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Jane Weaver

Flock

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

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

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

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

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

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

    FORMAT INFORMATION

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

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

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

    Signed CD Info: PICCADILLY EXCLUSIVE SIGNED EDITION.

    Jim Ghedi

    In The Furrows Of Common Place

      “Instead of landscape sketches I wanted to go into more personal areas of my reality,” says Jim Ghedi of his third album In The Furrows Of Common Place. “To hold up certain aspects of society that were laying bare in front of me.”

      Whilst Ghedi’s previous idiosyncratic take on folk has often been instrumental, exploring the natural world and his relationship to it through his music as seen on 2018's A Hymn For Ancient Land. His new album In The Furrow Of Common Place is a deeper plunge inside himself to offer up more of his voice to accompany his profoundly unique and moving compositions. “There were things I was seeing around me and being affected by in my daily life,” he says. “Socially and politically I saw defiance but also hopelessness. I wanted to be honest with the frustration and turmoil I was experiencing.”

      The decision to include more of Ghedi’s vocals was a conscious one and driven by a need to say something. However, this isn’t a brash raging political polemic. As is now customary with Ghedi’s work, it is rich in nuance, history, poetry and allegory. Musically, the album is equally locked into this ongoing sense of evolution. Ghedi’s intricate yet deft guitar playing still twists and flows its way through the core, weaving in and out of gliding double bass, sweeping violin, gentle percussion and vocals that shift from tender solos to overlapping harmonies.

      As with much of Ghedi’s work, there’s a rich connection between the past and the current. Musically, he continues to sit in a singular position of sounding distinctly contemporary yet also with a touch of traditional flair. This expands itself into the lyrical terrain here too. “I've been exploring contemporary issues and in that process discovering sources that correlate with similar issues in the past,” he says. “Which proves that these issues throughout history - environmental destruction, working class poverty etc - are ongoing.”

      For all the socio-political and historical backdrop to the record it is not one that feels overwhelmed by it. Much like Ghedi’s work when it was largely instrumental - and some of it still is here - it flows and unfurls thoughtfully, with space still being utilised masterfully, creating room to pause and reflect. It’s another inimitable record from an artist that truly sounds like nobody else right now. 


      FORMAT INFORMATION

      Dinked Edition LP Info: • 180g copper/bronze coloured vinyl *
      • Risograph art print designed by David Hand *
      • Poem written by Jim Ghedi *
      • Heavyweight linen grain sleeve
      • Signed & hand numbered *
      • Printed inner sleeve & lyric sheet insert
      • Limited 300 pressing *
      * Exclusive to Dinked Edition

      LP Info: 180 gram heavyweight black vinyl w/ digital download.
      Heavyweight Linen grain sleeve.
      Inner picture sleeve with Jim's song notes & lyric sheet insert.

      Working Men's Club

      Working Men's Club

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

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

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

        Trapped, inside a town, inside my mind

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

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

        This winter is a curse

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

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

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

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

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

        Diva Harris, February 2020

        STAFF COMMENTS

        says: It's perhaps unsurprising that a band from the Calder valley draws on influences from both sides of the Pennines. They've taken a heavy dose of Factory records doomy grooves and spliced them with the industrial clatter of 80's Sheffield, added in some post punk stylings and heavy techno pulses to create a forward thinking monster of a debut album.

        FORMAT INFORMATION

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

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

        Matt Berninger

        Serpentine Prison

          Serpentine Prison is the debut solo record from Matt Berninger front man of The National. The album, produced by renowned Memphis multi-instrumentalist Booker T. Jones (of Booker T. & The MG’s fame) will be released via Book Records, a new imprint formed by Berninger and Jones in conjunction with Concord Records.

          “The song ‘Serpentine Prison’ was written in December 2018, about a week after recording The National’s I Am Easy to Find,” Berninger explains about the new track. “For a long time, I had been writing songs for movies and musicals and other projects where I needed to get inside someone else’s head and convey another person’s feelings. I liked doing that, but I was ready to dig back into my own garbage and this was the first thing that came out.”

          Berninger continues, “The title is from a twisting sewer pipe that drains into the ocean near LAX. There’s a cage on the pipe to keep people from climbing out to sea. I worked on the song with Sean O’Brien and Harrison Whitford and recorded it about six months later with Booker T. Jones producing. It feels like an epilogue, so I named the record after it and put it last.”

          The album features contributions from a wide array of notable artists, including Matt Barrick (The Walkmen, Jonathan Fire*Eater), Andrew Bird, Mike Brewer, Hayden Desser, Scott Devendorf (The National), Gail Ann Dorsey (David Bowie, Lenny Kravitz), Booker T. Jones, Teddy Jones, Brent Knopf (EL VY, Menomena), Ben Lanz (The National, Beirut), Walter Martin (The Walkmen, Jonathan Fire*Eater), Sean O'Brien, Mickey Raphael (Willie Nelson, Bob Dylan), Kyle Resnick (The National, Beirut), Matt Sheehy (EL VY, Lost Lander) and Harrison Whitford (Phoebe Bridgers). Additional production on the album was provided by Sean O’Brien.


          STAFF COMMENTS

          says: Matt Berninger has had our attention for a long time, fronting and writing songs for The National. It comes as a little surprise then, that he's smashed out a solo album with the band still fully intact (just not the done thing is it?). Anyway, he's forgiven because what we have here is a beautifully emotive but comfortingly different creative path than his 'Day Job'. How the songs keep flowing at this quality is beyond me, let's just hope they keep flowing.

          FORMAT INFORMATION

          Coloured LP Info: Limited indies exclusive Opaque Blue vinyl.

          Future Islands

          As Long As You Are

            As Long As You Are looks to the past as well as the future, confronting old ghosts and embracing a new hope. It is an album about trust, full of honesty, redemption and “letting go”, allowing old wounds to heal and bringing painful chapters to a close.

            As Long As You Are also signals a new era for Future Islands. Drummer Mike Lowry officially joins as a fully-fledged member and songwriter bolstering the founding trio of William Cashion, Samuel T. Herring and Gerrit Welmers. Together, the four-piece took on official production duties for the first time, co-producing As Long As You Are with engineer Steve Wright at his Wrightway Studios in Baltimore. Their brand of new wave synth-pop full of bright melodies and heavenly choruses is as euphoric and uninhibitedly joyful as anything the band has done in their 14-year career.

            STAFF COMMENTS

            says: There is something absolutely enthralling about Samuel T. Herring's on-stage dancing. We all know that, but it's with no small amount of joy that I can confirm the quality of the music is indeed up to the same high standards. Longing, wistful and emotive, with electronic synthy sections beautifully offset with the more driven anthemic material. 'As Long As You Are' is a triumph, and quite possibly the best work they've done.

            FORMAT INFORMATION

            Coloured LP Info: Petrol blue vinyl.

            Gorillaz

            Song Machine: Season One - Strange Timez

              Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

              Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
              To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

              Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.


              FORMAT INFORMATION

              Coloured LP Info: Indie Exclusive 140g Neon Orange 12” vinyl.

              2xDeluxe CD Info: 2CD Digipack with 6 Bonus Tracks and a 20 page booklet.

              2xLP Box Set Info: Deluxe vinyl:
              2 x 180g Black 12” vinyl.
              20 page hardcover 12” art book.
              Song Machine Season One Deluxe CD.
              Download card for the full deluxe album.
              3 x 12” art prints.
              1 x 12” label copy sheet.

