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Ian Brown

Ripples + WRISTBAND FOR INSTORE SIGNING

    THIS EVENT HAS NOW SOLD OUT!!!!!

    PRE-ORDER THE ALBUM ON ANY FORMAT TO RECEIVE A WRISTBAND FOR A 'RIPPLES' SIGNING SESSION INSTORE.

    THE SIGNING SESSION IS INSTORE HERE (53 OLDHAM STREET, MANCHESTER) ON FRIDAY FERUARY 1st FROM MIDDAY.
     
    IF YOU CAN ATTEND THE SIGNING SESSION PLEASE ADD "WRISTBAND REQUIRED" IN THE SPECIAL INSTRUCTIONS BOX AT CHECKOUT.

    IT'S ADVISIBLE TO USE THE "PICK UP INSTORE" OPTION SO THAT YOU CAN COLLECT THE ALBUM AND WRISTBAND INSTORE ON THE DAY.

     
    (NB: APOLOGIES, BUT DUE TO THE EXPECTED HIGH NUMBERS IAN WILL ONLY BE SIGNING COPIES OF HIS LATEST ALBUM 'RIPPLES'. ALSO, NO WRISTBAND = NO ENTRY)


    Ian produced ‘Ripples’ as well as writing the majority of tracks on the album. Three of the songs were co-written with his sons, who also play a multitude of instruments across the release. Covers of Barrington Levy’s ‘Black Roses’ and ‘Break Down The Walls’ by Mikey Dread complete the album.

    The album was recorded in Liverpool and enhanced in the Beatles room at Abbey Road Studios, before being mixed by long-term collaborator Steve Fitzmaurice. The record was digitally mastered by Bob Ludwig in New York, while the vinyl was mastered by Chris Bellman in LA.

    Ian Brown has retained complete creative control of the project - producing the album, directing the video (to be released soon) as well as creating the artwork himself and playing guitar, drums and a host of other instruments throughout the record.

    FORMAT INFORMATION

    Coloured LP Info: Limited edition indies only coloured vinyl. Heavyweight white vinyl, spined sleeve, printed inner sleeve.

    Coloured LP includes MP3 Download Code.

    LP Info: Black heavyweight vinyl, spined sleeve, printed inner.

    LP includes MP3 Download Code.

    CD Info: Jewel case, 16 page booklet.

    Sharon Van Etten

    Remind Me Tomorrow

      Remind Me Tomorrow comes over four years after the release of Are We There, a top 10 critically praised album of 2014, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout, Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force.

      Written while pregnant, going to school for psychology, after taking The OA audition, Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors — Van Etten guest-starred in The OA, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann’s movie Strange Weather and the closing title song for Tig Notaro’s show, Tig.

      The songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through producer John Congleton’s arrangement. He helped flip the signature Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound. Joined by Van Etten’s longtime collaborator and bandmate Heather Woods Broderick, plus Jamie Stewart, Zachary Dawes, Brian Reitzell, Lars Horntveth, McKenzie Smith, Joey Waronker, Luke Reynolds, and Stella Mozgawa, Remind Me Tomorrow was recorded at studios throughout Los Angeles.

      For Remind Me Tomorrow, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or writer's block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score - to clear her mind. Lead single “Comeback Kid” was originally a piano ballad, but driven by Van Etten’s assertion that she “didn’t want it to be pretty,” it evolved into a menacing anthem. Remind Me Tomorrow as a whole shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. There are dark intense synths, a propulsive organ, a distorted harmonium.

      The breadth of Van Etten’s passions (musical, emotional, otherwise), of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.


      FORMAT INFORMATION

      Coloured LP Info: Limited edition pink vinyl.

      Flamingods

      Levitation

        International psych explorers Flamingods are back with brand new album ‘Levitation’ coming out on via Moshi Moshi Records.

        Inspired largely by the disco, funk and psychedelic sounds coming out of the Middle East and South Asia in the 70s, the album channels these influences through a vision soaked in mysticism, positivity and sun-drenched imagery.

        During the process of writing and recording ‘Levitation’, Flamingods for the first time in four years found themselves living in the same continent, it’s this new unified feel that defines the confident and eclectic sound of the album.

        ‘Levitation’ is the follow-up to Flamingods’ breakthrough 2016 album ‘Majesty’ and follows their ‘Kewali’ EP release for Moshi Moshi in 2017 and a one-off release with Dan Carey for his Speedy Wunderground singles club. During this time they’ve performed live sessions at 6Music (with Gilles Peterson & Lauren Laverne), KEXP, Boiler Room and have been travelling the globe spreading their exotic psychedelia to the masses and getting people dancing from Austin to Amsterdam. 


        FORMAT INFORMATION

        Dinked Edition LP Info: Exclusive glitter gold vinyl.
        Exclusive Embossed sleeve.
        Signed & numbered 12 x 12 art print.
        Very limited 400 pressing.

        Rozi Plain

        What A Boost

          Rozi Plain announces her new album ‘What a Boost’, released on new label home Memphis Industries. The ten track album was self-produced with the help of a long list of musical friends including Kate Stables, Jamie Whitby Coles, Neil Smith (all This is the Kit), Chris Cohen, Joel Wästberg (Sir Was) and Sam Amidon.

          Rozi Plain has been making music since her brother taught her a few chords on the guitar aged 13. Raised in Winchester, she spent a few years studying art and painting boats in Bristol, where she began collaborating with long-term friends Kate Stables (This Is The Kit) and Rachael Dadd among many others on a thriving local scene. It was there that Rozi made her first two albums, 2008’s Inside Over Here and 2012’s Joined Sometimes Unjoined, each works of deliciously sad and beautiful pop full of heart-wrenching harmonies dotted with unexpected instrumental flourishes. Released in April 2015 on Lost Map and featuring contributions from Hot Chip’s Alexis Taylor among others her last album Friend was a deeply meaningful and wonderfully measured ode to memory, place, companionship and music’s remarkable power as an emotional salve. A companion album of remixes, unreleased tracks and radio sessions, Friend Of A Friend, was released in 2016.


          FORMAT INFORMATION

          Dinked Edition LP Info: Glow in the dark vinyl (same colour as indies-only version).
          Exclusive alternate glow in the dark screen-printed cover.
          Numbered.
          Signed.
          Very limited 300 pressing.

          Dinked Edition LP includes MP3 Download Code.

          Coloured LP Info: Glow in the dark vinyl.

          Coloured LP includes MP3 Download Code.

          LP includes MP3 Download Code.

          Steve Mason

          About The Light

            Having written most of his previous albums alone, About The Light marks a change in approach for Steve.

