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Jeffrey Lewis & Voltage

Bad Wiring

    Jeffrey has received jaw-dropping praise from practically every major news and music outlet over the years, as well as awed testimonials from the likes of David (Silver Jews) Berman, Jarvis (Pulp) Cocker, Ben (Death Cab For Cutie) Gibbard, Will Oldham and others… and this new album “Bad Wiring” makes it completely clear why. In all of indie-rock there is no force like Jeffrey Lewis. Although mostly recognized for his lyrical skills (as well as his illustration/comic book skills), the secret weapon in Lewis’s arsenal has been his slow evolution from DIY folkie in the late 90s to barn-burning indie-rock live sensation.

    New band name The Voltage is a bit of a slight-of-hand, as the musicians are the same bassist, Mem Pahl, and same drummer, Brent Cole (also of the Moldy Peaches), that Jeffrey has been touring the world with for the past four years as “Jeffrey Lewis & Los Bolts.” But Jeffrey continues his tradition of using a new band name for each release… and as Jeffrey says, “everybody knows most good bands have a ‘v’ in their name… Velvets, Nirvana, Pavement, Vaselines, Violent Femmes, Camper Van Beethoven, Modern Lovers, etc!” Recent Jeffrey Lewis band names like “The Rain”, “Los Bolts” and “The Voltage” are also in reference to the fact that Jeffrey’s middle name is Lightning, the result of being born on the Lower East Side in the 1970s to hippie parents. It was almost his first name but got moved to the middle name when he was born!

    The album was recorded and produced in Nashville by Roger Moutenot, the man responsible for producing all of the classic Yo La Tengo albums. Moutenot, who also worked on Lou Reed’s “Magic and Loss” album, and Sleater Kinney’s “Hot Rock” album was definitely the right man to capture these twelve new Lewis songs in the studio. As Lewis explains, “As an experience of working with a producer, it was a dream come true. I obviously worship a number of the records Roger had produced in the past, so I specifically sought him out. The fact that he’s in Nashville was just accidental, we would have traveled to record with him anywhere. Now when people hear we made our album in Nashville, everybody’s like, oh, I guess this is your country album…”

    With the endlessly creative musical variety on display from Jeffrey Lewis & The Voltage, and Lewis’s writing as sharp as ever, “Bad Wiring” could be the greatest album of Jeffrey’s 18-year career. Having one solid band line up for a few years in a row has certainly helped. Keep an eye out for a couple other interesting Jeffrey Lewis projects to be released in 2019: Jeffrey’s new giant-size comic book issue (Fuff #12) and Jeffrey’s first book Revelations in the Wink of an Eye: My Insane Musings on Watchmen from Conspiracies to Stupidities. But mostly look for Jeffrey Lewis & The Voltage to be playing at a venue near you, on their UK pre album-release tour in September!


    STAFF COMMENTS

    Barry says: With one eye on a mind-bogglingly huge range of genre influences, Lewis manages to craft a sound entirely unlike anything you've hard before. Old school jangly indie sits comfortably alongside punky riffs and Lewis' trademark American twang, giving more than a hint of the attitude and drive of 90's college rock without the pomp and cheese that comes along with it. A singular talent, and possibly his best LP yet.

    FORMAT INFORMATION

    Dinked Edition LP Info: Exclusive Pale Blue vinyl.
    Exclusive Die Cut cover.
    Bonus 7” (2 additional tracks ONLY available on Dinked Vinyl).
    Artworked inner bag.
    Sticker Sheet insert.
    Numbered Edition of 550.
    Download card.

    Coloured LP Info: Poppy Red coloured LP.
    Sticker Sheet insert.

    Nick Cave And The Bad Seeds

    Ghosteen

    Ghosteen is the seventeenth studio album from Nick Cave and The Bad Seeds, following 2016’s Skeleton Tree, and will be released via Ghosteen Ltd. The album was recorded in 2018 and early 2019 at Woodshed in Malibu, Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at Conway in Los Angeles.

    "The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is migrating spirit." - Nick Cave.


    STAFF COMMENTS

    Barry says: Mr. Cave and the Seeds have always had a wide range of influences appear in their recordings, from glum gothic rock to more delicate instrumental works (the soundtracks with Ellis a particular highlight), but it's possibly the most profound and cathartic experience yet on 'Ghosteen'. It is indeed an emotion-filled listen, but bursting with all that we've come to expect from Cave and co.

    FORMAT INFORMATION

    2xLtd LP Info: Gatefold sleeve.

    2xLtd LP includes MP3 Download Code.