              Mary Lattimore

              Silver Ladders

                Los Angeles-based harpist Mary Lattimore returns with Silver Ladders, the full-length follow-up to acclaimed album Hundreds of Days. Since 2018, Lattimore has toured internationally, released collaborative albums with artists such as Meg Baird and Mac McCaughan, and shared a friends-based remix album featuring artists such as Jónsi and Julianna Barwick. At one of her festival appearances, Lattimore met Slowdive’s Neil Halstead: “A friend introduced us because she knew how big of a fan I was and Neil and I had a little chat... The next day, I just thought maybe he’d be into producing my next record.” He was. Lattimore traditionally records her albums holed up by herself, so the addition of Halstead’s touches as a producer and collaborator leave a profound trace. “I flew on a little plane to Newquay in Cornwall where he lives with his lovely partner Ingrid and their baby. I didn’t know what his studio was like, he’d never recorded a harp, but somehow it really worked.”

                Recorded over nine days at Halstead’s studio stationed on an old airfield, Silver Ladders finds Lattimore exercising command and restraint. Her signature style is refined, the sprawling layers of harp reigned in and accented by flourishes of low end synth and Halstead’s guitar. The music can feel ominous but not by compromising vivid wonder, like oceanic overtones that shift with the tides. This material is colored by specific memories for Lattimore; “Neil has this poster of a surfer in his studio and I’d look at it each day, looking at the sunlight glinting on the dark wave. In these songs I like the contrast between the dark lows and the glittering highs. The gloom and the glimmer, the opposites, a lively surfing town in the winter turned kinda rainy and empty and quiet.”

                Lattimore and Halstead reformed three existing demos and improvised the remaining four songs. Among the batch she brought with her, the title track recalls a trip she took to Stari Grad, Croatia on the island of Hvar. “I spent some days there just swimming in the bay, silver ladders right into the sea.” The image stuck with her when she found herself performing at a cliffside wedding overlooking the Pacific. “Before anyone showed up, I had time to set up and play and this song came to me, ‘Silver Ladders (to the sea)’, so I made a little recording on my phone to remember it.” This sketch expanded; a delicately glittering harp melody comes over the horizon, swelling and rolling towards the shore on ebbs of synth and refractory delay.

                These songs are clearly tales, and yet Silver Ladders is open to interpretation. Her memories — “the Cornish landscape, the hotel from the movie The Witches, the cream tea, winning the pub quiz, the Sunday Roast, the ghosts of all of the surfers who had died in the wild waves, the night walks to the top of the hill to see the moon shining on the water…” — shine through these works without defining them. In a way, much like the sea, or the sky, they belong to everyone. Such is the beauty of her craft, which stands here in unprecedented company and clarity, the confidence of an artist in full.


                STAFF COMMENTS

                says: The beauty really shines brightly in this one. Mary Lattimore presents a perfectly relaxing, dreamlike meeting of brittle, echoing harp and tastefully applied delay, all undrepinned with slowly shifting, ambient atmospherics. A wonderfully immersive, beautifully realised LP.

                FORMAT INFORMATION

                Dinked Edition LP Info: • Exclusive transparent sand coloured vinyl.
                • Exclusive sheet music for title track ‘Silver Ladders’.
                • Numbered edition.
                • 400 pressing.

                Dinked Edition LP includes MP3 Download Code.

                Coloured LP Info: Silver star coloured vinyl.

                Coloured LP includes MP3 Download Code.

                A Certain Ratio

                ACR Loco - Signed Art Card Edition

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

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


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

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

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

                FORMAT INFORMATION

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

                The War On Drugs

                Live Drugs

                  Culled from over 40 hard drives of recorded live shows spread out across years of touring behind multiple critically acclaimed records, LIVE DRUGS is unlike anything previously available in The War on Drugs’ catalog.

                  The first volume to capture the band’s live interpretations, LIVE DRUGS is a document showcasing the evolution of the band’s live show over the years. Additionally, LIVE DRUGS is a portrait of the enduring relationship between Adam Granduciel and Dominic East. A longtime friend, guitar tech and stage manager, East is LIVE DRUGS’s co-producer and the presence Granduciel credits as holding everything together.

                  Sequenced to reflect how a typical 70-minute set would flow, LIVE DRUGS thrives on live set staples immortalized on record for the first time. This includes “Buenos Aires Beach” from the band’s 2008 fulllength debut, Wagonwheel Blues, and the longtime musical interlude flowing between “Under the Pressure” and “In Reverse” - which bookend 2014’s Lost In The Dream. There’s also the band’s essential cover of Warren Zevon’s “Accidentally like a Martyr” – a song “so true, you should ever be lucky to write a song that simple,” Granduciel says.

                  FORMAT INFORMATION

                  2xColoured LP Info: Opaque purple vinyl.

                  Causa Sui

                  Szabodelico

                    Something different from Causa Sui. While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this new double LP set, that other dimension of the band is being explored full-scale. ”Szabodelico” paints with a colourful palette, both compositionally and sonically - digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15 year life-span Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression - forging new paths into an existing map. ”Szabodelico” feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting. Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection.Sparsely dubbed and mixed with a natural, full bodied flavour by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener ”Echoes of Light”, to the closing slow-motion epic ”Merging Waters” you'll find yourself asking where did the time go? The answer of course is: Szabodelico. 

                    FORMAT INFORMATION

                    2xColoured LP Info: Indies Only Transparent Surf Green Vinyl.

                    2xColoured LP 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 SATURDAY 27TH MARCH 2021!

                      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

                      STAFF COMMENTS

                      says: It's perhaps unsurprising that a band from the Calder valley draws on influences from both sides of the Pennines. They've taken a heavy dose of Factory records doomy grooves and spliced them with the industrial clatter of 80's Sheffield, added in some post punk stylings and heavy techno pulses to create a forward thinking monster of a debut album.

                      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.

                      Andy Bell

                      The View From Halfway Down

                        Ride guitarist/singer Andy Bell releases his debut solo album The View From Halfway Down on October 9. The product of a gradual, four-year process and finished during lockdown, the album was entirely written and recorded by Andy, engineered by Gem Archer and mastered by Heba Kadry.

                        Back in 2016, Andy was inspired by David Bowie’s death to be more proactive about finishing his songs, more confident about sharing them and to channel all of this into finally making a solo album. He laid down some tracks in former Beady Eye and Oasis bandmate Gem’s studio, but got diverted when Ride’s live reunion blossomed into a full return. A run of two albums, an EP and two world tours later, it would take a pandemic to give Andy the space to complete The View From Halfway Down.

                        “I’ve always wanted to make a solo album, I’ve always said I would do it, although I never imagined it happening like, or sounding like, this one does,” explains Andy. “I’d been sitting on this pile of almost finished tracks, along with all the other hundreds of ideas that had fallen by the wayside since I’ve been making music. Lockdown gave me the opportunity to find a way to present it to the world.

                        “The album is not about songwriting. There aren’t many verses or choruses, because this album is about sounds, a listening experience.”

                        From the ecstatic psych pop of ‘Love Comes In Waves’, to the heady loops of ‘Indica’ and deeply groove-led ‘Skywalker’, the eight tracks mix summery melodies with soundscapes and studio experimentation. The end result sits neatly between Ride’s widescreen shoegaze and GLOK’s textured electronics, variously inspired by The Stone Roses, Spacemen 3, The Beatles, The Byrds, The Beta Band, Stereolab, Neu!, Can, John Fahey, The Kinks, The La’s, The Who and the United States Of America.

                        As for the album title, it comes from a particularly dark episode of BoJack Horseman and a poem that scriptwriter Alison Tafel wrote for the penultimate show. The spoiler-free version of the story goes like this: “The poem describes someone committing suicide by jumping to their death and the regret the protagonist experiences when he sees ‘the view from halfway down’. Although, of course, it’s too late to change what’s going to happen. I read this poem as having a message of suicide prevention: if you could see the view from halfway down, you would never go through with anything that would end your life. I’ve never been suicidal, but I felt really moved by this brilliant poem when I watched the show during Ride’s US tour in Autumn 2019. It’s an incredible message.