            “I decided with this album that I wanted to get my live band involved at every stage because I wanted to capture the energy that we produce when we play live shows, so this time the band and myself worked on a collection of songs over the course of last year,” he explains.

            Picking Stephen Street to produce the album, and with a very clear plan in mind, from the off the goal was to capture the songs live and draw out their soulful elements.

            Talking about the process, Stephen Street says, “Steve explained that he wanted to make this album with his band playing more ‘live’ than on some of his previous offerings and also to augment the songs with brass and female backing vocalists. I felt this approach of first stripping back the songs to a more ‘live’ feel to create more space for the more ‘soulful’ elements to breathe in was an interesting one and we got down to work!”

            Recorded at studios in London and Brighton, About The Light, sees a subtle yet noticeable evolution in Steve’s sound.

            “When I listen to this album it feels and sounds like the first ‘legitimate’ record that I have ever made. It’s hard to explain but it sounds like a ‘real’ album. I think that is partly the production, the playing and the work that I did with the band for all those months in our rehearsal room on the South Coast,” says Steve.

            “It’s a beautiful, confident, positive, angry, loving and gentle album which once again moves what I do forward,” he adds. “David Bowie said that you should always be slightly out of your comfort zone if you want to achieve greatness, and for the first time perhaps ever, I deliberately pushed myself into that place. Who doesn’t want greatness?”

            FORMAT INFORMATION

            Coloured LP Info: Limited indies exclusive silver vinyl edition.

            Karen O & Danger Mouse

            Lux Prima - RSD Indies Exclusive

              Icons Karen O and Danger Mouse unveil their debut recording as a duo, “Lux Prima,”. The song is the first to be released from a forthcoming joint album.

              “Lux Prima is the first song we wrote for the record,” says O. “After making music for the past twenty years and embarking on making this record with Danger Mouse I knew a couple things: one was that the spirit of collaboration between us was going to be a pure one, and two was that the more I live the less is clear to me. When you create from a blurry place you can go places further than you’ve ever been. I think we both were excited to go far out.”

              STAFF COMMENTS

              David says: Boom! Starting 2019 off with a bang we have Dangermouse getting all David Axelrod/Serge Gainsbourg on us while the godlike Yeah Yeah Yeahs Karen O does her thing. Single of the year already?!

              FORMAT INFORMATION

              Ltd 12" Info: Limited Edition 12” Vinyl with Etched B Side.

              The Twilight Sad

              It Won't Be Like This All The Time

                From their unassuming origins as a group of school friends drawn together by a shared passion for music to the global touring force (supporting The Cure and Editors at arenas and stadiums), they have quietly become, The Twilight Sad’s ascent has been forged the old way with grit, graft and four exceptional studio albums. Now signed to Mogwai’s Rock Action Records, the bands fifth album does not disappoint and will certainly not disappoint fans of their previous works. It will also appeal to fans of The Cure, Frighten Rabbits, The National, Interpol and Editors.

                FORMAT INFORMATION

                2xColoured LP Info: Indies exclusive heavyweight blue vinyl.

                2xColoured LP includes MP3 Download Code.

                2xLP includes MP3 Download Code.

                Back in stock Cover of It Makes You Forget (itgehane) EP by The Orielles.

                The Orielles

                It Makes You Forget (itgehane) EP

                  Limited edition 12” EP (300 only). Stamped white label. Heavenly house bag. Featuring a killer remix and dub by Dicky Trisco and Pete Herbert plus the group’s original and instrumental versions. 

                  Deerhunter

                  Why Hasn't Everything Already Disappeared?

                    As thrilling and unpredictable as anything in Deerhunter’s near 15-year career, Why Hasn’t Everything Already Disappeared? was recorded in several strategic geographic points across North America, and produced by the band, Cate LeBon, Ben H. Allen III, and Ben Etter. Forgetting the questions and making up unrelated answers, Deerhunter’s eighth LP is a science fiction album about the present. Exhausted with the toxic concept of nostalgia, they reinvent their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth.

                    FORMAT INFORMATION

                    Coloured LP Info: Grey coloured vinyl.

                    Coloured LP includes MP3 Download Code.

                    Karen O & Danger Mouse

                    Lux Prima

                      Icons Karen O and Danger Mouse unveil their debut recording as a duo, “Lux Prima,”. The song is the first to be released from a forthcoming joint album.

                      “Lux Prima is the first song we wrote for the record,” says O. “After making music for the past twenty years and embarking on making this record with Danger Mouse I knew a couple things: one was that the spirit of collaboration between us was going to be a pure one, and two was that the more I live the less is clear to me. When you create from a blurry place you can go places further than you’ve ever been. I think we both were excited to go far out.”


                      FORMAT INFORMATION

                      Coloured LP Info: Indies exclusive red vinyl, gatefold LP jacket + fold out poster.

                      Coloured LP includes MP3 Download Code.

                      LP includes MP3 Download Code.

                      The Cinematic Orchestra

                      To Believe

                        The Cinematic Orchestra are back with a definitive new album that explores a timeless question of vital importance in 2019 - what to believe? Founding member Jason Swinscoe and longtime partner Dominic Smith have enlisted album contributions from collaborators old and new: Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend (vocalist on Bonobo’s 'First Fires’), Dorian Concept and Tawiah (Mark Ronson, Kindness). Miguel Atwood-Ferguson (Flying Lotus, Anderson Paak, Thundercat, Hiatus Kaiyote) features on strings and photographer and visual artist Brian “B+” Cross collaborated with Swinscoe and Smith on the album’s concept. The record was mixed by multiple Grammy winner Tom Elmhirst (David Bowie, Frank Ocean, Adele) in Jimi Hendrix’s legendary Electric Lady Studios. The album artwork comes courtesy of The Designers Republic™ (Aphex Twin).

                        In 2019 it is easy to see the band’s influence, jazz is all around us, London and LA have recently produced scenes more prolific than anyone expected; Kamasi Washington has been nominated for both Grammy and Brit Awards, Sons Of Kemet a Mercury Prize, BADBADNOTGOOD provide jazz soundtracks to high fashion shows and Kendrick Lamar has put the jazz palette at the top of the charts. When The Cinematic Orchestra released their critically acclaimed debut album “Motion” it helped pave the way for this moment, incorporating as it did an interpretation that had been lacking in the oeuvre and encouraging a new generation of musicians to break rules. “To Believe” doesn’t shy away from this ethos - its articulation of the band’s unique sonic language, encompassing not only jazz but the sort of transcendental orchestration combined with the elegant electronics of artists like Ólafur Arnalds and Floating Points, artists they have helped forge a path for, has never been more cohesive and compelling.

