen. Drawing strength from their solidarity and unique musical empathy, "Neon Bible" is borne of the same impulse that fired Echo And The Bunnymen to record "Ocean Rain"; epic choruses played from the bottom of Arctic caverns by a junk-shop orchestra. The subject matter manages to encompass the personal and political without missing a beat, state-of-the-nation addresses and post-millennium blues in the same heartbeat. The result is a record destined to fill teenage bedrooms and concert arenas alike.

                                        FORMAT INFORMATION

                                        2xLP Info: Black LP Vinyl with the fourth side being etched!

                                        2xLP includes MP3 Download Code.

                                        Bob Mould

                                        Blue Hearts

                                          In the winter of 2019, Bob Mould bucked the era’s despair with his most melodic, upbeat album in ages, Sunshine Rock.

                                          Cut to spring of 2020, and he has this to say: “We’re really in deep shit now.”

                                          That sentiment informs the new full-length album, Blue Hearts (Merge, September 25), the raging-but-catchy yin to Sunshine Rock’s yang.

                                          To be sure, we were in some shit back in 2018, when Mould recorded Sunshine Rock with longtime colleagues Jon Wurster (drums), Jason Narducy (bass), and Beau Sorenson (engineer). Back then, he had a song called “American Crisis” that didn’t fit the album.

                                          “That song is the seed for what we’re talking about now,” Mould says from his home in San Francisco during the COVID-19 lockdown. “At the time, it just seemed too heavy. Today it seems fucking quaint.”

                                          “American Crisis” is the third song in a walloping first half of an album that spits plainspoken fire at the people who fomented this crisis. “This is the catchiest batch of protest songs I’ve ever written in one sitting,” he says.

                                          Through some of the most direct, confrontational lyrics of his four-decade career, Mould makes his POV clear: “I never thought I’d see this bullshit again / To come of age in the ’80s was bad enough / We were marginalized and demonized / I watched a lot of my generation die / Welcome back to American crisis.”

                                          Why “welcome back”? Because Mould experienced deja vu writing Blue Hearts in the fall of 2019. “Where it started to go in my head is back to a spot that I’ve been in before,” he says. “And that was the fall of 1983.”

                                          Back then, Mould was a self-described “22-year-old closeted gay man” touring with the legendary Hüsker Dü and seeing an epidemic consume his community. Leaders, including the one in the White House, were content to let AIDS kill a generation. Mould later realized why his mind wandered back there for Blue Hearts.

                                          “We have a charismatic, telegenic, say-anything leader being propped up by evangelicals,” he says. “These fuckers tried to kill me once. They didn’t do it. They scared me. I didn’t do enough. Guess what? I’m back, and we’re back here again. And I’m not going to sit quietly this time and worry about alienating anyone.”

                                          Recorded at the famed Electrical Audio in Chicago with Sorenson engineering and Mould producing, Blue Hearts nods to Mould’s past while remaining firmly planted in the issues of the day. Acoustic opener “Heart on My Sleeve” catalogues the ravages of climate change. “Next Generation” worries for who comes next. “American Crisis” references “Evangelical ISIS” and features this dagger of a line: “Pro-life, pro-life until you make it in someone else’s wife.”

                                          “There are songs that have no room,” Mould says, laughing. “The other songs, there’s room. There is room for imagination on the second half of the record.”

                                          That’s where the songs turn personal in a different way. Tracks like “When You Left,” “Siberian Butterfly,” and “Everyth!ng to You” are grounded in personal relationships. “Racing to the End” captures the economic disparity of Mould’s neighborhood, and “Leather Dreams”… well, maybe Jon Wurster put it best.

                                          “Jon turns to Jason and asks, ‘Is this the dirtiest song you’ve ever played on?’” Mould recalls with a chuckle. “I clearly did not put the edit tool to that one. Those are all pretty true bits. What kind of person could possibly have a life like that?” He laughs again. “Says the author.”

                                          “Leather Dreams,” “Password to My Soul,” and “The Ocean” were composed during a writing binge before a January 2020 Solo Electric tour, when Mould stayed up for three straight days. “Songs just kept coming out,” he says. “‘Leather Dreams’ and ‘The Ocean’ both appeared within hours. I barely remember writing them.”