    2xCD Info: Digipack CD.

    The Chemical Brothers

    Out Of Control - 21 Minutes Of Madness Mix

    "Out Of Control (Secret Psychedelic Mix)" forms part of a suite of remixes Tom and Ed prepared back in 1999 to complement their era-defining "Surrender" album. Unreleased at the time, they were recently unearthed when archive work began on the expanded 2019 20th anniversary box set editions. Of the five "Secret Psychedelic Mixes" on the new set the aptly titled" Out Of Control (21 Minutes Of Madness)" takes the "Surrender" classic and transports it to all kinds of interesting places. To commemorate the anniversary release, a strictly limited one-sided white label copies of this mix have been pressed. First come first served!

    STAFF COMMENTS

    Matt says: Crowning glory of one of their best LP's extended and tweaked for maximum dancefloor enjoyment. Sounding as crucial and killer as it did twenty years ago.

    Courteeners

    More. Again. Forever.

      Courteeners release their long awaited sixth album on Ignition Records - More. Again. The band’s most confident and consistent record to date, More. Again. Forever. features ten new tracks that are guaranteed to cement their place as one of the country’s biggest and best-loved bands. 

      FORMAT INFORMATION

      Coloured LP Info: RSD store exclusive clear vinyl edition. Limited to just 1000 copies in exclusive artwork sleeve.

      Squid

      Town Centre

        The hotly tipped post-punk, disco-funk phenomenon Squid are back with a new EP called ‘Town Centre’ on vinyl via Dan Carey’s Speedy Wunderground label, the first EP from the legendary singles label. ‘Town Centre’ is a perfect distillation of everything they have done so far, making good on the angular funk of ‘The Dial,’ the disco-punk of ‘Houseplants’ the ambitious songwriting of ‘Terrestrial Changeover Blues’ and through to their more ambient-leaning early work.

        Kicking off with the ambient sprawl of ‘Savage,’ Squid are instantly revelling in the uncertainty and ambiguity found in the searching out of ideas and have created something that feels meditative yet active, capturing their alluring chaos but presenting it in a totally different manner. Next up, the propulsive, guitar-led ‘Match Bet’ was written at guitarist Anton Pearson’s parents house in Norfolk and spawned from an open tuning fingerpicking pattern that sparring partner Louis Borlase had been developing after being inspired by the Don Edwards track ‘Coyotes’ in Grizzly Man.

        On ‘The Cleaner,’ Squid are at their angular best, the lyrics are inspired by moving to London and trying to adjust to the pace and lifestyle of the city. The track is bursting with ideas, and there’s a clear energy and determination within the band to embrace different musical styles, deftly. ‘Town Centre’ closes with ‘Rodeo,’ a cinematic track that features an observational monologue from Ollie Judge. Percussion and keys wunderkid Arthur Leadbetter says of the track: “The song is a story for us. One that feels like your on a movie set while the camera is rolling, but the lead actor has lost the plot and split his mind between those closest to him.”

        For ‘Town Centre’ the band once again team up with producer du jour Dan Carey and emerge with a powerful, intensely angular collection of songs that recall the finest corners of late 70s post-punk alongside a propulsive motorik drive and glimmers of early noughties disco whilst expertly making it all their own.

        Dan Carey on Squid. “I love Squid so much. To record with them is such a joy - the room is a sea of ideas and enthusiasm without any clashes of ego; every suggestion is given full attention. This , combined with their musicianship results in beautifully inventive music, underpinned by a hard steady groove and topped with lyrics that are important and surreal.”

        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”. Now, the wide-lapelled, shimmering doo-wop of ‘Living In Denial’ implores you to . Now, and here we return to that album title, ‘Hero’ opens with the proud, chest-puffed line: .

        “The last album came from an introspective place and felt like therapy, I guess,” he reasons, surveying it all. “This one was a bit more about feeling comfortable in who I am and asking what I wanted to say. Like, how could I be bold and challenge myself and the listener? It is about self-acceptance in a bit more of a triumphant rather than a melancholy way.”

        “Kiwanuka” solidifies one of British music’s more remarkable career progressions. The man behind it has put his immense natural gifts to work in an album that wields difficult subjects – black identity, violence, self-doubt – with a light touch and a dramatist’s sense of mood, space and atmosphere. “The things that end up being enjoyed are often things you want to hide,” he says, quietly. “But obviously that’s the stuff that makes us connect.” Telling people who you are – truly, unabashedly showing yourself – has never sounded more thrilling.