                        FORMAT INFORMATION

                        2xDeluxe LP Info: To Believe deluxe edition vinyl including 180g clear vinyl and 180g white vinyl housed in roughboard sleeve with black foil detail and glossy printed inners. Art and design by The Designers Republic. Download code included.

                        2xLP Info: To Believe double 180g black vinyl housed in roughboard sleeve with glossy printed inner sleeves. Art and design by The Designers Republic. Download code included.

                        First release on the feverishly anticipated Shelved Recordings - a new label from some familiar friends that looks to shine a light on the golden age of the remix: 'Pioneering techniques, over-dubs and an exploratory period of pop production resulted in many lost dub versions and mixes. Mixes, which invariably were left on the shelf, deemed too 'out there' by the bosses of the hedonistic label managers who commissioned them. Shelved will present a series of limited double 12" releases comprised of carefully reconstructed and rebuilt lost classics from someone who was there the first time around!'

                        And what a debut set. A1 kicks us off with a lesser known (than "Life In A Northern Town" anyway) fuckin' Dream Academy EPIC that's feels like you're watching the sun rise over the most paradisiacal part of Ibiza whilst coming up off the strongest and cleanest hit of ecstasy the body can physically handle. Waves lapping at your feet, angel choirs rising over the ocean - peak experience guaranteed!

                        Then it's into unchartered waters as "Flight" pairs emotive piano licks, seductive spoken word vox, warm bass and evocative pan pipes with a loose baggy breakbeat for a slice of downbeat flavoured comedown bliss.

                        Eagle-eared obsessives might recognize China Crises' "Feel To Be Driven Away" close off the first disc, a perfectly wacky slice of kraut-inspired new wave / synth-rock emanating from Liverpool around 1982 and expertly excavated from a lesser known album by the band - a testament the depths the editor / curator involved is prepared to go in order to present the weird and wonderful to our more than receptive ears.

                        Disc two keeps us more than delighted as "Unlimited Love" displays a rarely aired (but quite easy to acquire) Grace Jones nugget in all its glory before "Magic" concludes with a joyous canter into shallow coastal waters.

                        One-time limited press on this one folks - do not f**k about!


                        STAFF COMMENTS

                        Matt says: An inspired collection of edits kicks off this new label. We're under painfully enforced but faithfully adhered to instructions not to give the game away, but rest assured - this is unmissable!

                        Ian Brown

                        Ripples

                          PLEASE NOTE THIS VERSION DOESN'T GET YOU A WRISTBAND FOR THE SIGNING SESSION WHICH IS NOW SOLD OUT!!!!

                          Ian produced ‘Ripples’ as well as writing the majority of tracks on the album. Three of the songs were co-written with his sons, who also play a multitude of instruments across the release. Covers of Barrington Levy’s ‘Black Roses’ and ‘Break Down The Walls’ by Mikey Dread complete the album.

                          The album was recorded in Liverpool and enhanced in the Beatles room at Abbey Road Studios, before being mixed by long-term collaborator Steve Fitzmaurice. The record was digitally mastered by Bob Ludwig in New York, while the vinyl was mastered by Chris Bellman in LA.

                          Ian Brown has retained complete creative control of the project - producing the album, directing the video (to be released soon) as well as creating the artwork himself and playing guitar, drums and a host of other instruments throughout the record.

                          FORMAT INFORMATION

                          Coloured LP Info: Limited edition indies only coloured vinyl. Heavyweight white vinyl, spined sleeve, printed inner sleeve.

                          LP Info: Black heavyweight vinyl, spined sleeve, printed inner.

                          CD Info: Jewel case, 16 page booklet.

                          The Cinematic Orchestra

                          A Caged Bird / Imitations Of Life

                            Ninja Tune bring us the first new material from The Cinematic Orchestra in three years via a limited vinyl release of the Roots Manuva collaboration "A Caged Bird / Imitations Of Life". Claps and tambourines bring us into the room, where the downbeat ensemble gently tease out a skeletal fusion of thoughtful piano, solid percussion and moody electronics, made whole with Roots Manuva's philosophical flow and urgent strings. It's clear by now though that TCO don't trade in the linear, and soon enough the track explodes into syncopated drums, twinkling electronics and a drifting chorus, tugging every heartstring at once. Available on a limited vinyl with an instrumental and acapella on the flip, this is a welcome return for the electronic legends.


                            Back in stock Cover of I Am Kloot - Coloured Vinyl Reissue by I Am Kloot.

                            I Am Kloot

                            I Am Kloot - Coloured Vinyl Reissue

                              I am Kloot is the second album of the band by the same name. Their music is haunting, melodic and smooth. This second piece yielded five singles, including the hits “Life in a Day” and “3 Feet Tall”. It’s much more than just a standard rock album as it’s expanse their dark and fractured sound. Songs like “From Your Favourite Sky” and “Proof” are just brilliant and shows how they developed after their first release from two years earlier. It’s all a bit more streamlined than before but that’s the strength of the band. John Bramwell is a fine songwriter who created this beautiful marvel.

                              I am Kloot was as one of the most interesting bands of its time. Formed from the ashes of The Mouth they stood up and released some very successful releases

                              FORMAT INFORMATION

                              Coloured LP Info: 180 gram audiophile vinyl.
                              Gatefold sleeve including insert.
                              Limited edition of 1000 individually numbered copies
                              on transparent vinyl.

                              Ian Brown

                              First World Problems

                                Ian Brown has released a brand new single, ‘First World Problems’, his first solo material in nine years. The single precedes the new album ‘Ripples’, which will be released on February1, 2019. Played mostly by Ian, but aided by two of his sons, this  return to pop bodes well for his forthcoming new LP.

                                STAFF COMMENTS

                                Andy says: Bouncy, baggy, uplifting vibes, a top melody and cool message make this a freed-up, groovy return for the erstwhile (but soon to be reinstated!) King Monkey.

                                Working Men's Club

                                Bad Blood / Suburban Heights

                                  With the start-stop sound of Talking Heads, Gang of Four and Television, ‘Bad Blood,’ fuses 70s post-punk with the stomp of Parquet Courts’ positivity and resonates with the start of the weekend...Syd’s half-spoken words jab through Strokes guitar lines with Mark E Smith drawl...it’s the feeling of a Saturday spent scuffing about in thrift stores and hanging out with friends.

                                  Limited Edition Blood Red Vinyl, Only 300 Pressed. 


                                  FORMAT INFORMATION

                                  Ltd 7" Info: Limited Edition Blood Red Vinyl, Only 300 Pressed.