                                          That feels right for an explosive, hook-laden album like Blue Hearts. Only there’s nothing forgettable about it.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Indies exclusive vinyl, limited edition three-color LP.

                                          Tim Burgess

                                          I Love The New Sky

                                            How inspiring it is to hear Tim Burgess conjuring up exciting and life-affirming sounds as he, almost inconceivably, enters his fifth decade on public duty. Frontman, singer, label boss, DJ and author, he’s been instrumental in so many great records over the years, always bringing enthusiasm, positivity and diversity of influence, which altogether light the way for those who hold him dear.

                                            While in The Charlatans, Tim’s indefatigable energy has been a consistent fuel for the band across thirteen high-charting albums, his solo adventure has been no less extraordinary, scaling new heights in 2020 with his fifth solo release to date: ‘I Love The New Sky’. Released on Bella Union, it features wonderfully connective songs of everyday minutiae and universal experience, of love and anger, of loss and belonging, all united by elaborate yet natural arrangements and an effortless but deceptively expert way with melody.

                                            ‘I Love The New Sky’ differs from its predecessors in that all twelve tracks were self-penned. “In the past, I've written collaboratively,” says a characteristically, but rightfully excited Burgess. “(2012's) ‘Oh No I Love You’ was written with Lambchop’s Kurt Wagner in Nashville, and then ‘Same Language, Different Worlds’ was a collaboration with Peter Gordon who had worked extensively with Arthur Russell.”

                                            The spark for ‘I Love The New Sky’ came after a year of touring another album, ‘As I Was Now’, which he’d made in 2008 but had a belated release ten years later. “That one was made in three days, just friends getting together”, he says – the amigos included Josh Hayward from The Horrors, Primal Scream Keyboard player Martin Duffy, Ladyhawke and My Bloody Valentine's Debbie Googe.

                                            “I didn’t realise the album hadn't actually come out as I had a copy of it on my ipod so I figured that maybe everybody did. So, all those years later I thought it would make an interesting release for Record Store Day. It did really well, so I was approached to tour it for Independent Venue Week and after that a load of festivals asked us to play too. Average Sex were the support band that then became my band so it was a brilliant little tour. After that, I was really energized, and I thought, Right, I'm going to do another album, but really concentrate on making it a solo record, where I write everything on my own and all the songs are the very best I can make them.”

                                            “I’d been listening to a lot of Isaac Hayes, Olivia Tremor Control, Carole King, Todd Rundgren, John Maus, Weyes Blood and Kevin Ayres - I’m not sure how much they have influenced the album but they were the impetus and inspiration.”

                                            The twelve tunes of ‘I Love The New Sky’ were authored, he says, “in Norfolk, in the middle of the countryside, with the nearest shop eight miles away. There are no distractions, and I guess that way things happen. I wrote everything on acoustic guitar, and the chords were really considered. The guitar lines would lead the melody, and the melody would inform the lyrics – just dreaming away with music.”

                                            So far, so Laurel Canyon, though ‘I Love The New Sky’ would end up sounding anything but hippie/folkie, thanks to a connection Tim made while living in a warehouse space in gritty Seven Sisters in North London, before heading to Norfolk.

                                            “The Quietus had their office there,” he recalls. “I used to know pretty much all the stuff they were writing about, but then their album of the year for 2013 was ‘Glynnaestra’ by Grumbling Fur, and I really fell in love with it. I started talking to the band about working together. To cut a long story short I recorded a song with Grumbling Fur, they remixed two Charlatans tracks and a couple of Daniel O'Sullivan's solo albums came out on my label.”

                                            As well as bass and drum duties on I Love The New Sky, O’Sullivan plays piano on much of the album, from the bouncing chamber-pop chords of ‘Sweetheart Mercury’ and the punchy chorus of ‘Empathy For The Devil’, through to ‘Comme D’Habitude’’s juxtaposition of blissfully rolling West Coast singer-songwriting and a complex Sparks-y Broadway-esque bridge, to the Velvets-y ramalama moves on ‘Warhol Me’ and ‘Undertow’’s sombre balladry.