                        “There was a small kind of a parallel with me, sitting at home in London in March 2020. In the early stages of lockdown, you could feel the tension in the air, causing what felt like a global panic attack. But, in common with what I’ve heard from others who can experience anxiety for no reason in their everyday lives, I felt strangely calm in the midst of all of this, seeing things in my life very clearly. Such clarity allowed me to finally compile this record. In a way, to see my life flash before me and be able to curate moments of it into a 40-minute listening experience, then find a title that would fit.

                        “My upcoming 50th brought everything more sharply into focus. If you imagine that my entire life was a freefall jump to my death, and you were feeling optimistic about me reaching 100 like my Gran did and getting a telegram from the Queen, this album would be ‘the view from halfway down’.”

                        So there you have it. The near death of a cartoon anti-hero and the actual death of a music legend, feeling the calm within a global pandemic and a musical turning point halfway through life all add up to one glorious, technicolour whole.

                        STAFF COMMENTS

                        says: 'The View...' is a beautifully meditative, slowly unfolding journey from the mind of Andy Bell. Layers of reverb and delay follow the carefully picked riffs and shifting walls of sound. It's an album for really sitting down and listening all the way through, and in the current climate, that's a perfect thing. Lovely stuff.

                        FORMAT INFORMATION

                        Coloured LP Info: Blue vinyl.

                        The self-titled record usually marks a definable phase of a musician’s career; an embrace of personal mythology, perhaps, or merely a shift to ‘take me as I am’ straightforwardness. But “Kiwanuka”, the single eponymous word that heralds Michael Kiwanuka’s third album, holds a resonant, complex significance. It signals, for one thing, a swift, pointed rejection of the stage personas that artists have historically donned as both a freeing creative mask and a protective shield. It is an act of cultural affirmation and self-acceptance: a young British-African, contemplating the continued struggle for racial equality, and proudly celebrating the Ugandan name his old teachers in Muswell Hill would struggle to pronounce. It is a nod to a suite of arresting, ambitious soul songs that – while they deftly recall the funkified epics of artists as varied as Gil Scot-Heron, Fela Kuti, Bobby Womack and Kendrick Lamar – cement the singular, supremely confident sound that made 2016’s Love & Hate such an undeniable step up.

                        Now, following ‘Money’ – the lauded summer single collaboration with Tom Misch – and a sunset Park Stage set that was the talk of Glastonbury 2019, the long-awaited follow-up to that record can be announced. And “Kiwanuka”, like its creator, contains multitudes; it offers both the triumphal, grin-widening empowerment of opener ‘You Ain’t the Problem’ and the ruminative, candlelit intimacy of ‘Solid Ground’. It looks inward and out, across widescreen sonic landscapes constructed in recording studios in London, Los Angeles and New York, and provides a sumptuous showcase for the honey-poured mahogany of Kiwanuka’s voice. It skilfully crosses the streams of the personal and the political. No other name would really have done.

                        “I remember when I first signed a record deal, people would ask me, ‘So what are you going to be called?’” laughs the man himself, considering the thought process that inspired the title. “And I never thought of that; calling myself Johnny Thunders or whatever, like singers from the past. But I have thought previously, would I sell more records if my name had an easier ring to it? So [on this album] it’s kind of a defiant thing; finally I’m engaging with who I am and I’m not going to have an alter ego, or become Sasha Fierce or Ziggy Stardust, even though everyone's telling me I need to be this, that or the other. I can just be Michael Kiwanuka.”

                        In many ways this self-possession is a direct consequence of Love & Hate. That record added an unexpected Mayfieldian groove and scope to to the scuffed, ‘70s-infused mellowness of Home Again, Kiwanuka’s Mercury-nominated 2012 debut. Album number two, of course, got its own place on the Mercury shortlist (not to mention a No 1 chart position, a Brit Award-nomination and the wide cultural blast radius afforded by songs that featured on shows like The Get Down, When They See Us and, most notably, HBO’s Emmy-winning Big Little Lies).

                        “Kiwanuka” marks a reunion of the team that conjured ’s acclaimed, pulsing soulscape – namely Gnarls Barkley hit whisperer Brian ‘Danger Mouse’ Burton and British hip hop producer Inflo – and it actually began life not long after the 32-year-old had finished touring its predecessor. Early Los Angeles sessions – in May, 2017 – proved wildly productive. Maybe, in fact, too productive. The trio had sketched out around eight songs – including lyricless, early versions of ‘You Ain’t the Problem’ and the spine-tingling, wintry ballad ‘Piano Joint (This Kind of Love)’ – at such a breathless gallop that Kiwanuka felt some of his old doubts and insecurities creep back. “It was all so fast,” he reasons. “I remember having a conversation with Danger Mouse where I even asked, ‘Is this my album?’” He chuckles at the memory. “That was the lack of self-belief and me beating myself up.”

                        An extended recess was called and, when the team fully reconvened in New York in November 2018, Kiwanuka returned to the project with a new vigour, confidence and a clear sense of this new record’s themes and immersive, sonic textures. It was here that he actualised the lyrically knotty, comforting message of ‘You Ain’t the Problem’ (“It almost made me feel like being a rapper,” he grins); where he turned ‘Hero’ into a shape-shifting, thunderously percussive mini-movie, partly inspired by slain civil rights activist Fred Hampton; here that he crafted the hazy refrain – “” – that allied with Danger Mouse’s rhythm guitar playing to give psych-gospel highlight ‘I’ve Been Dazed’ its eerie, hypnotic power.

                        “We had three weeks and every day I would just do this half hour walk from my hotel by the Brooklyn Bridge to the studio in Red Hook, listening to backing tracks and scribbling lyrics on hotel paper or in my little scrapbook,” he says, more than a little wistfully. “It felt like being 15. And that excitement and childish imagination really helped me forget that it was a scary process.” This youthful sense of play also led to the invocation of some, possibly surprising, tonal influences from Kiwanuka’s childhood as a skater kid who loved Nirvana and Green Day as much as Outkast and Lauryn Hill. Using the cinematic skits and interludes of a record like by The Fugees as a springboard, Kiwanuka wondered if the horn-drenched grandeur of previous lengthy songs like ‘Love & Hate’ and ‘Father’s Child’ could be intensified and transformed into something even more atmospheric, more immersive.

                        The result is the unhurried, auterish poise that may be one of “Kiwanuka”’s most striking features. ‘Piano Joint (This Kind of Love) Intro’ sets the scene with windblown harmonies and a rumbling, canyon-deep baritone to rival Isaac Hayes (it’s actually Kiwanuka, detuned). ‘Another Human Being’ features a jolting gun shot and a quote taken from a participant in the Civil Rights ‘sit-in’ protests that swept through North Carolina in 1960 (‘Interlude (Living All the People)’ also features the voice of congressman and activist John Lewis). ‘Hard To Say Goodbye’ is a dawnlit, 7 minute opus that Kiwanuka garnished with the sampled sound of twittering birds. “I was really influenced by the vividness of something like ,” he explains, about the desire to create such a rich, inhabitable world.  And he even allowed himself to be coaxed towards stretches of musical terrain that he would never have ordinarily explored. When Danger Mouse first started working towards the skipping, almost ‘80s rhythm of ‘Final Days’ – about as far from “Home Again”’s retro soul as this new record gets – Kiwanuka was hesitant. “It’s kind of spacey so I took a lot of convincing,” he admits. “But we went the whole hog with it and it’s one of my favourite songs now.”

                        It tells its own story that Kiwanuka – who came up in the pub rooms of London’s acoustic scene before winning the BBC’s Sound Of 2012 poll – is now so happily embracing musical touchstones and styles that may have once seemed contradictory. The revelatory, confessional core of ‘Black Man in a White World’ (which grappled with identity and Kiwanuka’s status in communities where he was conspicuously the only ethnic minority) has evolved into something a little more certain. Now, Kiwanuka’s reengagement with his Ugandan heritage (he hopes, he notes, to play some shows there soon) manifests in skittering Afrobeat drums and guitar lines that he hopes possess “the feeling of a Fela track”.