                                  Flat Worms

                                  Into The Iris

                                    6 new songs from Los Angeles-based Flat Worms, which feature Tim Hellman, Justin Sullivan, and Will Ivy. The “Into The Iris” EP follows an LP on Castle Face (s/t, 2017). Filled with anxiety and angst, Flat Worms summon perseverance in an apocalyptic era, passing through decrepit strip malls and surreal headlines. These songs were recorded by Ty Segall in his home, and are now being offered on God? Records.

                                    LCD Soundsystem

                                    Electric Lady Sessions

                                      LCD Soundsystem will release their 'Electric Lady Sessions' album on 08/02. The album is comprised of both new and old LCD songs, as well as three covers. Recorded live in the studio at its namesake, 'Electric Lady Sessions'  captures LCD Soundsystem at the height of the band’s powers during the tour supporting their 'American Dream' album. Their version of Heaven 17’s 1981 classic “(We Don't Need This) Fascist Groove Thang” was the first track to be made available from the forthcoming album.


                                      Fat White Family

                                      Serfs Up!

                                        Serfs Up! is Fat White Family’s third album and their first for new label Domino. Released on Friday 19th April 2019 it marks the most gratifying and unexpected creative volte face in recent musical history.

                                        The band have today shared the first track to be taken from the album, Feet, a triumphant return which perfectly heralds the overwhelming musical scope and ambition of the album.

                                        Having released their second album, Songs For Our Mothers in January 2016, core-members Lias and Nathan Saoudi relocated to Sheffield and set about writing the album. Joined by co-conspirator Saul Adamczewski and recorded at their own Champzone studios in the Attercliffe area of the city, Serfs Up! was finished in late autumn 2018 with the help of long-time collaborator, Liam D. May and features a guest appearance from Baxter Dury on Tastes Good With The Money.

                                        Serfs Up! is a lush and masterful work, lascivious and personal. Tropical, sympathetic and monumental. It invites the listener in rather than repel them through wilful abrasion. Fat White Family have broken previous default patterns of behaviour, and as such their third album heralds a new day dawning.

                                        Gregorian chants, jackboot glam beats, string flourishes, sophisticated and lush cocktail exotica, electro funk and the twin spirits of Alan Vega and Afrika Bambaataa punctuate the record at various junctures, while the dramatic production of Feet is as immaculately-rendered as ‘Hounds of Love’-era Kate Bush. The dirt is still there of course, but scrape it away and you’ll find a purring engine, gleaming chrome.

                                        Echoing within the arrangements throughout are traces of blissed-out 60s Tropicalia, Velvets/Bowie sleaze-making and star-gazing, 80s digital dancehall, David Axelrod-style easy listening, joyous Pet Shop Boys synth crescendos, acid house, post-PIL dub, metropolitan murder ballads, doom-disco and mouth-gurning, slow-mo psychedelia so by the time it comes to a close only a fool would deny that Serfs Up! is something very special. No longer is unadulterated music malevolence Fat White Family’s stock in trade; this is cultivated music for the head, the heart. For tomorrow’s unborn children.

                                        Where once they soundtracked a grubby Britain of vape shops, Fray Bentos dinners and blackened tin-foil, a crepuscular comedown realm stalked by Shipman, Goebbels and Mark E. Smith, Fat White Family now inhabit another cosmos entirely. Serfs Up! is the product of a band of outlaws reborn. Few but themselves could have forecast it: Fat White Family survived. Fat White Family got wise. Fat White Family got sophisticated.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Indies only gold coloured vinyl.

                                        RIYL: The Horrors, Moon Duo, Wooden Shjips, Spiritualized, Brian Jonestown Massacre, Dungen, Goat, Clinic.

                                        TOY have announced details of their new album, Happy In The Hollow, which is released on Friday January 25th 2019. Their fourth album, and their first for new label Tough Lough Records, it’s unquestionably their most direct and propulsive album to date.

                                        Recorded between their own home tape studios and mixed at Dan Carey’s Studio B in South London, the album was entirely produced and mixed by the band.

                                        "Happy In The Hollow is entirely uncompromising: an atmospheric capturing of a state of mind that touches on Post Punk, electronic dissonance, acid folk and Krautrock. Familiar qualities like metronomic rhythms, warping guitars, undulating synths and Tom’s gentle, reedy vocals are all in there, but so is a greater emphasis on melody, a wider scope, and a combining of the reassuring and the sinister that is as unnerving as it is captivating."

                                        The sound has without doubt expanded — and grown more confident — in part because this is the first album for which Toy has become a self-sufficient five-person unit doing everything for themselves.

                                        “Each song was a blank canvas,” says Maxim. “Producers inevitably develop their own patterns over time, right down to certain drum sounds. We were starting from scratch and it felt very creative as a result. It’s an album we feel deeply connected to”.

                                        TOY are: Tom Dougall (vocals / guitar), Dominic O’Dair (guitars), Maxim Barron (bass / vocals), Max Oscarnold (synths / modulations) & Charlie Salvidge (drums / vocals).


                                        FORMAT INFORMATION

                                        Dinked Edition LP Info: Pressed on Transparent Vinyl.
                                        Exclusive alternative artwork.
                                        Includes a bonus 7" single with two secret tracks.
                                        Hand Numbered.
                                        Limited to 700 copies to Dinked Shops only.

                                        Coloured LP Info: Limited to 1000 copies on “Behind Blue Eyes” vinyl and exclusive to Indie stores only.

                                        Mac DeMarco & Haruomi Hosono

                                        Honey Moon

                                          Light in the Attic Records is beyond excited to announce a series of exclusive vinyl and digital singles, featuring some of our favorite contemporary artists covering their favorite songs.

                                          Housed in a custom jacket designed by L.A.-based artist Robbie Simon, each 7” in the series is pressed on special colored vinyl and features the original version as the b-side.

                                          The series launches with Mac DeMarco covering one of his biggest musical idols, Haruomi Hosono. Having referenced him in numerous interviews and on his album covers, DeMarco now pays direct homage to the Japanese legend with his sincere take on “Honey Moon,” originally released on Tropical Dandy in 1975. DeMarco effortlessly sings the original lyrics in Japanese, while maintaining his own unmistakable cool.

                                          Haruomi “Harry” Hosono is a towering figure in the history of modern Japanese music. From the groundbreaking folk rock of Happy End and the pioneering techno pop of Yellow Magic Orchestra, to the countless influential solo works that have touched on exotica, funk, country, electronic, ambient, and everything in between. Fresh from his celebrated solo London debut at the Barbican Center for Light In The Attic’s ‘Sweet 16’ celebration, Hosono will see his key works reissued by Light In The Attic starting this August – the first time these highly influential and sought-after albums will be available outside Japan.