                                            The album was arranged and recorded quickly but not rushed: “Ideas happen fast, don’t they?” Tim reasons. The first sessions at Eve Studios in Stockport were with long-serving Charlatans engineer Jim Spencer. Tim, Daniel and Nik Void cut three tracks in two days, with Nik layering up modular synths in line with her previous day job in Factory Floor.

                                            A third keyboard maestro entered the picture when Thighpaulsandra, a maverick musician and producer, came into the frame, best known for his work for Julian Cope, Coil Spiritualized and Elizabeth Fraser. I found out that he was based at ‘Rockfield’ [legendary residential facility near Monmouth, South Wales]. So I said, ‘Okay, that’s where we’re going to record the rest of it’.” As well as enlisting his know-how as an engineer, the cosmically-inclined Welshman also applied vintage synths and what Tim hazily calls “wizardry”.

                                            For Burgess himself, the return to Rockfield was meaningful: “I hadn’t been there since we recorded ‘Tellin' Stories’” he says. “It was a matter of ending this long period of not going there, because after Rob died we couldn’t face it again. So nearly 25 years later, we returned and the positive feelings came back. Mark Collins [Charlatans guitarist] came down to play on ‘Empathy For The Devil’ and ‘Sweetheart Mercury’, and he actually had the same room as he had in 1996. It was like no time had passed at all.”

                                            “I was in search of a certain sound there,” Tim adds, of his overriding motivation for returning. “I couldn’t exactly put my finger on what it was I was searching for, but I knew if it was there that I’d be able to find it”.

                                            The results are nothing short of astounding. ‘I Love The New Sky’ has landed somewhere between Paul McCartney's ‘RAM’ and Brian Eno's ‘Taking Tiger Mountain (By Strategy)' and certainly that recipe covers both the all-pervasive tunefulness and high quality. Stylistically, though, it runs the widest gamut, from 'Empathy For The Devil's gospel style rockabilly skip, through to the sophisticated song-craft of ‘Sweetheart Mercury’ and the Nilsson-esque ‘Sweet Old Sorry Me’, with the angst-y gravitas of ‘Undertow’, which Tim describes as “a mood-changer, influenced by 10cc.”

                                            Lyrically, this might almost be a defining collection from Burgess after thirty years honing his craft. There’s plenty of typical lightness of touch of ‘Only Took A Year’s joking reference to the album’s twelve-month gestation period, and the quip, “what’s your favourite Cure LP? I like ‘Pornography! But it could be any one of three.”

                                            Equally amusing in its self-referencing is ‘Warhol Me’ set to a soundtrack of New York bubblegum pop. ‘Sweet Old Sorry Me’ finds Burgess reminiscing on his former life in Los Angeles, but drolly updating the Steely Dan vernacular for the social-media era with the line, “I had to unsubscribe from that particular tribe”. ‘Lucky Creatures’, meanwhile, follows Tim on his day back in LA on tour, as he enjoys “tacos on the underground”, revisiting his old everyday haunts in Hollywood.

                                            ‘The Mall’, too, revels in its everyday setting: “it’s an ordinary feature of everyday life. I’m pretty sure that the ‘escalating drama on a moving staircase’ bit happened at Boots in Piccadilly Circus. Maybe they'll put a blue plaque there one day. I love it round there, it’s like the whole world is happening – but it’s taking a small idea and trying to make it into something more universal.”

                                            ‘I Got This’ has the line “the future is friendly”. Says Tim: “Everyone’s been going through a lot of tough times. And the future is uncertain. But you have to have that optimistic outlook – like, waking up in the morning and feeling that it’s gonna be a good day.”

                                            There is a sense of community within this solo venture, which is emphasised when Tim and Nik’s six year old son joins in on ‘Comme D’Habitude’, and with the assembly of what Tim calls a “gang chorus”, in the spirit of Dexy’s Midnight Runners’ ‘Plan B’, for the closing chant of the album title on ‘Laurie’. This song is particularly heartfelt, as Tim mistily reveals, written for “someone I love who I never met”. The end section happened spontaneously at Rockfield: “Everybody that came into the studio, I asked them to sing, so there are about 20 people doing that vocal – Mark Collins, Daniel, our friend Ally, Nik, Thighpaulsandra – everybody singing it, and for this spirit that is loved.”