        By Jimi Famurewa, July 2019.


        FORMAT INFORMATION

        Deluxe CD Info: Hardcover book deluxe edition.

        Various Artists

        Piccadilly Records Compilation 2019

          Do not adjust your sets / swap your reading specs, we’ve gone and done another record! After the success of last year’s inaugural Piccadilly vinyl, we’ve worked our magic once again to bring you another compilation LP, jam packed with musical magic from our top 20, as well as the gold medallists in the reissue and compilation categories. 

          Buckle up as we blast off into the sonic stratosphere with the ‘Piccadilly Records Compilation 2019’.......

          TRACKLISTING WILL BE ANNOUNCED ONCE WE REVEAL OUR EOY CHART ON NOVEMBER 27TH.

          FORMAT INFORMATION

          Ltd LP Info: Limited to 500 copies.

          Warmduscher

          Tainted Lunch

            Warmduscher return.

            Heavy metals.

            Disco Peanuts.

            CCTV in the break room.

            A little something to get you through the week. There’s enough to go around. Revenge is a dish best served bold. Melt in the mouth disco basslines on a fragrant bed of feedback. Try it with the boom bap tapenade. Here for a good time, not a long time.

            If you made your way out of Whale City with your faculties intact, this one’s for you. Clams Baker, Lightnin’ Jack Everett, Mr Salt Fingers Lovecraft and The Witherer have been joined by Quicksand on cutting board and cheese wire and commis chef Cheeks on vibes. They’ve been cooking. Michelin stars. The finest ingredients money can buy: Kool Keith and Iggy Pop. Funk, punk, hip-hop and lounge rock. Love is real.

            Band biographer and revered botanist Dr Alan Goldfarb describes the album as “a sample hole through which to taste another universe. A dramatic warning. A gilded aroma. It is a tale of wanton desire and limitless treachery. A tale of disillusionment – the refusal of exploitation.”

            Tainted Lunch was recorded in just four days, with soupe du jour Dan Carey (Kate Tempest, black midi, Fontaines DC). Warmduscher continue to live on their razor-sharp wits. Or as Clams Baker puts it “there’s no way to stop now”. Delivering the goods you never knew you needed.

            If you can’t stand the heat, get out of the kitchen.

            STAFF COMMENTS

            Barry says: Massive, throbby basslines and snappy disco percussion take the lead before giving way into sweaty club grooves and distorted post-punk. Warmduscher succeed just as easily at hypnotic indie-rock as they do anthemic dancefloor tackle. Never a dull moment, and every one as brilliantly done as the last.

            FORMAT INFORMATION

            Dinked Edition LP Info: Transparent pink vinyl LP.
            Bonus glow in the dark vinyl 7” with two tracks exclusive to Dinked Edition.
            Double sided poster.
            Printed inner sleeve.
            Individually hand-numbered.
            Limited to 400 copies.

            Coloured LP Info: Indies exclusive red vinyl with poster.

            Gene Clark

            No Other - Reissue

              Gene Clark’s 1974 masterpiece gets the reappraisal it’s long overdue.

              “One of the greatest albums ever made. Initially celebrated for its obscurity, No Other is now celebrated for its magnificence. It was in every way a magnum opus: epic, sprawling, poetic, choral, rococo.” The Guardian

              On the eve of what would have been American singer-songwriter and Byrds founding member Gene Clark’s 75th birthday comes the reissue of one of his finest works, No Other. Released in 1974 on Asylum Records, a year after the Byrds shortlived reunion, Gene reached for the stars with No Other; a psychedelic rock, folk, country and soul record that famously cost a small fortune to make. Although received warmly by critics, it flopped and was soon deleted, a failure Gene never came to terms with.

              However, as The New York Times wrote around the record’s 40th anniversary in 2014, “hindsight has burnished No Other, as it has redeemed other albums that went on to be reconstructed as rock repertory, like Big Star’s Third/Sister Lovers and Lou Reed’s Berlin,” with the album now being increasingly recognised as one of the greatest of its time, if not all time.

              45 years on and recently remastered at Abbey Road, 4AD have given No Other the reappraisal it deserves. 

              FORMAT INFORMATION

              LP Info: The Original Album Remastered.
              Pressed on Black Vinyl.

              2xDeluxe CD Info: Hardbound Book Cover.
              The Original Album Remastered & Bonus Disc of New Session Mixes.

              CD Info: The Original Album Remastered.