                        FORMAT INFORMATION

                        Deluxe CD Info: Hardcover book deluxe edition.

                        Catherine Anne Davies & Bernard Butler

                        In Memory Of My Feelings

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

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

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

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

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

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

                          FORMAT INFORMATION

                          LP Info: Limited LP & 7".

                          Doves

                          The Universal Want

                            In a tumultuous 2020, the re-emergence of Doves with new music has provided a shaft of light in an otherwise brooding sky, finally landing their fifth album, The Universal Want, after an eleven-year artistic break.

                            The equally ecstatic and relieved response from fans and critics to the first track to emerge, Carousels, during the final, confusing throws of the UK and Europe’s strict COVID-19 lockdown in June, proved how desperately their idiosyncratic sense of euphoric melancholy was, and is, needed. Catching many off-guard, Doves unleashed a track of unfathomable depth, unfurling rich and unpredictable pockets of sound, twisted round a sample of the great Tony Allen at his very best.

                            “This place is wild at heart and weird on top, you just couldn’t make it up,” said Jimi Goodwin, surveying the world through his window while a global pandemic was taking root in late-March 2020. Paraphrasing Laura Dern’s character, Lula Pace Fortune in the 1990, David Lynch film Wild At Heart, Goodwin hits on the Lynchian-obsessions shared by all three Doves. Himself, Andy (drums/vocals) and Jez Williams (guitars/programming/vocals) would often find themselves hosting impromptu post-rave, home screenings in the early 1990s.

                            By quoting the film, the lead singer and bassist of the twice Mercury-nominated band also, accidentally, expresses what everyone else was feeling at the time of disorientation, fear and hope. Doves have a longstanding habit of doing just that.

                            First emerging in 1998 with the release of their debut, vinyl-only Cedar EP, Doves’ first album, Lost Souls (2000), received both press and award-panel praise, before Number One follow-up, The Last Broadcast (2002) provided the trio with a major breakthrough, offering with the hit singles, There Goes The Fear and Pounding. Straight-to-Number One follow up, Some Cities (2005) and the difficult birth of the much-loved Kingdom of Rust (2009) appeared to complete a perfect legacy if the hiatus the band called in 2010 lasted longer than anyone hoped. It certainly lasted longer than the band had expected. “It’s bizarre how quickly life just passes,” says Goodwin, reflecting on the years that turned into a decade.

                            The story of The Universal Want, the title itself and other tracks such as Prisoners giving an impression of the band’s disdain towards the consumerist illusion, starts in a rented house in England’s Peak District during secret, unintended writing sessions in 2017. Joining the dots, band historians note that it came a full year before announcing their live return and 18 months before they appeared together publicly. That they were a creative force once more was a near impossible secret to keep, as they worked between studios in the North West and the Midlands.

                            Andy Williams describes the excitement of the sessions, saying: “There were times when we felt an indescribable buzz. It was a breeze compared to ‘Kingdom Of Rust’, with one of the nicest things being just hanging out. We were never that far apart; I’d call Jimi every month. We’re too closely tied to have lost contact; I’d miss them.”

                            Refusing once more to fall into predictable, guitar-bass-drums, ‘plug in and play’ dynamics, The Universal Want’s overwhelming sense of intrigue owes everything to Doves’ three decades experience at the wheel of their band (a lifespan going back to their time as dance band, Sub Sub), and an autobiographical trip through the sounds of their own lives. From seaside amusements (Carousels) and the remembered heat of acid house (Universal Want) to the aimless summer days of youth (Forest House), each song sets a new reel running to show fragments of their lives and, in turn, those of their listeners. Shadows of Bowie, rare 70’s soul, Detroit House and Afrobeat are cast subtly across the shapeshifting album.

                            Cycle Of Hurt’s, disembodied mantra of ‘it’s a trap’, finds the band once more concerned with finding freedom in a cynical, aspirational age. A band that respects creativity itself, allowing the process to meander, it wasn’t, and isn’t their intention to write a manifesto rallying against vapid consumer culture. “When it comes to themes,” says Jez “we always find a very collaborative way forward. It’s all quite subconscious. It’s only when you look back that you can see the threads linking the songs.” 


                            STAFF COMMENTS

                            says: It's been plenty long enough since a new Doves album, and this one on the venerable Heavenly hits all of the high notes we'd expect. Superb melodies, brilliant songwriting and a crystal clear narrative throughout. It's a brilliant return after ELEVEN years, and one we've been sorely needing.

                            FORMAT INFORMATION

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

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

                            CD Info: Minpack, 16 page booklet.

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

                            FREE SHIPPING This item has FREE UK shipping!

                            Various Artists

                            Blue Note Re:Imagined

                              This autumn will see the release of Blue Note Re:imagined; a brand-new collection of classic Blue Note tracks, reworked and newly recorded by a selection of the UK scene’s most exciting young talents. Representing a bridge between the ground-breaking label’s past and future, the project features contributions from a rollcall of 16 revered UK acts including Ezra Collective, Nubya Garcia, Poppy Ajudha, Jordan Rakei and Brit Award-winning Jorja Smith. Blue Note, which celebrated its milestone 80th anniversary in 2019, boasts an illustrious catalogue that traces the entire history of jazz and the Re:imagined project features music originally created by some of its most legendary artists.

                              Various Artists

                              Back To Mine - Fatboy Slim

                                Next in the compiler hotseat for seminal mix series ‘Back to Mine’ is the legendary DJ and producer Fatboy Slim. Having sold over 10 million records and embarked on a number of sold out arena tours, the esteemed record collector and all round great selector delves deep into his weighty collection at his home to create a heady journey of funk and soul. The collection opens with Dave Barker & Ansell Collins ‘Monkey Spanner’ – a reggae single released in 1971 from the Kingston based duo working for the infamous producer Lee “Scratch” Perry.

                                There are a few rare finds, Donal Leace ‘Today Won’t Come Again’, Wind ‘Grooving With Mr Bloe’ and George Rene ‘Smokey Joe’s La La’. And the most recognisable for many no doubt is Betty Chung’s 1968 classic ‘Bang Bang’ thanks to the vocals of the Nancy Sinatra cover being sampled in the Audio Bullys rework in 2005.

                                The 1975 classic ‘Take Yo Praise’ from Camille Yarborough which Fatboy Slim used to sample the iconic ‘Praise You’ in 1998 is found in the first half of the mix, and not forgetting his group Beats International, which Norman sampled lyrics from the featured track ‘Jam Hot’ by Johnny Dynell for ‘Dub Be Good To Me’. A track that became the best-selling single in the UK in 1990.

                                And last but not least, two new and exclusive tracks ‘Fatboy Slim & Roland Clark ‘Sunset 303’ (If You Believe) and ‘The Voice Of Experience’ under his Yum Yum Head Food alias, known for producing his more ambient tunes including ‘Bird Of Prey’.

                                Fatboy Slim delivers an amazing selection of tracks which give us all a little sneak peek into the vibes generated from years of meaningful memories for this ‘Back To Mine’ series. From his house to yours, listening pleasure is guaranteed.

                                “Over the years there has been so much action back at mine, so many friends, lovers and lunatics who would congregate after the clubs had closed to laugh, share and swap ideas and tunes and generally put the world to rights… this is a collection from the soundtrack of those sessions” - Fatboy Slim

                                Various Artists

                                SEX: Too Fast To Live Too Young To Die

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

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

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

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

                                  Marco Pirroni

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

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

                                  Paul Cook, Sex Pistols

                                  FORMAT INFORMATION

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

                                  Fontaines D.C.

                                  A Hero's Death

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

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

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

                                    See you down the front!!!

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


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

                                    STAFF COMMENTS

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

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

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited edition Vortex vinyl.