                                            The final stages of the album’s year-long narrative arc were enacted at Jet Studio in Brussels, with the Echo Collective string section. Burgess looked on “mesmerised at what was happening to the songs, taking an even more magical turn.”

                                            With that icing on the cake, Tim is in no doubt that he has his finest solo record under his belt. On this occasion, it’s coming out on time, and he’ll be touring it with a live ensemble featuring Daniel O’Sullivan, Thighpaulsandra, another O Genesis artiste called Keel Her, and renowned avant-jazz violinist Peter Broderick, who plays on ‘’Empathy…’ and will recreate the Echo Collective parts, too. So, the community will grow. Just like Tim says, “the future is friendly.”


                                            FORMAT INFORMATION

                                            Coloured LP Info: 180 gram LP.
                                            Transparent splatter vinyl with download code.

                                            Black Midi

                                            Sweater / 7-Eleven

                                              London-based band black midi follow their debut album, Schlagenheim “the most intense and invigorating debut of 2019” (MOJO), with a new 12” featuring “Sweater” and “7-eleven”. Both tracks were recorded with Speedy Wunderground’s DanCarey during the same period that resulted in Schlagenheim, and “Sweater” was the last of the tracks recorded during those sessions. “Sweater” opens with minimalistic instrumentation before bursting with turbulent guitar and percussion. Available for the first time on 12”.

                                              November 16th 2017 Tim Burgess tweeted, asking his followers who they would recruit if they were putting together a band: “Who would you have in your supergroup? Excluding Charlatans, mine would be: Vocals: Me & Ladyhawke Guitar: Josh Heyward (The Horrors) Keys: Martin Duffy (Primal Scream) Bass: Debbie Googe (My Bloody Valentine) Drums: Steffan Halperin (The Chavs/ Klaxons)” The difference was that Tim's band was not only a real band but they had also recorded an album. As I Was Now was recorded in Cheshire in December 2008 by a group of friends and is now being released, nearly ten years later.

                                              “We were complaining about how boring things were between Christmas and New Year, so we got together to record some songs. Some songs were more complete than others, others appear on this record more finished than others.” Tim Burgess 

                                              STAFF COMMENTS

                                              Andy says: For an album it's creator forgot to release(!!?) and with such a diverse cast of contributors (My Bloody Valentine, The Horrors, Primal Scream and Ladyhawke) this will really surprise you with its cohesion and beautiful melodic sensibility. This is a really good collection of songs, easily as good as Tim's previous solo work, and the puzzle remains: why such a below the radar/ casual release? Highly recommended.

                                              Our Review from 2004 - Get ready for a splendid new band, everybody. Their sound is a mixture of Canadian folk, new-wave disco beats, quirky David Byrne-ish vocals, Pixies' agression, Mercury Rev's sense of magic, big band drama, organic chamber pop and just an all round multi-instrumental sense of anything's possible, that you'll be setting up your own toy orchestra and playing along. Though talented players, and loads play on this record, it's this sense of fun and cookiness that pervades; this lot are clever but well beyond cool. It's music ripe with the joys of music-making. And the songs are really catchy. that always helps. Maybe chuck a bit of Sugarcubes and a bit of New Order even, into their melting pot, stir in with crashing operatic crescendos and tiny, sweet lullabies and you'll be a little bit nearer to the sound of this band. They're making a splash Stateside. It's obvious why.

                                              Jimi Hendrix

                                              Are You Experienced

                                              Jimi Hendrix's debut recording was an instant classic, and is as startling today as when it first hit the streets in 1967. "Are You Experienced?" is probably the most rock-oriented of Hendrix's official studio releases, but its influences are incredibly diverse. "Third Stone From The Sun" recalls the supple octaves of jazz guitarist Wes Montgomery; the churning Afro-Cuban polyrhythms of "Manic Depression" evoke John Coltrane and Elvin Jones; "I Don't Live Today" employs ritualistic Native American drum beats; and the title tune borrows the Eastern airs of sitarist Ravi Shankar.