                                          This batch of covers follows our popular Light in the Attic 10 Year Anniversary series from 2012, which included Ariel Pink and Dam Funk covering Donnie & Joe Emerson’s eternal anthem “Baby,” Mark Lanegan covering the melancholy folk of Karen Dalton, and Iggy Pop with Zig Zags transforming Betty Davis’ dirty funk into a heavy Sabbath grind.

                                          Upcoming highlights from the covers series include acclaimed singer-songwriter Julie Byrne covering Nico, and Pulp frontman Jarvis Cocker making his own unique selection from the Light In The Attic archives


                                          Benjamin Smith and Paul 'Mudd' Murphy are back with a Balearic-pop gem - "The Distance". Featuring a vocal and instrumental on the A-side, and a remix on the flip by Crazy P production ace - Ron Basejam. Lyrics and vocals are by Quinn Lamont, who's captivating earthy tones playfully tease us with emotional yearning, and it's Quinn who provides a stunning jazzy guitar performance that will have you air guitaring all over the dancefloor, and which sits splendidly alongside the beautiful layers of rich electric piano and Balearic disco grooves. The remix by Ron Basejam recasts the track as an instantly affable yacht-rock-esque anthem, that will fill your hearts and have you reaching for the Campari.

                                          Surely one of those record's that's fallen victim to unpredictable manufacturing times and therefore release schedules, this is a sumptuous summer groover, with layer upon layer of blissed out, crystalline, oceanic disco warmth and goodness. As such it's gonna have to stay in the 'cooler' for another couple of months, but wait patiently for those first glimmers of Spring and the record'll really come into its own. 


                                          STAFF COMMENTS

                                          Matt says: Get this one super chilled and ready for cracking out the cooler once the temperature warms up and party season kicks off again...

                                          Buzzcocks

                                          Another Music In A Different Kitchen - Reissue

                                          Like many first albums, Another Music In A Different Kitchen collected material written by the group - in particular Pete Shelley and Steve Diggle - that had been amassed during the previous years, going back to 1974 and 1975. According to Tony McGartland in his Buzzcocks: The Complete History, the songs were sequenced in the order that they were written. The play through seems to bear this out: the album begins in fast protest punk and ends in the seven minute, definitely non punk length Krautrock of ‘Moving Away From The Pulsebeat.’

                                          Most of Shelley’s songs on the first side concern the vicissitudes of romance, but the opener Fast Cars name drops US campaigner Ralph Nader in an ecological diatribe: “They're so depressing going 'round and 'round/Ooh, they make me dizzy, oh fast cars they run me down.” ‘No Reply’, ‘You Tear Me Up’, ‘Get On Our Own’ and ‘Love Battery’ are sharp, short (all under two and a half minutes), speedy disquisitions on the tortures of interpersonal communication, love and lust played with a perfect balance between pace, abrasion and melody.

                                          Side closer ‘Sixteen’ is something else. It’s longer and contains an avant-garde breakdown around two minutes in, recorded with each group member isolated and unable to hear each other. “It started off as a false ending,” Shelley told me in 1977: “All sloppy, and then it carries on longer so that people are thinking, “Oh I’ve just clapped but they’re not thinking — what’s up?” and then it comes back in again.” It was, as John Maher added, “A remnant of our chaos days.”

                                          Would Shelley like to be sixteen again? “In some ways yes, in some ways no. The words go: “And I wish I was sixteen again/Then things would be such fun/All the things I'd do would be the same/But they're much more fun/ Than when you're twenty one.” Things like going for a drink — now the novelty’s worn off but the enjoyment’s still there. There’s no difference between doing something when you’re 16 and 22, except there is a difference if you’re doing it for the first time.”

                                          Perhaps the most remarkable thing about the song is its rapid fire, venomous ending:
                                          “And I hate modern music/Disco boogie and pop/They go on and on and on and on and on/HOW I WISH THEY WOULD STOP!” Never has a truer sentence been written about the true impetus behind Punk: not just boredom with progressive rock or dinosaur sixties acts but an intense disgust with mainstream pop music, which in 1976, the year of number one singles by Elton and Kiki, Abba, the Brotherhood of Man, Adge Cutler & the Wurzels, seemed not to have anything to do with teenage life and certainly nothing to do with excitement or the true teenage news.

                                          The five songs on side two reflected the group moving away from simple love tropes into something more complex: as Shelley sang on ‘I Don’t Mind’, “Reality’s a dream.” Unlike the increasing militarism and violent posturing of the Clash, Buzzcocks aimed to explore male sensitivity and frailty (‘This pathetic clown’) - which in pop terms was still new, exactly what punk had set out to be. They began to use love songs as a conduit through which they could talk about other things: the nature of human relationships in a capitalistic society, the nature of reality itself.

                                          Onstage Buzzcocks did not present as macho. Sometimes they’d try a group uniform, like the Mondrian shirts of early 1977, but mostly they just dressed as themselves: Diggle and Maher in various permutations of Mod wear, Paddy Garvey in leather jacket and skinny tie, and Shelley in a bewildering variety of styles. “It’s no good me wearing anything like that (bondage pants),” Shelley told me; “I’m just not the fashionable shape.” “You put those clothes on and you become a different character,” Diggle added: “I don’t feel myself, I feel like somebody else.”

                                          ‘Fiction Romance’ continues the themes of ‘I Don’t Mind’: male frailty, the commodification of emotions, the difference between reality and fantasy. Steve Diggle’s powerful ‘Autonomy’ spells out the true theme behind Punk: self determination. “It’s a discussion between two sides of your personality,” he told me; “It’s about discipline in yourself, like when you say you’d like to do something and you haven’t got control, you’re not autonomous. Like giving up smoking, which I’m trying to do now and it’s very difficult. I haven’t got control of myself.”

                                          Shelley’s pell-mell ‘I Need’ tackles the capitalist perplex head on: “I used to only want but now I need/To get by with what I got but now I need.” After a fine bass led instrumental break, Shelley lays it out again: “I need sex/I need love/I need drink/I need drugs/I need food/I need cash/I need you to love me back.” ‘Moving Away From The Pulsebeat’ continues the breakneck pace: lasting at least three times the standard punk rock single, it features some stinging psychedelic solos and some rapid fire classic break beats from John Maher.