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

                                    Buck Meek

                                    Two Saviors

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

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

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

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

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

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

                                      FORMAT INFORMATION

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

                                      Dinked Edition LP includes MP3 Download Code.

                                      Coloured LP Info: Clear smoke vinyl.

                                      Coloured LP includes MP3 Download Code.

                                      LP Info: Black vinyl edition.

                                      LP includes MP3 Download Code.

                                      Kevin Morby

                                      Sundowner

                                        In the winter of 2017 I moved back to my hometown of Kansas City from Los Angeles. The move was sudden and unforeseen, just as I was tying a bow on the writing process for what would become my 2019 album, Oh My God. I bought a Four Track Tascam model 424 off of an old friend to help me get to the finish line, but much to my surprise and excitement, this new piece of equipment in my all-but-bare home didn’t help complete one album but rather inspire another: Sundowner. The new collection of songs came quickly and effortlessly as I did my best not to resist or refine the songs, but instead let them take shape all on their own.

                                        As the songs kept coming I cleared out the crowded shed that was sitting dormant in my backyard and built a makeshift studio before adding drums, lead guitar and piano to complete the demos. Each day I would teach myself basic recording techniques, watching the channels illuminate and pulse as if the machine were breathing, and then emerge in the evenings as the sun was getting low: - around 5:30 in the winter, when the Kansan sunsets look icy and distant, like a pink ember inside of a display case, and 9 o’clock in the summer, when the sunsets are warm and abstract.

                                        Landing back home felt jarring juxtaposed with a life full of chaos and adventure with my band on the road. But at the very least, I was happy to have - for the first time in my adulthood - a place to close the door, with no temptations other than to work on music and reflect on what I had built since I left. It was a new form of isolation, one I had never explored or expected to experience. Not ready to let go of the hand of the California desert, I spent the winter decorating the best I knew how; with mementos from my previous home, cactus and aloe vera and covering the walls in pinewood - immediately earning my house it’s nickname, The Little Los Angeles.

                                        In January 2019 I contacted my friend and producer Brad Cook to help recreate what I had made in my shed. We chose to work in Texas; we wanted to make sure the record was done far away from any coastline, and in the heart of America. Brad played bass and some keys on the album, but beyond that he encouraged and inspired me to play almost everything else. All lead guitar, proper drums (save the drums on “A Night At The Little Los Angeles”), mellotron and what I believe to be the albums secret weapon - a WWII era collapsible and slightly out-of-tune pump organ - were performed by me. We did, however, bring in James Krivchenia towards the end of the session to fill out the percussion. It was an honor to work with him as he built maracas from pecans and played on the floor of the live room, adding flourish wherever he saw fit.

                                        On the last evening of the session, after everything had wrapped, we all climbed on top of an empty water tower on the property, giving us a view in all directions. To the North you could see an endless Texas, with long wisps of cirrus clouds above the desert floor, and to the South there was Mexico, the recent detention camps only a mile beyond, with large cumulus clouds hovering over, bringing us to an ominous pause. To the West, towards the setting sun, the two families of clouds merged, holding the last light of the day in purple and orange. Below, a freight train cut the landscape in half as it whistled in the distance.

                                        Almost as soon as the session wrapped, I was off and away on press trips and then proper tours for Oh My God, which came out in April that same year. Sundowner sat inside of a hard drive back at Sonic Ranch and did not see the light of day, until I found myself, as did the rest of the world, stuck inside their home and in quarantine in March 2020. My second year of touring for Oh My God was cancelled. Brad, Jerry and I worked from our respective homes, sending notes back and forth as we worked alone but together to mix the album, and suddenly, just like that, Sundowner was finished.

                                        Songs, like sunsets, are fleeting, and it’s only due to a willingness and desire to catch them that you ever, if even only for a moment, grab a hold of one. When writing Sundowner, I was lucky to have had the Tascam 424 there to help capture both. Sundowner is my attempt to put the Middle American twilight -- it’s beauty profound, though not always immediate -- into sound. It is a depiction of isolation. Of the past. Of an uncertain future. Of provisions. Of an omen. Of a dead deer. Of an icon. Of a Los Angeles themed hotel in rural Kansas. Of billowing campfires, a mermaid and a highway lined in rabbit fur. It is a depiction of the nervous feeling that comes with the sky’s proud announcement that another day will be soon coming to a close as the pink light recedes and the street lamps and house lights suddenly click on. -- Kevin Morby, Kansas, 2020.

                                        STAFF COMMENTS

                                        says: It's a blessing in a way, that all of the artists we know and love have had a chance to get through some unfinished work sitting around on their hard drives (obviously the circumstances surrounding it are less than ideal..). Here we have a fully fledged gorgous new album from Morby that just wouldn't have been given the attention it deserved had his tour for the last album gone ahead. Thank goodness it got finished, 'Sundowner' is a triumph.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Indie Exclusive on Clear Pink Vinyl

                                        Coloured LP includes MP3 Download Code.

                                        Being the humble guys that they are, Surprise Chef aren't going to admit they have something very special going down. However, there must be some magic in their studio, or maybe in the fact they all share a house and have formed close bonds, or perhaps from absorbing the DIY ethos of running their own record label that has culminated in such a unique and enchanting sound.

                                        'Daylight Savings' is the follow-up to the group's debut album 'All News Is Good News’. That album earned the band a much-deserved following across the world and triumphantly marked their arrival onto the international stage. Their new album was recorded in Spring 2019, almost exactly a year after they recorded ‘All News Is Good News’. It was the weekend that daylight savings time started in Australia, and the studio was filled with the smell of the towering Jasmine bush on the exterior back wall of the house. The record is subsequently filled with the optimism that comes with the impending warmer months and longer days in Australia.

                                        Recorded in their own home studio in Melbourne, the production approach for 'Daylight Savings' is a big step up from their debut. Engineer, Henry Jenkins, created enormous-sounding space within this record, using a great deal of creative analogue recording techniques and working in an expansive recording environment. The results are a sound that emulates the massiveness of the late-60s Capitol Records.

                                        ‘Daylight Savings' was written collaboratively by the whole band and features the core Surprise Chef rhythm section. It expands upon where their debut left off with a leaning more towards 70's jazzfunk than soul and a stronger focus on the rhythm section. There’s the epic drama, ebbs and flows of a vintage David Axelrod or Alain Goraguer cinematic production, plus the influence of El Michels Affair and Melbourne bands Karate Boogaloo and The Putbacks, yet it still sounds uniquely Surprise Chef. You get a sense of that rare attribute of being both a contemporary band and a band you expect it won't be too long before other producers start sampling them.


                                        STAFF COMMENTS

                                        says: Sunny Melbourne soulsters Surprise chef return for another LP of sunshine groove and Jazzed out instrumentals. Toeing the line expertly between frenetic, percussive mayhem and Khruangbin-esque downbeat business, they have crafted a uniquely innovative and sun-dappled sound. Another perfect pick-me-up.

                                        FORMAT INFORMATION

                                        Dinked Edition LP Info: • A5 20pp zine.
                                        • A5 insert.
                                        • Light blue vinyl.
                                        • Obi strip.

                                        Delmer Darion

                                        Morning Pageants

                                          Delmer Darion is the West Midlands-born and North London-based experimental electronic/ IDM project of Tom Lenton and Oliver Jack, taking its name from the deep-sea diver found at the top of a charred tree after a forest fire in Paul Thomas Anderson’s cult film ‘Magnolia’. “There’s no reason behind it,” they say, “we just liked the absurdity of seeing a scuba diver in full gear at the top of a really tall tree.”

                                          Their debut album ‘Morning Pageants’ has been five-years in the making: a sprawling, industrial ten-track account of the death of the devil as a tragedy for the imagination, inspired by a line in the Wallace Stevens poem ‘Esthétique du Mal’, due for release this October on Practise Music (Squid, Shards, William Doyle).