                                              Mitch Mitchell and Noel Redding blast away with a barely controlled fury, and there's a distorted metallic edge to Hendrix's guitar timbre that has made "Are You Experienced?" a particular favourite among rock and heavy-metal guitarists. "Purple Haze" and "Foxy Lady" helped define the power-trio format, thanks to Hendrix's full-bodied rhythm guitar and his soaring solos. "Are You Experienced?" also established Hendrix as a singer-songwriter. His Dylanesque vocals and spacey imagery make each tune a little gem, especially on gentle outings such as the ballad "The Wind Cries Mary".

                                              FORMAT INFORMATION

                                              LP Info: "Legacy vinyl" edition.

                                              PJ Harvey

                                              Dry - Remastered Vinyl Edition

                                                Dry is the debut studio album by English singer-songwriter and musician PJ Harvey, originally released on Too Pure Records on 30 March 1992. The album was recorded at The Icehouse, a local studio in Yeovil. Critically lauded both on release and retrospectively, the album contains the singles “Dress’ and ‘Sheela-Na-Gig’

                                                Back in print for the first time in almost 20 years, Beggars Archive on behalf of Too Pure Records is pleased to announce the re-issue of Dry on vinyl. The album was remastered by the original producer “Head” and has been replicated to the original version as much as possible. 

                                                Pitchfork – “On her debut, Polly Jean Harvey matched Patti Smith’s incandescence with Bessie Smith’s lasciviousness, outplayed everyone on the British indie circuit, and became an instant star - 9.2”

                                                This is the 15 track 'Very Best Of' which was originally released in 2002. 

                                                All tracks have been remastered by original producer John Leckie.

                                                FORMAT INFORMATION

                                                2xLtd LP Info: Double gatefold, 180gm heavyweight black vinyl. Comes in printed inner bag, plus lyrics & interviews.

                                                Arcade Fire

                                                The Suburbs

                                                  Having released two of the most inventive and musically extravagant records of the noughties - "Funeral" and "Neon Bible" - Canadian ensemble Arcade Fire create a concept and sound that represents their personal upbringing (in the suburbs) for their third outing "The Suburbs". Frontman Win Butler's vocal lines are smoother than before and are given weight by a looming sense of darkness, while co-vocalist Regine gives balance to Arcade Fire's music with an added feeling of wonder running through her work. As with their earlier material, violins, harpsichords and xylophones, among other instruments, accompany guitars and drums to add depth to a superb indie rock sound.

                                                  STAFF COMMENTS

                                                  Andy says: A less euphoric, less quirky record, but I think that was definitely required. They still rock but there's more control. As ever, this just overflows with melody, and song for song I'd say this is a much better album than "Neon Bible". They're as poetic and emotive as Bruce at his best, but with a load of really smart post-punk/ alt rock influences instead of classic rock'n'roll ones. A proper, beautiful band. A splendid LP. You're gonna love it.

                                                  FORMAT INFORMATION

                                                  2xLP Info: Double vinyl in a gatefold sleeve.

                                                  2xLP includes MP3 Download Code.

                                                  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.

                                                    I See You marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith, both sonically and in terms of process. For while xx and Coexist were both made in relative isolation in London, I See You was recorded between March 2014 and August 2016 in New York, Marfa TX, Reykjavik, Los Angeles and London, and is characterised by a more outward-looking, open and expansive approach. Produced by Jamie Smith and Rodaidh McDonald, I See You is The xx at their boldest yet, performing with more clarity and ambition than ever before.

                                                    STAFF COMMENTS

                                                    Andy says: After two perfect, and pretty similar albums of clipped, late-night minimalism, The XX ring the changes, tinkering with their template with a record showing some of the dynamism and richness of Jamie's smash-hit solo album of 2 years ago. It still has all their hallmarks intact, just warped and deepened to beautiful effect. Brilliant.

                                                    FORMAT INFORMATION

                                                    Deluxe LP Info: Silver mirri board debossed box containing the album on 180g heavyweight vinyl, with an extra 12” including 3 bonus tracks, album CD, enhanced CD featuring a live video of bonus track ‘Brave For You (Marfa Demo)’ and 3 exclusive prints by Alasdair McLellan.