                                          There’s a pause, then the riff of ‘Boredom’ returns: back to the beginning. Another Music in a Different Kitchen is a perfect circle: thirty five and a half minutes of tuneful, exciting and thoughtful music that stretched the boundaries of guitar pop music at the same time as it delivered on the group’s promise. It was a critical and a commercial success, reaching the UK album top twenty in March 1978 and staying there for nearly three months. But Buzzcocks had no time to rest on their laurels.


                                          FORMAT INFORMATION

                                          Coloured LP Info: Silver vinyl. Comes with a recreation of the original Buzzcocks carrier bag.

                                          Coloured LP includes MP3 Download Code.

                                          LP includes MP3 Download Code.

                                          Steve Gunn

                                          The Unseen In Between

                                            For over a decade, guitarist/vocalist Steve Gunn has been one the American music’s most pivotal figures-conjuring immersive and psychedelic sonic landscapes both live and on record, releasing revered solo albums ranking high on in-the-know end of year lists, alongside exploratory collaborations with artists as diverse as Mike Cooper, Kurt Vile, and Michael Chapman (whose most recent studio album he produced). Gunn is known for telling other people's stories, but on his breakthrough fourth album, The Unseen In Between, he explores his own emotional landscapes with his most complex, fully realized songs to date. 

                                            Behind the chocolate box cover, Love Bites is an album of paradoxes if not clashing opposites: real/imaginary, past/future, love/lust, connection/alienation, commerciality/experimentation. It’s to the group’s credit that they walk the high wire with ease: the attack is less punk, more measured and on occasion psychedelic, as befits the perceptual and philosophical nature of Shelley’s lyrics. The glossy pop star photo on the sleeve is matched by stranger photo realist portraits on the inner, by Robin Utracik of the Worst: Shelley in particular looks dishevelled, having just vomited when the source photo was taken.

                                            Love Bites hit its moment. The reviews were good, and so were sales: it reached number 13 in the album charts, Buzzcocks’ best showing. They immediately went out on their fourth tour, Beating Hearts - supported by Subway Sect - which was marked in this year of Sham 69 by skinhead violence and stage invasions, definitely not what Buzzcocks were about. The fifth single of that year had already been recorded: ‘Promises’ and ‘Lipstick’, the latter of which used the same riff as Magazine’s debut ‘Shot by Both Sides’. Buzzcocks had reached their commercial peak, but Pete Shelley was deeply troubled.

                                            Late 1978 was a harsh place, with competing styles and fads and the relentless pressure of rapid fire novelty that punk had set up. The pace was killing and on top of that the impetus of 1976 punk had faded. Shelley also felt that the original sense of community had gone: “Once we were in the music industry, people had become more diversified, there was nothing really to pull people together again.” More importantly, the constant touring was driving him mad: “It was a bit unnerving. When we did the Love Bites tour I was convinced by Richard not to leave the band. It was all getting too much for me.”



                                            FORMAT INFORMATION

                                            Coloured LP Info: White vinyl. Comes with a recreation of the original Buzzcocks carrier bag.

                                            Coloured LP includes MP3 Download Code.

                                            LP includes MP3 Download Code.

                                            Arctic Monkeys

                                            Crying Lightning

                                              Arctic Monkeys

                                              Don't Sit Down 'Cause I've Moved Your Chair

                                                Night Beats

                                                Myth Of A Man

                                                  Fronted by Texan native Danny Lee Backwell, Myth Of A Man is Night Beats' fourth studio album, and their second for Heavenly Recordings following the release of Who Sold My Generation in 2016.

                                                  While Blackwell has always fed off the musical legacy of his Texas roots—Roky Erickson and the 13th Floor Elevators, The Red Krayola, The Black Angels and more paving the way for the the napalm-coated psych-rock headtrip of past albums—Myth Of A Man has him pulling from the surrogate wellspring of Nashville, Tennessee.

                                                  It was there that he worked with the eminent Dan Auerbach, and a murderer’s row of battle-worn session musicians—the combined weight of experience that comes from working with every legend from Aretha Franklin to Elvis not lost on Blackwell. “I was just humbled by being accepted,” he explains, “Big hearts all around.”

                                                  In short, it’s an album that holds its own next to the classics, less of the bloodshot acid trip of Sonic Bloom (2013) and Who Sold My Generation (2016) here, Blackwell has recalibrated them, slowed them down just enough and allowed them the space to breathe and exist as something new. It’s the same book, just a different chapter. The moody organ comps and slow stroll of the 12-string on “Her Cold Cold Heart” evoke the noxious feeling and hypnotic state of toxic love, the spirit of Bill Withers is flowing through the acoustic guitar and sun-soaked shuffle of “I Wonder,” and string-trimmed ballads like “Footprints” and “Too Young To Pray” evoke the imaginative, cowboy psychedelia of fellow Texan, Lee Hazlewood. “Let Me Guess” with its searing riff and Elevators-esque organ assures us that the scuzzy sound we know and love is alive and well, while “One Thing,” a song about being used and abused—or as Blackwell sharply puts it, “being rolled up and smoked”—has plenty of fuzzed-out guitars to let us know he might just be happy about it.

                                                  Written during a particularly destructive period of the band, the album is populated by fallen angels, blood-sucking wanderers, and vindictive lovers—sketches of people the band has surely come across during their cosmic roving through the underground—but the character most present is Blackwell, himself. “Myth Of A Man can be summed up as a personal display of vulnerability and guilty conscience,” he explains, “Destroying the mythos of what it means to live and function in society.” With its bold steps forward, Myth Of A Man serves as both a takedown and reintroduction of the band as we know it—the strongest evidence that you’ll never be able to pin Night Beats down. 


                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Red vinyl.

                                                  Pye Corner Audio

                                                  Hollow Earth

                                                    Hollow Earth is the new album from Pye Corner Audio aka Martin Jenkins, his third for Ghost Box. It’s conceived as a sequel to 2016’s Stasis. Where Stasis played with notions of outward cosmic exploration and the idea of suspended animation and sleep, Hollow Earth takes subterranean exploration and submerged psychologies as its theme.

                                                    It draws on Berlin school synth improvisations, New Age reveries and the ghosts of 90s house euphoria to summon up images of vast, awe inspiring spaces and claustrophobic chambers. It sustains an atmosphere of wonder and adventure throughout, and like its companion piece, Stasis, it works equally as a soundtrack to physical as well as mental exploration.

                                                    Pye Corner Audio specialise in majestic, cinematic electronica that evokes sci-fi soundtracks, dystopian futures and the sound of haunted dance floors. The discography to date includes eight full length albums and many more singles and EPs across several labels. There are also remixes for John Foxx, Mogwai, Mark Lanegan, Stealing Sheep, Knightstown, Not Waving and most recently Dolphin Midwives.