              Ltd Box Set Info: Beautiful silver box set containing LP, 7”, Three SACDs, Blu-Ray & An 80 Page Hardbound Book.
              Multi-layer SACD version of album housed in exclusive Japanese Ichikudo vinyl replica sleeve.

              FREE SHIPPING This item has FREE UK shipping!

              Titled Magdalene, the album is the follow up to FKA twigs’ critically acclaimed Brit Award and Mercury Prize nominated debut LP1.

              Created in a period where her confidence was knocked following heartbreak and laparoscopic surgery, Magdalene is the sound of twigs reconfiguring, emotionally and physically. As she sings on ‘Mary Magdalene’, the Magdalene album track that opened her highly-praised, sold-out live shows earlier in the year, “A woman’s time / A woman’s work / A woman’s time to embrace / She must put herself first”.

              Magdalene is produced by FKA twigs and, as with LP1, the recording process has been directed by her at every stage. It was recorded between London, New York and Los Angeles over the last three years and features major contributions from Nicolas Jaar alongside a host of other collaborators. Magdalene sees FKA twigs creating a whole new artistic universe and it is, without doubt, her most masterful, innovative work to date.

              STAFF COMMENTS

              Barry says: From gothic choral passages to pulsing, deep bass and skittering percussives, 'Magdalene' covers a wide range of smoothly accomplished stylistic changes as well as a viceral and effective range of emotional dynamics. It's a confident and varied selection, and in FKA's classic style, brilliantly done.

              FORMAT INFORMATION

              Coloured LP Info: Indies only limited red vinyl.

              Tame Impala

              The Slow Rush

                Tame Impala (Kevin Parker) has officially announced his fourth studio album, The Slow Rush out via Fiction Records.

                The Slow Rush was recorded between Los Angeles and Parker’s studio in his hometown of Fremantle, Australia. The twelve tracks were recorded, produced and mixed by Parker. The Slow Rush is Parker’s deep dive into the oceans of time, conjuring the feeling of a lifetime in a lightning bolt, of major milestones whizzing by while you’re looking at your phone, it’s a paean to creation and destruction and the unending cycle of life. Parker told the New York Times earlier this year, “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it.” The album cover was created in collaboration with photographer Neil Krug and features a symbol of humanity all but swallowed whole by the surrounding environment, as though in the blink of an eye.

                In the last six months Tame Impala have headlined multiple major festivals including Glastonbury, Coachella, Primavera, Lollapalooza, ACL and more. He debuted two new songs on Saturday Night Live and sold out arenas around the world including two nights at New York City’s Madison Square Garden.

                Tame Impala is Kevin Parker. His last album Currents was released in 2015 earning him a BRIT Award for Best International Group, a second GRAMMY nomination and went platinum in Australia, Gold in the USA, Canada, UK, France, Netherlands and Belgium, and enjoyed word-wide critical acclaim. The New York Times labeled it a "a tour de force" and Pitchfork said, "nearly every proper song on 'Currents' is a revelatory statement of Parker's range and increasing expertise as a producer, arranger, songwriter, and vocalist while maintaining the essence of Tame Impala." NPR noted, "[Parker] advocates for constant reinvention... That commitment to evolution helps make Tame Impala an unlikely but worthy candidate for major stardom."


                FORMAT INFORMATION

                Coloured LP Info: Double dark forest green coloured vinyl, includes folded A3 poster.

                Indies Exclusive LP Info: PLEASE NOTE THIS IS A DIFFERENT EDITION TO THE ONE BEING SOLD ON THE TAME IMPALA WEBSITE.
                Indies exclusive double red and light blue coloured vinyl (one disc red, one disc light blue), includes folded A3 poster.

                2xLP Info: Standard double black vinyl, includes folded A3 poster.

                Toy

                Songs Of Consumption

                  TOY, who released Happy In The Hollow, their fourth, and by far most acclaimed album to date, in January of this year on Tough Love Records, have announced details of Songs Of Consumption, an 8-song collection of unique interpretations of tracks which have inspired the band.

                  The idea was originally birthed when the band recorded four covers for the bonus 7"s that came with the Dinked and Rough Trade versions of the last album. 3 of those songs feature here alongside 5 new recordings completed last month, which comprise tracks by Stooges, Amanda Lear, Nico, The Troggs, Serge Gainsborough, Soft Cell, John Barry and Pet Shop Boys/Elvis/Willy Nelson (depending on how you know the song).