                                                    CD Info: CD comes in a debossed mirri board sleeve.

                                                    Rolling Blackouts Coastal Fever

                                                    Live At KEXP

                                                      Ultra limited 4 track 12" of tracks recorded live at KXEP.

                                                      We don't have many, so order pronto!!

                                                      Piccadilly Records

                                                      Logo T-Shirt - Summer 20: Dark Heather / Pale Blue

                                                        This shirt features a pale blue print on a dark heather Gildan Softstyle Rinspun t-shirt.

                                                        FORMAT INFORMATION

                                                        M Info: To fit chest 32"/34".

                                                        L Info: To fit chest 36"/38".

                                                        XL Info: To fit chest 40"/42".

                                                        Women's M Info: To fit chest 32"/34"

                                                        Women's L Info: To fit chest 36"/40"

                                                        Perfume Genius

                                                        Set My Heart On Fire Immediately

                                                          Set My Heart On Fire Immediately is the fifth studio album from Perfume Genius that will be released May 15th on Matador Records. It sees artist and musician Mike Hadreas re-teaming with GRAMMY-nominated producer Blake Mills and features contributions from musicians Jim Keltner, Pino Palladino and Matt Chamberlin. It was recorded in Los Angeles, where Perfume Genius settled in 2017 with longtime partner and musical collaborator Alan Wyffels.

                                                          The album explores and subverts concepts of masculinity and traditional roles, and introduces decidedly American musical influences. Throughout Hadreas plays with themes of love, sex, memory and the body, channeling popular music mythologies while irreverently authoring its own – from the delirious, Cyndi Lauper-nodding celebratory pop of ‘On The Floor’, specters of Elvis on haunted tremolo waltz ‘One More Try’, to the harpsichord- punctuated baroque pop of ‘Jason’, and gliding steel guitar and Balearic rhythm of ‘Without You’.

                                                          “I wanted to feel more open, more free and spiritually wild,” says Hadreas, “and I’m in a place now where those feelings are very close-- but it can border on being unhinged. I wrote these songs as a way to be more patient, more considered -- to pull at all these chaotic threads hovering around me and weave them in to something warm, thoughtful and comforting.”

                                                          First album taster ‘Describe’ captures this sense of fleetingness and living in the moment through a heavy fog of grizzly distortion and tumbling slide guitars: “It started as a really somber ballad. It was very minimal and very slow. And then it turned into this beast of a song. I started writing that about when you are in such a dark place that you don’t even remember what goodness is or what anything feels like. And so, the idea was having someone describe that to you, because you forgot or can’t get to it.” Its accompanying video, self-directed by Hadreas, envisions “an end of the world where there are no boundaries, there are no edges, no rules, or the rules are completely new with how you interact with each other and the space around you.”

                                                          FORMAT INFORMATION

                                                          2xColoured LP Info: Transparent blue vinyl.

                                                          Various Artists

                                                          Oto No Wa – (Selected Sounds Of Japan 1988 – 2018)

                                                            For the fifth entry in our Collector`s Series we enlist the skills of Japan-based musical connoisseurs, Ken Hidaka, Max Essa, and Dr. Rob. Their compilation Oto No Wa sets out to map the evolution of chilled Japanese sounds across 3 decades. Collecting 14 tracks, produced by a wide range of artists. From ambient pioneers to dance-floor veterans. Roping in 9-piece reggae band, Little Tempo, percussionist Kazuya Kotani, and organic, psychedelic collective, Olololop.

                                                            Beginning in the late 1980s, the era when “environmental music” became prevalent, there`s Yoshio Ojima`s cool computer-generated Sealed. The compilation also includes later work by his contemporaries Takashi Kokubo, and Yoshiaki Ochi. Theirs are compositions designed for art galleries and museum installations. “BGM” built from emerging technology, and / or counterpoint tapped out expertly on sticks and stones. The 90s give us the seminal electronics of Susumu Yokota, and the solar-flare strut of Scha Dara Parr - Japan’s answer to The Beastie Boys. Here, remixed by the legendary Major Force. Moving into the 21st century we have the post-house productions of Flower Records. Kentaro Takizawa`s oceanic Gradual Life, and Little Big Bee`s colourful coral reef-diving Scuba. Fellow traveller, Kaoru Inoue`s “Kyushu kosmische”. Representing the next decade are Flower Records` current rising stars, Coastlines, who calmly combine classic fusion, library music, and gentle nova bossa nova rhythms. Alongside them are the sun-baked electro-acoustics of Karel Arbus & Eiji Takamatsu, plus Chillax` previously unreleased epic analog / modular jam.