                                          Archival accounts and true stories patter against Delmer Darion’s simulated journey in and out of hell. A monk is tasked to write down all the world’s knowledge in one night; a woman feigns her own demonic possession to cash in from a roadshow, exposed as a fraud only when unknowingly made to drink holy water, gagged by a piece of the True Cross; a violinist is refused a Catholic burial, suspected to be in leagues with the devil; a writer pretends to be possessed by the spirit of a poet, and produces volumes of work at her command.

                                          A vast aural landscape is covered from the opening melodies coded in the constructed language of Solresol. Dissolved folk songs curtail the lo-fi edge of Gareth Williams & Mary Currie’s ‘Flaming Tunes’. At times it’s Yves Tumor being hit around the head with a disco ball, at others there’s an ambient and sinister warmth like the crackle of a burning piano. Decentered rhythmic assemblies of analogue drum machines play through a series of guitar pedals and thunderous bass swells from a self-oscillating filter feedback patch. Sequenced together, they’re shrouded in the same intricate noise of self-sampling and tape degradation.

                                          Collaborations with Guest Singer (Heist or Hit) and Private Agenda (Lo Recordings) play against vocal features from quiet bastions of London’s underground alt-folk scene. Scottish songwriter Genevieve Dawson’s vocals on closing track ‘Television’ end the album’s tragic narrative with the comical and pathetic image of the devil curled up inside a TV set, trying to spread occultist tales through Saturday morning cartoons.

                                          The artwork for ‘Morning Pageants’ is a photograph of a print made by Oliver, based on a series of 16th Century works called ‘The Dance of Death’ by Hans Holbein, depicting different people being led away by Death. Recreating one of the prints, they replaced the figure being led away with an original drawing of Satan. The final artwork is printed on Nepalese Lokta paper, a waxy yellow paper that has been used for lots of sacred texts.

                                          Mastered in Minneapolis by Huntley Miller (Low, Bon Iver).


                                          FORMAT INFORMATION

                                          Deluxe LP Info: Limited edition black vinyl LP housed in a Deluxe Gatefold Sleeve.
                                          Includes a 24-page chapbook and a numbered double-sided art prints signed by the band.

                                          North Americans

                                          Roped In

                                            Los Angeles-based musician collective with a rotating cast featuring Mary Lattimore and William Tyler, playing instrumental, psychedelic folk music.

                                            Pedal Steel and Nylon String guitar intertwine to create ethereal crystalline drones and twinkling hypnotic moods. Simple music.

                                            'Somewhere between dusk and nightfall...a meditative medley of color' - Lars Gotrich, NPR.

                                            OSEES

                                            Panther Rotate

                                              Companion / remix album of art rock renegades’ latest, Protean Threat.

                                              “In the swirling and undulant warm mud of jettisoned reels of magnetic tape, blurps up the fog of reinvention. Every night I would parley with my pilots and run and rerun the recordings. Right up until the moment sleep slips its veil over eyes and ears and you drift back without a sound. Protean Threat dream haze becomes Panther Rotate in the other dimension. A companion LP of remixes, field recordings, and sonic experiments using all sounds generated by the him and crackle of the desert farm. “A second version of our Protean Threat if you will, but barely conspicuous in its relation. Forward, never straight! Sunrise, sunset. Two lives connected by a cosmic thread, One for your feet and one for your head. For fans of Thee Oh Sees, Oh Sees, OCS, The Oh Sees, Osees...etc etc etcetcetc…be well.” - John Dwyer.

                                              FORMAT INFORMATION

                                              Coloured LP Info: UK vinyl exclusive colour version neon translucent green / highlighter yellow. 1000 copies, indie stores only.

                                              LP Info: Black vinyl.

                                              This is Thurston Moore’s seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka ‘Wobbly’ (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth’s Steve Shelley, as well as Jem Doulton, alternating on drums. ‘Hashish’ is the first single from the album to be released and is described by Moore as “an ode to the narcotic of love in our shared responsibility to each other during isolation." The song includes a video with footage from The Thurston Moore Group’s tour in early 2020 in Europe, as well as footage of Thurston quarantined in his home during the past few months “with respect to the sacred healing truth of nature.”

                                              Prior to isolation during the COVID pandemic, Thurston worked in recording studios in North London until the third week of March 2020 to complete this album for release on September 5, 2020. While the musicians may not immediately tour, Thurston was adamant to release BY THE FIRE in 2020, and with Daydream Library, has released this quote: ​BY THE FIRE is music in flames.

                                              2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler's "music is the healing force of the universe", this recording offers songs as flames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. BY THE FIRE is a gathering, a party of peace—songs in the heat of the moment.

                                              Some of the songs feature all of the musicians whist a few are solo guitar and vocals.

                                              BY THE FIRE is released on The Daydream Library Series record label which was founded in 2018 especially to release London Afro-punk feminist trio Big Joanie’s debut album ‘Sistahs’.

                                              FORMAT INFORMATION

                                              2xColoured LP Info: Indies exclusive transparent orange vinyl.

                                              2xLP Info: 180 gram audiophile black vinyl.

                                              Ian Dury

                                              Hit Me! The Best Of

                                                A brand new collection covering the entire career of the unique and incomparable Ian Dury.

                                                This collection features some of Dury’s earliest work with Kilburn & The High Roads, through a golden period of solo hits and classic recordings with the infamous Blockheads to his final studio album released in 2002, two years after his untimely passing in 2000.

                                                The Crown Prince of Essex… the punk poet laureate… Ian Dury’s mastery of the English language and powerful performance made him an artist like no other. His wit, wisdom and showmanship are ever present here on classic tracks such as ‘Reasons To Be Cheerful, Pt 3’, ‘Hit Me With Your Rhythm Stick’, ‘Sex & Drugs & Rock & Roll’ …all now unofficial British anthems!

                                                The collection also feature brand new liner notes by comedian, writer and Ian’s friend, Phill Jupitus, alongside rare and unseen photographs.

                                                FORMAT INFORMATION

                                                2xColoured LP Info: Gatefold 2LP white vinyl.

                                                3xCD Info: 3CD digi sleeve.

                                                Psychedelic Porn Crumpets

                                                Shyga! The Sunlight Mound

                                                  Psychedelic Porn Crumpets continue to assert their status as one of Australia's hardest working bands - pandemic be damned - in announcing the release of their new album, SHYGA! The Sunlight Mound, set for release February 2021.

                                                  For the Perth group, creativity and production hasn't stopped in 2020.

                                                  Despite much of this year's tour plans being put on pause, PPC’s have used their time off road to continue preparing for the release of their fourth studio release, and an eventual blistering return to stages around the world..

                                                  The creation of SHYGA! The Sunlight Mound, especially off the back of 2019's huge LP And Now For The Whatchamacallit, came together in a different environment for McEwan and the results speak to the band's evolution and McEwan's evolution as a songwriter.


                                                  "For the first time in a long time I was home without any tours booked, no work, no deadlines and I felt free to create. My writing process became ritualistic; every morning starting with a small walk to the local bottle shop at 11am and writing whatever flowed, allowing myself to design in all styles without boundaries, and not trying to theme the album early on. I haven't had the luxury of writing this way since the first record, which I spent almost a year working on. It felt like I was myself again, creating without opinion or constraints. I was gliding through weeks with a day seeming to pass."

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Limited indies only orange and white splatter vinyl.

                                                  LP Info: Black vinyl with gatefold sleeve.

                                                  Autechre

                                                  Sign

                                                    Autechre, masters of uncompromising glitched-out electronic business return with a new full-length for the titans of 'leccy music, Warp. 

                                                    From the blistering VHS-saturated beginning of 'M4 Lema', we're taken on a ride through fractured nu-rave, 90's influenced braindance and flickering barely-connected electrical circuits. 