                  Talking about the album, TOY said:

                  Songs of Consumption sonically is a continuation and development of the themes conceived on Happy In The Hollow and it will show people where we are going towards musically. The DIY approach was explored further utilising more of the electronic elements that we touched upon before. Drum machines, stripped down arrangements and rudimentary production give a primitive sound that we thought suited the choice of songs. Some of the songs have very big sounding production, so we wanted to experiment with them by going in a different direction.

                  Music is consumed voraciously now whereas these songs came from a time when the song was of the most important thing and that's what was appreciated. Stripping them back to the essence of what they are was also something we wanted to explore. Also, we wanted to make a covers record with songs by people that influenced us in the past few years and it’s as much about the way they dealt with their ideas, and how they put themselves in uncomfortable situations in order to make something that in the end is simple. It’s a homage to the spirit of these people, that helped us to untangle ourselves from our inherent complicated nature and create a new space where we can exist.

                  Additionally, having played a sold-out tour of the UK in February, including a mesmerising show at Village Underground in London, the band have announced a couple of very special shows at the end of the year.

                  Playing under the banner of ‘Hollowed Out – A night of strange sighting and unhabitual ritual’ the shows will see them re-imagining songs from Happy In The Hollow. In London they will be joined by AV artist Sculpture, live performances from The Thelma Death Stare and Ducasse, DJ sets from Cherrystones and Sheet Noise and live visuals from Daisy Dickinson. In Manchester they will be joined by Mutabase and a DJ set from Sofie K.

                  STAFF COMMENTS

                  Barry says: It's nice to hear a selection of (superb) covers from Toy, expanding their sound into this diverse range of covers. Though the songs are not their own, it gives us an insigt into their influence, and honestly couldn't be any more their own. Swathes of guitar noise and succinct percussive throbs work their way behind Dougall's recognisable vocals, all accompanied with their ever present crystal-clear synths and melodic sensibilities. Lovely stuff.

                  FORMAT INFORMATION

                  Coloured LP Info: LP is on cream opaque vinyl and is exclusive to Indie stores.

                  We've come an awful long way since Floating Points' first utterances entered our stratosphere. That opening trio of twelves ("J&W Beat", "Love Me Like This" and "Vacuum Boogie") immediately caught the attention of us and our customers and we've been hooked on this cat throughout the last ten years.

                  Whereas the incredible "Elaenia" (2015) was a five-year process, "Crush" was made during an intense five-week period, inspired by the invigorating improvisation of his shows supporting The xx in 2017. He had just finished touring with his own live ensemble, culminating in a Coachella appearance, when he suddenly became a one-man band, just him and his trusty Buchla opening up for half an hour every night. He thought what he’d come out with would 'be really melodic and slow-building' to suit the mood of the headliners, but what he ended up playing was 'some of the most obtuse and aggressive music I've ever made, in front of 20,000 people every night,' he says. 'It was liberating.'

                  Fundamentally, this is still stylistically a Floating Points record. Classically informed pieces drift into focus without beats, only to dissolve into a mist of modular-generated textures. There's some speaker-tested mainroom techno moments, namely the lead single "LesAlpx" which concludes side A's meticulously programmed schedule with a moment of undiluted dancefloor energy. Fans of his jazz-flecked house will find tracks like "Last Bloom" and "Anasickmodular" a joy to behold; possessing that idiosyncratic shuffle and swing that instantly characterize an FP production. "Bias" opens side B with a unfathomably futuristic, attitude-ridden bass monster until Sam unexpectedly flips into his patented, cerebral jazz-house hybrid. Don't get me wrong though, he's not resting on his laurels in any way. His New Sounds bite and spit, as he seems to harness extraordinary levels of intricacy and power from his trusty Buchla synthesizer and his much lusted-after Arp Odyssey. More refined, more evolved, deeper, richer - but the same Floating Points - sound up your tree? It should be. 


                  STAFF COMMENTS

                  Matt says: The Chetham's graduate has been a permanent fixture on our shelves for the last decade. 'Crush' embodies everything we love about him across a succinct and direct two sides. Drifting through a highly mellifluous sanctum, we get expressions on modular and synth informed, and indeed elevated, by Sam's well documented and rich musical education. Floating Points is a great ambassador for modern dance music which often gets berated by the older lot for its lack of musicality.

                  FORMAT INFORMATION

                  Indies Exclusive LP Info: 140g black vinyl housed in a glossy sleeve with exclusive cover art, artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’.

                  Indies Exclusive LP includes MP3 Download Code.

                  LP Info: 140g black vinyl housed in a glossy sleeve with artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’.

                  LP includes MP3 Download Code.

                  CD Info: CD in digipak with fold-out booklet featuring a score of album track ‘Birth’.