                                                            All of these selections are the result of some serious “digging” but more importantly they represent physical connections made during Ken`s 20-plus-year career in the “Biz”, Max` decade of DJing all over Japan. Music made by folks interviewed by Rob at the websites, Test Pressing and Ban Ban Ton Ton. Friendships forged at Lone Star - the trio’s long-running party, which takes place every month at Bar Bonobo in Harajuku.

                                                            STAFF COMMENTS

                                                            Patrick says: MFD look to Japan for the latest instalment of their imperious Collectors series, inviting Ken Hidaka, Max Essa and Dr Rob to pick out some personal highlights from the late eighties to the late teens. Across thirteen tracks you'll hear environmental ambience, sophisticated house, low slung fun and gentle jazz fusion, all perfectly suited to the Balearic mindframe. Maximum respect to Ken, Max and Rob, and to Music For Dreams for keeping these comps coming!

                                                            Badly Drawn Boy

                                                            Banana Skin Shoes

                                                              Banana Skin Shoes is Damon Gough's ninth album and is comprised of 14 tracks including previously released track 'Is This A Dream?'.

                                                              Always one to wear his heart on his sleeve, Gough's ninth album is a truly personal & heartfelt collection of songs, a huge statement of intent & the most glorious, colourful warming, honest pop record you'll hear this year.

                                                              Much like 2011's "London Sessions" (a live set recorded in the wake of their triumphant Glasto performance, "Electric Lady Sessions" captures LCD Soundsystem at the height of their powers in the midst of the riotious "American Dream" tour. Taking over New York's Electric Lady studios in January 2018, the band ripped through some of the finest moments from their latest album alongside fan favourites "You Wanted A Hit", "Get Innocuous" and "Home" as well as a trio of cover versions. 
                                                              Incredibly, the group manage to pack the power, precision and loose limbed energy of their live shows onto wax, most notably when the Talking Heads-styled "Home" morphs into a KDJ-meets-Terje take on Chic's ecstatic "I Want Your Love", an ultimate record geek freak out. UK fans will also enjoy the Sheffield synth pop classics which bookend the set, namely James & co's versions of Human League's epic "Seconds" and Heaven 17’s disco-not-disco killer "(We Don't Need This) Fascist Groove Thang". The best band in the world at their best folks!

                                                              First new full-length album from legenary Boston via Rhode Island band, Belly, in over 20 years. Formed by Throwing Muses and Breeders member Tanya Donelly, the band has reunited with all four original members for this new album. indie

                                                              STAFF COMMENTS

                                                              Andy says: The song-writing has been upped(definitely more Classic than Indie) which is not the usual state of affairs on bands' comeback LP's. The result is a really beautiful record!

                                                              Barry says: Hefty 80's inspired guitar hooks, fist pumping choruses, and simmering ambient shoegaze influences and all brought together by a supremely talented bunch of musicians, this is not a drill. Worth the wait.

                                                              Hailed in advance by Rolling Stone as a "euphoric blast of experimental pop,” Beck’s 13th album Colors has been confirmed for an October 13 release on Virgin EMI.

                                                              Possibly the most aptly titled work in Beck’s storied discography, Colors unfolds in an intoxicating rainbow of auditory tricks and treats, making it a shoo-in for summeriest smash of the autumn season.

                                                              FORMAT INFORMATION

                                                              2xDeluxe LP Info: Deluxe LP – 2 x heavyweight red vinyl on 45 RPM, spined sleeve with diecut to the front, 4 x red transparencies to allow you to change the colour of the sleeve, printed inner bag.

                                                              Indies Exclusive LP Info: Indies exclusive yellow vinyl.


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