                                                    The more choral moments (the beautiful, Hecker-esque 'esc desc' for example) help to make things a little less frantic by soothing the glitch-addled mind with some swells of organ and reverbed synth wisps.  

                                                    This is as uncompromising and skilfully collated as any of Autechre's work thus far, and further cements their reputation as the ultimate Enfant Terrible of electronic music. 

                                                    STAFF COMMENTS

                                                    says: Shit the bed, it's a new Autechre record! Famously someone once told me that my CD was skipping back in the day, but the joke was on them, because it wasn't. One of the masters of the genre returns, and I genuinely couldn't be more excited. HUGE news.

                                                    FORMAT INFORMATION

                                                    2xLP includes MP3 Download Code.

                                                    Various Artists

                                                    Help (War Child) - 2020 Reissue

                                                      Twenty-five years ago this month, the cream of the British music industry walked into Abbey Road and studios around the UK and recorded an album for War Child in response to the plight of the thousands of families caught up in the bloody Balkans war.

                                                      It went onto become the most legendary charity album of all time. Inspired by a John Lennon quote "The best record you can make, is recorded on Monday, cut on Tuesday, pressed up on Wednesday, packaged on Thursday, distributed on Friday, in the shops on Saturday”, Paul McCartney, Noel Gallagher, Paul Weller formed the super group Smokin’ Mojo Filters and Radiohead, Manic Street Preachers, Portishead, Massive Attack, Suede, The Charlatans and many more contributed tracks.

                                                      Go! Discs’ Tony Crean and Andy McDonald, press officer Terri Hall and others rallied artists, media and the industry to come together in those few days. Nirvana bassist Krist Novoselic wrote the sleeve notes, John Squire designed the artwork and Johnny Depp even popped in to play guitar.

                                                      Within 24 hours, 20 tracks had been recorded and it was in store five days later selling 70,000 copies in its first day. The album went on to make £1.25 million and launched War Child not only as the charity for British music, but more importantly, the only charity who specialise in protecting, educating and supporting children in war.

                                                      The difference this album made for War Child cannot be over emphasised. It was the starting point of a relationship with the British music industry that has seen some of the world’s biggest artists come together - but more importantly, it has enabled War Child to reach more than a million children caught in the crossfire of war over the last 20 years.

                                                      You only need look at the news today to see that War Child’s work is more important than ever. Four million Syrian refugees have fled the conflict, two million of these are children, some of whom are alone, all of whom are terrified and traumatised by what they have seen.

                                                      Since the HELP album, War Child’s work with music has gone onto raise more than £7 million for children in conflict. 


                                                      FORMAT INFORMATION

                                                      2xLP Info: Remastered Audio at Metropolis on 2x Black 180g Vinyl, Gatefold Sleeve, Printed Inner Sleeve.

                                                      Black Pumas

                                                      Black Pumas - Deluxe Edition

                                                        Black Pumas, the Austin duo of frontman/songwriter Eric Burton and producer/guitarist Adrian Quesada, are excited to release the deluxe reissue of their self-titled debut album, featuring 11 previously unreleased tracks including new songs and covers of Tracy Chapman and The Beatles.

                                                        STAFF COMMENTS

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

                                                        FORMAT INFORMATION

                                                        2xColoured LP Info: Gold, black and red vinyl + bonus black 7".

                                                        2xColoured LP includes MP3 Download Code.

                                                        David Boulter

                                                        Yarmouth

                                                          David Boulter is a founding member of Tindersticks, he has made over 20 studio albums and film soundtracks with the band. Nottingham born, but based in Prague since 1998, under his own name he has worked on music for many films. These include an eight-part serial Pustina/Wasteland for HBO Europe, the American movie Five Nights In Maine and recently two documentaries with Turkish/Belgian director Volkan Uce. Yarmouth is his first solo LP.

                                                          The inspiration for Yarmouth came when David, arrived a day early for a show at the Arts Centre in Norwich, and made an impromptu visit by train to the seaside town where had spent his childhood holidays.

                                                          In a year when most of us have been unable to travel, Yarmouth offers an escape to summers past. It recalls the saturated colours of a John Hinde postcard in musical form. With a sound palette based around an old 1970’s Lowrey organ, flutes, violin, vintage tape echo and a Premiere vibraphone, it captures a dreamy side of Yarmouth. Sun- drenched childhood memories, long shadows on the sand, the sound of seagulls and waves breaking on the shore. The magic of the fair - the entrance guarded by a huge mechanical giant, club in hand, while the roller coaster rattles overhead on a backboard of painted mountains peaks. As the sun goes down, noise drifts out from the amusement arcades, and neon flickers on Marine Parade, lighting up the fountains in candy floss colours.

                                                          “As I stepped off the train, the weight of time passed hit me. I was overwhelmed by a sense of sadness and loss. As I walked along the streets, looking for Trudy’s, I didn’t expect her, but I did find the house. Slowly, as I recognised buildings, streets, memories. I began to smile. I hadn’t lost anything. Great Yarmouth had changed. So had I. But the warmth of those sunny childhood summers was still there.” David Boulter 2020

                                                          STAFF COMMENTS

                                                          says: There is nothing in this world that would make me miss a Clay Pipe release, and this one was CLOSE. One of the best labels around, i'm absolutely sure this will be amazing. Get in while you can!

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Yellow vinyl, limited to 300 numbered copies with download code

                                                          Soul II Soul

                                                          Back To Life (Zepherin Saint Remixes)

                                                            As the world slowly emerges from a pandemic of chaos into the forward facing challenge of Black Lives Matter, could there be a more reassuring soundtrack than Back To Life or Keep On Movin’? However, in keeping with these unique times those tunes will be as never heard before.

                                                            Soul II Soul’s Funki Dred Records is back after nearly thirty years in hiatus, still bridging the gap between street and sophistication with a schedule of totally 21st Century takes on club classics, and passing the Dred Head banner on to a selection of new young stars.

                                                            “This is something we’ve had under consideration for a while,” Soul II Soul front man Jazzie B explains. “But first we had to make sure the remixes of the Soul II Soul hits were not only musically perfect within the genres we had reimagined them, but that we were adding something to each original. Although we want to bring the Soul II Soul nation with us on this latest stage of our journey, we’re very conscious how much those tunes mean to so many people so we had to treat them with extra respect.

                                                            “We’ve always looked at and looked at developing new artists – that’s why Funki Dred Records was first set up back in the 1990s, and we figured we’d hit a point at which we’d connected with enough fresh talent to go forward. As for the timing, if we can contribute to wave of feeling sweeping the globe with our positive message we are proud to do so: A happy face, a thumpin’ bass, for a loving race.”

                                                            Funki Dred will be releasing music on 12” black vinyl, and collectible coloured vinyl. First on the reactivated catalogue will be an Afrobeat 'Zepherin Saint’ remix of Back To Life featuring the legendary Nigerian drummer Tony Allen. The 12” features the full ten minute plus Zepherin Saint Mix re-working, alongside a punchy ‘Zepherin Saint Radio Edit’ and a ‘Zepherin Saint Club Edit’, and to complete the package comes a different take on this classic track in the form of the 'Tribe Vocal Mix’.


                                                            FORMAT INFORMATION

                                                            Ltd 12" Info: Limited green coloured vinyl.

                                                            Fleet Foxes

                                                            Shore

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

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

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

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

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

                                                              FORMAT INFORMATION

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

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

                                                              Metz

                                                              Atlas Vending

                                                                “Change is inevitable if you’re lucky,” says guitarist/vocalist Alex Edkins while talking about Atlas Vending, the fourth full-length album by Toronto’s METZ. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.” The music made by Edkins and his compatriots Hayden Menzies (drums) and Chris Slorach (bass) has always been a little difficult to pin down. Their earliest recordings contained nods to the teeming energy of early ‘90s DIY hardcore, the aggravated angularities of This Heat, and the noisy riffing of AmRep’s quintessential guitar manglers, but there was never a moment where METZ sounded like they were paying tribute to the heroes of their youth.