                  Purveyors of contemporary ambient and electronic inspired music, A Winged Victory for the Sullen make a bold return on new album “The Undivided Five”. The pair, made up of Dustin O’Halloran and Adam Wiltzie, have created iconic film scores and forward-thinking ambient groups, releasing a series of game-changing records for Erased Tapes and Kranky. On “The Undivided Five” they rekindle their unique partnership for only their second piece of original music outside of film, TV and stage commissions, creating an album that channels ritual, higher powers and unspoken creative energies. Their fifth release (following their debut album, two scores and an EP), they embraced the serendipitous role of the number five, inspired by artist Hilma af Klint and the recurrence of the perfect fifth chord.

                  This album sees them create bold new work built on their foundations in ambient and neoclassical. Since their 2011 self-titled debut, the duo have emerged as part of a much-lauded scene alongside peers like Max Richter, Hildur Guðnadóttir, Tim Hecker and Fennesz. Their 2014 album “Atomos” was the product of a commission to score a new performance by Royal Ballet choreographer Wayne McGregor, while 2016’s “Iris” was the score for director Jalil Lespert’s thriller, “In the Shadow of Iris”. They count the likes of Jon Hopkins among their fans, who included ‘Requiem For The Static King Part One’ on his 2015 Late Night Tales compilation. They composed the score for Invisible Cities, a specially-created performance to herald 2019’s Manchester International Festival, and have played some of the world’s most celebrated venues, including a sold out Boiler Room performance at London’s Barbican, and a 2015 BBC Proms show curated by Mary Anne Hobbs at the Royal Albert Hall.

                  They were first introduced by mutual friend Francesco Donadello in 2007, a close collaborator who’s gone on to mix all of the AWVFTS records. O’Halloran launched his reputation with two acclaimed solo piano albums, attracting the attention of director Sofia Coppola, who asked him to score her 2006 film Marie Antoinette, and he has since won an Emmy for his 2015 theme song for Jill Soloway’s Transparent series, and been nominated for an Oscar and Golden Globe for his 2017 score with Hauschka for Garth Davis’ Lion. Wiltzie, meanwhile, founder of iconic drone outfit Stars of the Lid, has scored Hollywood films including Kevin MacDonald’s “Whitney”, Jake Scott’s “American Woman” and collaborated with Jóhann Jóhannsson for 2014’s The Theory of Everything.

                  This album sees them pay greater heed to the small details in their sound than previously, something they say has been encouraged by the move to a new label. It’s been their first opportunity since their debut to create something that’s solely guided by their ideas, and it represented an opportunity to call back to that first outing while also building on the various ways in which they’ve grown. “We understand that times have changed,” they say. “We have evolved, but we also didn’t want to forget the beginning.”

                  They channel influences such as Debussy, nodded to in the opening track, whose big chords and complicated arrangements inform a lot of their approach – parts that sound simple but require great skill to execute. Likewise, the artist Hilma af Klint – one of the first abstract Western artists – informed their ideas about drawing on spiritual influences to shape their work. “It’s like an invisible hand guiding things,” they say.

                  The start of recording sessions for the album were marred by the death of one of their closest friends. Within weeks after the funeral O’Halloran found out that he would be expecting his first child, and it was soon after that a visit to see the art of af Klint brought home a profound realisation of life, death, the afterlife, and the spaces in between. She belonged to a group called "The Five", a circle of five women with a shared belief in the importance of trying to make contact with spirits, often by way of séances. This chimed with the duo’s unspoken approach to collaboration, and nudged them to return to their writing process centered around the harmonic perfect fifth; the five senses, the divine interval – The Undivided Five.

                  The album was also shaped by the breadth of locations in which it was created, helping to shape its nuanced sonics. In addition to O’Halloran and Wiltzie’s respective Berlin and Brussels studios, the record took shape across six different sites. They recorded orchestral samples in Budapest’s Magyar Rádió Studio 22, re-recorded album parts in Brussels’ Eglise Du Beguinage’s unique, reverb-heavy surrounds (where Wiltzie has performed with Stars of the Lid and, in 2018, organised a tribute concert for Jóhann Jóhannsson), experimented with overdubs in Ben Frost’s Reykjavik studio, and recorded grand piano parts in a remote woodland studio in northern Italy. The duo pay close attention to the micro-level of sound, and each of these places was chosen for the qualities which could enrich the finished product. And it’s in Francesco Donadello’s studio in Berlin, where all of the previous AWVFTS material has been mixed, that the album was run through the studio’s analog board, binding the record’s different parts together.