                                                    Pye Corner's Martin Jenkins (aka The Head Technician) is a veteran live performer, and has played shows and festivals all over Europe, Canada and the USA. Most notably he has supported Mogwai on several tour dates, played the Mutek festival in Montreal, the Mugako Festival in Spain and Barcelona’s Primavera Club.

                                                    Pye Corner Audio pieces appear in the soundtrack to Adam Curtis’s 2016 film HyperNormalisation and the 2018 Shudder TV series, Deadwax. More TV soundtrack appearances are due to appear in 2019.

                                                    Led by vocalist Amy Boone (The Damnations, TX), Cory Gray on keyboards, & horns, Tucker Jackson (The Minus 5) on pedal steel, as well as former Richmond Fontaine members: Sean Oldham, Freddie Trujillo, and Willy Vlautin. Vlautin, the acclaimed novelist and songwriter for Richmond Fontaine, has penned all ten tracks. Richmond Fontaine broke up in 2016 after touring Europe over 25 times and selling over 45,000 records. Décor will be putting out two singles before the album in January.

                                                    The Delines debut album, Colfax, surprised fans and critics alike. The band had only been together a week when they went into the studio and cut the record. Uncut gave it 9/10 stars and praised its "widescreen romanticism", calling it "the richest collection of songs Willy Vlautin has written." Evoking the feel of a beat up Dusty Springfield or a weary Rickie Lee Jones, Colfax made a dozen top ten records of the year lists and the Delines sold out venues in the UK & Ireland. The Guardian declared them the surprise hit of End of The Road Festival and they toured Europe three times off the LP. The Delines were in the midst of working on the follow up to 'Colfax; when singer, Amy Boone, was hit by a car while walking on a sidewalk in Austin, Texas. Both her legs were broken, she was hospitalized for months, and went on to have eight major surgeries. The band stopped completely and waited and hoped for her recovery. Now five years later, Amy is finally on the mend and The Delines are back with their sophomore effort, The Imperial.

                                                    Where Colfax was an experiment, The Imperial is the result of a year of touring, the solidification of the line up, and months of rehearsals. Recorded in Portland, Oregon and produced by John Morgan Askew, The Imperial shows us again why songwriter, Willy Vlautin became so enamored with Amy Boone's voice. The combination of Vlautin's songs and Boone's voice creates a late night country soul world full of hopefulness and heartbreak.

                                                    FORMAT INFORMATION

                                                    Deluxe LP Info: Ltd edition gatefold LP with a 7" of unreleased tracks.

                                                    Arctic Monkeys

                                                    Cornerstone

                                                      Arctic Monkeys

                                                      I Bet You Look Good On The Dancefloor

                                                        Arctic Monkeys

                                                        Leave Before The Lights Come On

                                                          The Brian Jonestown Massacre

                                                          The Brian Jonestown Massacre

                                                            Brian Jonestown Massacre burst into 2019 with the release of their 18th full-length album, just 7 months after their last one. The self-titled 9-track album is released on Anton Newcombe’s A Recordings on 15th March 2019. It was recorded and produced at Anton’s Cobra Studio in Berlin.

                                                            The album was originally going to be released in September, but due to a hugely successful global tour – taking in USA, Canada, Australia, New Zealand and Europe the release was delayed.

                                                            Recorded this time last year, the album features Sara Neidorf on drums, Heike Marie Radeker (LeVent) on bass, Hakon Adalsteinsson (BJM / Third Sound & Gunman & Holy Ghost) on guitar and Anton Newcombe on multiple instruments. Also making a guest vocal appearance on ‘Tombes Oubliées’ is Rike Bienert who has sung on previous BJM albums. The band performed songs from the album throughout the European leg of the 2018 tour.


                                                            FORMAT INFORMATION

                                                            Coloured LP Info: 180 gram clear vinyl LP in superb deluxe packaging.

                                                            Back in stock Cover of Love Said (Let's Go) - Inc. Ashley Beedle & Flying Mojito Brothers Remixes by 77:78.
                                                            77:78, the new project from Aaron Fletcher & Tim Parkin, card-carrying members of the musical kaleidoscope that is The Bees, are releasing two genius Ashley Beedle remixes of "Love Said (Let’s Go)", the latest track to be taken from their debut album, "Jellies", which was released on Heavenly Recordings back in the Summer. Beedle avoids routine repetition by adopting a retrotastic, almost vintage psychedlia vibe on his version, a million miles away from his typical house re-rubs that characterized his early career. A tidy breakbeat powers the funk, whilst reverb-heavy vox, Wurlitzer and fuzz guitar provide a variety of melodic inflections - top stuff! As well as an instrumental of said remix, the flip of the 12" contains the original version by 77:78 - slower paced with slightly more delicate instrumentation and arrangement but still hitting that sunshine psyche vibe perfectly.

                                                            Also included is a modern electronic dance remix of "Chilli" by The Flying Mojito Brothers. Propelling the track with a loose n baggy house beat, the instrumental palette is flipped to contain a variety of new elements, with just the original vocal remaining intact. It's still tastefully done though, with funky keyboards and bass working beautifully together while the fx sweeps and added perc give it a new found flamboyancy. It's bound to find favour with beach n boat parties when the weather warms up a bit!


                                                            FORMAT INFORMATION

                                                            Ltd 12" Info: Limited to 300 copies.

                                                            Lorelle Meets The Obsolete

                                                            De Facto

                                                              Mexican duo Lorelle Meets The Obsolete release their new album De Facto on January 11, 2019. The album, their fifth, was recorded at their home studio in Ensenada, Baja California, mixed by Cooper Crain (of Cave and Bitchin Bajas) and mastered by Mikey Young (of Eddy Current Suppression Ring and Total Control). It’s easily their best and most coherent album to date, and also the one that fully explores the outer limits of their sound. “There was a conscious desire to push further with what we were doing,” says The Obsolete, aka Alberto González. “One of our rules for this album was to go all in without middle grounds in terms of what we wanted the songs to be. We were committed to developing ideas that made our heads go ‘POW!’ from the beginning.” The end result is somewhere between the brave experimentation of the new Low album, Double Negative, and Tender Buttons-era Broadcast put through a heavy psych filter. There are pure pop songs that come across like lost ’60s nuggets (‘Linéas En Hojas’), blistering white noise jams (‘Unificado’) and meditative incantations (‘La Maga’) – all of which will, indeed, make heads go ‘POW!’