                                                                If anything, the sonic trajectory of their albums captured the journey of a band shedding influences and digging deeper into their fundamental core—steady propulsive drums, chest-thumping bass lines, bloody-fingered guitar riffs, the howling angst of our fading innocence. With Atlas Vending, METZ not only continues to push their music into new territories of dynamics, crooked melodies, and sweat-drenched rhythms, they explore the theme of growing up and maturing within a format typically suspended in youth. Covering seemingly disparate themes such as paternity, crushing social anxiety, addiction, isolation, media-induced paranoia, and the restless urge to leave everything behind, each of Atlas Vending’s ten songs offer a snapshot of today's modern condition and together form a musical and narrative whole. The song sequencing follows a cradle-to-grave trajectory, spanning from primitive origins through increasingly nuanced and turbulent peaks and valleys all the way to the climactic closer, “A Boat to Drown In.” The lyrics speak to this arc as well, with the songs addressing life’s struggles all the way through to death, as Edkins snarls “crashed through the pearly gates and opened up my eyes, I can see it now” before the band launches into the album’s cascading outro. 

                                                                While past METZ albums thrived on an abrasive relentlessness, the trio embarked on Atlas Vending with the goal to make a more patient and honest record—something that invited repeated listens rather than a few exhilarating bludgeonings. It’s as if the band realized they were in it for the long haul, and their music could serve as a constant as they navigated life’s trials and tribulations. The result is a record that sounds massive, articulate, and earnest. Bolstered by the co-production of Ben Greenberg (Uniform) and the engineering and mixing skills of Seth Manchester (Daughters, Lingua Ignota, The Body) at Machines with Magnets in Pawtucket, Rhode Island, METZ deliver the most dynamic, dimensional, and compelling work of their career. 


                                                                STAFF COMMENTS

                                                                says: Metz have always provided a glimpse into the more uncompromising but undeniably tuneful side of indie-rock, and 'Atlas Vending' if anything cements them as one of the most necessary voices in modern guitar music. Brutal but balanced beautifully with more cohesive, melodic sections.

                                                                Suede

                                                                Beautiful Ones: The Best Of Suede 1992 - 2018

                                                                  From their early singles and their 1993 Mercury Music Prize-winning debut album to their break-up in 2003, Suede were a fixture in the single and album charts, and in the music press too. They scored twenty hit singles and five hit albums (three of which debuted at # 1), and a double album of B-sides even charted at # 9.

                                                                  The band reformed for a one-off charity concert in 2010 and decided to make it permanent – they have released three new studio albums since 2013.

                                                                  Compiled by the band, this best of features the huge 90s hits like “The Drowners”, “Metal Mickey”, “Animal Nitrate”, “Stay Together”, “The Wild Ones”, Trash, “Filmstar”, “Beautiful Ones”, “Saturday Night”, “She’s In Fashion”, “Everything Will Flow” and “Can’t Get Enough”. The collection brings the story up to date with tracks from the three recent albums, including “Life Is Golden”, “It Starts And Ends With You” and “Outsiders”.

                                                                  FORMAT INFORMATION

                                                                  2xColoured LP Info: Indies only coloured vinyl.
                                                                  2 LPs on 180 gram clear vinyl, in inner sleeves and widespine outer sleeve.

                                                                  This Is The Kit

                                                                  Off Off On

                                                                    Pre-order the record and be in with a chance of winning a test pressing and lyric sheet handwritten by Kate herself.

                                                                    All preorders include an exclusive invite to a This Is The Kit virtual instore. Filmed in an empty shop in Paris, the performance will be screened on Thursday 22nd October at 7pm and Kate will be answering questions in the chat funtion afterwards too.
                                                                    (
                                                                    this is a no purchase necessary offer).

                                                                    Since 2008’s debut album Krülle Bol, This Is The Kit (lead by Kate Stables) have unpicked emotional knots and woven remarkable stories, but even by their high standards, Off Off On is a beautifully clear distillation of Stables’ song-writing gifts.

                                                                    By the end of 2018, the band had finished touring their last album, the talismanic Moonshine Freeze – leading to Kate’s Ivor Novello nomination, but when it came to Stables’ natural impulse to start the next record, her efforts were diverted by an invitation to join The National on the road for multiple tours and TV appearances – a continuation of the role she took on their album I Am Easy To Find. “It was so brilliant when I was writing to be away from my songs and the responsibility of being in charge of a band or a project – I think it really helped my writing and my getting through whatever I needed to get through.”

                                                                    Richly illuminating and acutely sensitive to the pulses and currents of life, Off Off On shows This Is The Kit overflowing with ideas. In difficult times, it’s a record that feels like a lifeline, moving against the tide, standing against the storm. Keep going.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Indies exclusive red vinyl.

                                                                    The Phoenix Foundation

                                                                    Friend Ship

                                                                      The Phoenix Foundation have lived many lives. From high school distortion addicts to indie folk trippers to masters of motorik dream pop. It’s been five years since their last album, Give Up Your Dreams, but that downtime has been well spent. The New Zealand outfit have been writing, recording, touring with a Symphony Orchestra, creating the acclaimed soundtrack for Taika Waititi's Hunt For The Wilderpeople, building shrines to light, creating scores for VR, producing other bands and, that most lockdown-friendly activity, baking sourdough.

                                                                      Slowly, when they could, the six old friends found time to work together in studios, garages, forests, and sheds to put together the concise ten song set of that is Friend Ship. “We took such a long break after Give Up Your Dreams that when we did decide to make a new record we all felt it needed to be in some esoteric sense different,” says co-lead singer Samuel Flynn Scott. “To me that meant returning to something more focused. Honing in on the songs before we went deep into the arrangements and freaky sounds.” And the results reflect this approach too. Whilst Friend Ship, as you would expect, weaves seamlessly between dreamy introspective pop, stretched out grooves and psychedelic rock, it also exists as a collection of masterfully crafted songs.

                                                                      Friend Ship features vocals from Nadia Reid, Tiny Ruins’ Hollie Fullbrook and Anita Clark aka Motte plus sumptuous string arrangements performed by the New Zealand Symphony Orchestra.


                                                                      STAFF COMMENTS

                                                                      says: Phoenix Foundation present a widescreen look at the blurred peripheries between dream pop, synthwave and good old fashioned indie music here with their latest outing, Friend Ship'. Beautifully smooth, soaringly melodic and deeply comforting, The Phoenix Foundation have done it again.

                                                                      FORMAT INFORMATION

                                                                      Dinked Edition LP Info: • Dinked Exclusive Turquoise Vinyl *
                                                                      • Alternate Screen-printed Edition, artwork by Raissa Pardini *
                                                                      • Includes exclusive 2 bonus flexidiscs *
                                                                      • Numbered Edition *
                                                                      • Limited to 500 *

                                                                      *exclusive to Dinked

                                                                      Dinked Edition LP includes MP3 Download Code.

                                                                      Coloured LP Info: Pink vinyl.

                                                                      Coloured LP includes MP3 Download Code.

                                                                      Anna Von Hausswolff

                                                                      Ceremony

                                                                        It begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff’s ‘Epitaph Of Theodor’, and as dramatic, instrumental openings to albums go, it’s close to overwhelming. But it’s followed by something even more intense: ‘Deathbed’, which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it’s unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.

                                                                        You want to talk about compromises? No. Nor does Anna Von Hausswolff.

                                                                        These two songs alone represent a quarter of 'Ceremony'’s 60 minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff’s debut album, 'Singing From The Grave', to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what’s emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Gala?s.


                                                                        FORMAT INFORMATION

                                                                        2xColoured LP Info: This double LP is pressed on blue and black marbled vinyl and is limited to 700 units worldwide.


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