                  It was their connection to Jóhannsson which partly shaped the direction of their new album. They were asked to create a remix for him, which he heard before his death in 2018, where they unlocked a new process in terms of how they work. They recomposed the strings, using modular synthesis, old synths and string and piano arrangements, a method they applied to album opener ‘Our Lord Debussy’. “It’s about going into the DNA of music and taking different strands,” they say.

                  The album is their debut for Ninja Tune, and comes as change is underway for O’Halloran, moving from Berlin – hence the title of ‘Keep It Dark, Deutschland’ – after a decade in the German capital. He’s headed to Iceland, the country where the pair shot their latest press photos and which is an important locale for both of them. The wide-spanning connections which have shaped the record are testament to their deep roots as artists. This album’s powerful energy is driven by the deep-rooted bond between them.

                  STAFF COMMENTS

                  Barry says: I've been a huge fan of AWVFTS since their mindblowing self-titled debut (and before, if you count Stars Of The Lid), this is without a doubt a thematic continuation of that, but is far and away the best work they've put out. Thoroughly, utterly unmissable.

                  FORMAT INFORMATION

                  Coloured LP Info: 180 gram marbled clear & silver LP housed in a gatefold sleeve.
                  Black Inner sleeve.

                  Ltd LP Info: 180 gram vinyl in a gatefold sleeve.

                  Cigarettes After Sex return with their anticipated sophomore album. Recorded during night time sessions in a mansion on the Spanish island of Mallorca, the album is a lush, cinematic meditation on the many complex facets of love - meeting, wanting, needing, losing...sometimes all at once. The album was self-produced and engineered by Greg Gonzalez, and mixed by Craig Silvey (Arcade Fire, Yeah Yeah Yeahs).

                  STAFF COMMENTS

                  Barry says: Much like their debut, 'Cry' is full of wistful moments of contemplative beauty and heady, rich waves of synth and restrained bass throbs. Classic chord progressions and tear-jerking vocal performances make for a more refined distillation of the sound that garnered them so much attention the first time around. Lovely stuff.

                  FORMAT INFORMATION

                  Coloured LP Info: Indies only clear vinyl edition, includes 12” x 12” poster insert (album art on one side, lyrics on the reverse).

                  LP Info: Black vinyl, includes 12” x 12” poster insert (album art on one side, lyrics on the reverse).

                  Allah Las have always been fascinated with both the carefree spirit and glitter-in-the-gutter lifestyle of their hometown LA. After three records mining its lore and lure (from the desert to the sea) and having taken their compact California on the road across the world, they couldn’t help but peek through the other end of the telescope.

                  On their fourth LP, drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian turn their collective gaze outward and toward the horizon. "We’ve been travelling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record” Correia explains. Simply titled LAHS (a reference to a common misspelling of the band’s name), their forthcoming release on Mexican Summer finds a band at the peak of their powers.


                  STAFF COMMENTS

                  Barry says: The newest Allah Las outing sees the LA quartet absorb and excel at a dizzying range of influences, from classic psychedelic rock, hazy Balearic vibes and 12-bar to latin percussion, swooning lounge and of course, all underwired with hazy, swooning indie. It's a triumph of diversity and thematic consistency, and most of all, bloody good fun.

                  FORMAT INFORMATION

                  Dinked Edition LP Info: TWO COPIES FOUND

                  Exclusive opaque mint green vinyl.
                  ‘LAHS’ perforated 6 x postcard set.
                  Hand numbered LP.
                  Limited to 500.
                  Download card.

                  Coloured LP Info: Indies exclusive translucent orange vinyl.

                  Tindersticks

                  No Treasure But Hope

                    Three years since their last album proper, singer Stuart Staples decided Tindersticks’ return called for something special and No Treasure but Hope, is very much that! Rich in intuitive warmth, lush melodies and an inquisitive spirit, it’s an album that casts a fresh light on Tindersticks’ core qualities, bathed in the glow of a band intent on rediscovering what they can do. Expanding the horizon without losing the focus, No Treasure but Hope manages to collect some of the band’s most immediate work in one outstanding album. This is the bands twelfth record, the earliest Tindersticks release being in 1991. Over the course of the band’s rich history, Staples has found a voice in film composition as well. This includes a soundtrack to Claire Denis’ science-fiction film High Life (2019), which features vocals from actor Robert Pattinson.