                                                              You Tell Me is Field Music’s Peter Brewis and Admiral Fallow member Sarah Hayes. As one half of Field Music, Peter Brewis has been honing the craft of pop songwriting for almost fifteen years, whilst Sarah Hayes has been exploring contemporary folk in her solo work, and the world of indie-pop via her band Admiral Fallow. Their debut self-titled album, the last to be recorded at the old Field Music recording HQ, is set to be released in January on Memphis Industries.

                                                              After meeting at a Kate Bush celebration concert, the pair clicked. “I'd been an admirer of Field Music for a good while before meeting Peter at the gig,” Sarah recalls. “So I was pleased to discover he wasn't an insufferable diva, and delighted that he was keen to try working on some music together.” Peter had been “blown away” by Sarah’s voice during a rendition of “This Woman’s Work” and when investigating her solo work heard a lot of parallels to what he was trying to do in Field Music.

                                                              By blending their distinct compositional talents, they’ve created a record that possesses their own clear styles but also a new voice too. With both of them writing songs and lyrics, Peter describes it as “a sort of dual-personal record”. Sonically, the result is a subtly crafted album with a rich and intricate sense of composition, in which strings glide above multi-layered keyboards and percussion, and vocal melodies wrap around one another in snug unison. In many senses it feels like a classic songwriter record - rich in craft, songs, arrangements and vocal interplay - yet it manages to feel stylistically contemporary and void of nostalgia.

                                                              Lyrically, Peter says, “most of the songs seemed to either be about conversations, be conversational or about talking or not talking.” Sarah echoes this: “the subject of communication - talking and listening, guessing and questioning - looms large on this record and in general for me. It's something I think about a lot.” Which makes sense given that this record is fundamentally a musical conversation between two new collaborators and friends, a constant back and forth of new ideas, shared influences and the expunging of inner feelings.

                                                              Whilst the subject matter can occasionally be personal and explores troubled or conflicted conversations around inner turmoil, there’s also a stirring sense of beauty that comes from the record; a feeling of pastures new and moving onto new things rather than being held back by the past. What makes this an even more remarkable musical statement and achievement is that two first-time collaborators were able to channel so much of themselves into a project and create something coherent and poised.

                                                              FORMAT INFORMATION

                                                              Dinked Edition LP Info: Exclusive screen-printed sleeve.
                                                              Signed.
                                                              White vinyl.
                                                              Hand numbered.

                                                              Coloured LP Info: White vinyl edition.

                                                              Coloured LP includes MP3 Download Code.

                                                              Joe Oxley is the self-styled one-man electro / psych machine behind TVAM - arguably producing the biggest dancefloor action Wigan has seen since the legendary Casino closed its doors in the 1970’s . As 6Music’s Lauren Laverne observed “It’s like someone took Spiritualized to the club!!”

                                                              Hypnotic tracks which straddle an impressive spectrum of influence; with Boards of Canada’s irresistible nostalgia, Suicide’s deconstructed rock ’n’ roll and My Bloody Valentine's infinite noise all becoming touching points in Oxley’s musical output.

                                                              TVAM gigs blur the boundary between art and performance; via a large television sat on an 80’s secondary school-style podium, a VHS video recorder projects long-forgotten Mondo movies alongside vintage footage often sourced from hours spent poring through charity shop shelves – “What started as a passing interest became an obsession. I found so many seemingly random videos, each with its own individual meaning, now estranged from their owners. Did these people ever take up calisthenics? Did they install a model railway in their spare bedroom? Did they learn to communicate more effectively with their teenage children? Did they find something in those high-speed rally crash videos unseen by us today..?

                                                              I love the process of chopping things up and splicing back together; creating new meaning out of thin air. Combining this with the music I was making, I knew the performance had to fit. Somewhere between Adam Curtis and BBC Schools… somewhere between ‘Threads' and ‘Words & Pictures’.”

                                                              Self-produced and home-recorded, the album was mixed by the steady hands of Dean Honer (Moonlandingz, I Monster, Add (N) To X) - “It was great working with Dean. I’m a massive Add N To (X) fan and, after hearing what he was doing with Moonlandingz, I knew he’d get where I was coming from. Though having seen his collection of synths I now need to up my game.”

                                                              TVAM has remixed Amber Arcades, The KVB, TOY, FEWS and is currently putting fin-ishing touches to a remix for Tunng (who are returning the favour, watch this space…)

                                                              Crafting a world which touches on our memories but toys with our fears, a world in which information seeps under your door and pools by your feet, a world in which he seeks to define everything from abandoned meanings to subconscious desires, Psychic Data invites us to experience the psychodrama first hand.

                                                              STAFF COMMENTS

                                                              Barry says: Throbbing psychedelic riffage, phased vocal harmonies rolling along with the hazy atmospherics, TVAM have managed to mix their latent gloomy post-punk aethetic with a more driven dancefloor orientated style to great effect.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Indies exclusive orange vinyl.

                                                              Though it may lack the veiled political inferences of the Queen’s Message, the unfathomable misery of the Eastenders special or the hilarity of your uncle’s festive excess, the Themes For Great Cities yuletide 12” is a tradition worth upholding. This year’s Christmas cracker comes from label favourite Lucas Croon, a synth-wielding maverick whose CV includes neu-Kraut freakouts with BAR, technoid ticklers with Stabil Elite and unconventional house hits on a solo tip. Where 2016’s ‘Schlachtof Aufnahmen’ drifted through icy kosmische and ecstatic Anatolian house, ‘Ascona’ offers a digital distillation of Madge’s ’80s resort pop, Hardcastle’s ‘Rainforest’ and those random Euro 7” you dig from Flemish flea markets (check the dreamboat digi-dub of ‘S.W.E.D.’ for ultimate balearic B-side brilliance). Packed with knowing ’80s references, playful production and a whole lotta chug, you can file this next to Phaserboys or the Early Sounds Crew.

                                                              STAFF COMMENTS

                                                              Patrick says: More steel-melting heat from Dusseldorf's TFGC, courtesy of synth king Lucas Croon. "Ascona" bounces through Balearic house, tropical funk, and floor ready boogie before taking an impressive detour into blue eyed reggae. I haven't got many of this, so get your skates on...


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                                                              Just taken delivery of some @ArcticMonkeys single reissues. Grab them while you can. https://t.co/6f3fZjqA1ihttps://t.co/TA6jLxhtXh
                                                              Wed 23rd - 9:46
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                                                              Back in stock and in the ‘just in’ section on the website. 12” vinyl from @77_78_ and @TheOrielles via… https://t.co/IbSJhbPdh2
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                                                              The @sharonvanetten banner looking really good today. Her new album ‘Remind Me Tomorrow’ out now via @jagjaguwarhttps://t.co/Jw6ndNfnzP
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