                    STAFF COMMENTS

                    Barry says: For their first album in three years, Tindersticks bring us a haunting collection of brittle piano-led ballads, rich in atmospheric ambience and shimmering with reverb. songs like 'Trees Fall' and 'See My Girls' revel in the sort of off-piste vocal turns you'd expect from Nick Cave, and help to cement Staples & Co. as one of the most creative musical forces out there.

                    FORMAT INFORMATION

                    Coloured LP Info: Indies exclusive clear vinyl. First pressing comes in a limited edition die-cut sleeve.

                    Bonnie Prince Billy

                    I Made A Place

                      Bonnie “Prince” Billy stays busy - in the past five years he has released albums of previously-recorded songs by Susanna Wallumrod, Mekons, Merle Haggard; even himself) and a collaborative record with Bitchin Bajas! The only thing he hasn't done is a new album of Bonny originals - in case you weren't counting, 2011's Wolfroy Goes To Town was the last one. That's from the first half of the Obama presidency, for chrissakes!

                      Things happen for reasons that are often bigger than ourselves and outside of our control. They happen suddenly or they happen slowly - but they always happen one day at a time and day after day. Here's Will Oldham, on the confluence of marketplace, values, aesthetic and process that slowly built new album I Made A Place:

                      "In recent years, the whole world of recorded music, in the way that such music is conceived, perceived, recorded, released and distributed, has been atomized. I tried holding my breath, waiting for the storm to pass, but this storm is here to stay and its devastation is our new landscape. What else is a person to do except what he knows and feels, which for me is making records built out of songs intended for the intimate listening experiences of wonderful strangers who share something spiritually and musically? I started working on these songs thinking that there was no way I was going to finish them and record and release them. This was a constructive frame-of-mind that protected the songs until this frightening moment when we let go of them and give them to you."

                      The world has changed. Some things will never change. Some are gone forever. Thankfully, this isn't one of them: the wait for new Bonnie “Prince” Billy is now on a timer. What's more, the new single drops a bit of Apocalypse WOW. Picking up in a sense where last year's "Blueberry Jam" left off, "(At The) Back of the Pit" considers what to do with the things we love when it comes time for the death (and therefore, rebirth) of our painstakingly-built'n'kill't world. It's an affirming country jam: elegiac early moments give way to jaunty roots-rock strides, a horn section soulfully charting the long rays at the end of the day as well as the first rays of the new rising sun as they light on all our hopeful tomorrows.

                      STAFF COMMENTS

                      Barry says: I think it's probably hard for someone as resolutely productive as Mr. Billy to reach the moment in a songs creation where it feels like there is no more work to be done. Fortunately for us, these delicate, tender country ballads finally reached the light of day, and we're all the better for it. As brilliantly produced and perfectly balanced as any of his previous work, whilst being more focused and melodic. Gorgeous stuff.

                      FORMAT INFORMATION

                      Coloured LP Info: Indies only deluxe edition on transparent red vinyl.

                      The unassailable DJ Shadow finally returns to our humble shelves with an ambitious and exceptional double album, "Our Pathetic Age", once again on Mass Appeal. "Our Pathetic Age" is the result of an intensely creative period that found the hip-hop and electronic innovator delving further into original composition and experimentation. The first half of Our Pathetic Age features 11 new instrumental works that balance some of Shadow’s most menacing sounds with beams of hope, including his first fully composed orchestral piece. Mindblowing swathes of synth heft surge to trap percussion, sci fi sequences and distorted jukes, or else jazzy syncopation carries nebulous melodies into the upper atmosphere.
                      The second half of Our Pathetic Age is a full album of vocal collaborations, ranging from Run The Jewels, Nas and Dave East to Sam Herring, Paul Banks and Wiki, Inspectah Deck, Ghostface Killah and Raekwon. Shadow notably reunites with his early Solesides collaborators Lateef The Truthseeker and Gift of Gab (Blackalicious). It also features St. Louis MCs Rockwell Knuckles and Tef Poe, fellow Bay Area musicians Fantastic Negrito and Jumbo is Dr.ama, and Brookyln MC Stro. Full track list with collaborators is below.

                      "More than anything, I try to get a sense of the mood of society as a whole. The subtle signals that humans send each other, the way people behave, their frustrations and ebbs and flows. In my part of the world, people are scared. There's rampant homelessness, and a real fear of falling into generational poverty. People are addicted to, and addled by distraction; they're angry and confused, and disaffected by their own governmental institutions. There's songs on the record that are inspired by this energy and seek to harness it, to make sense of it. In some cases, there's attempts to salve the wound; in others, the songs merely observe but don't offer solutions. I want the album to reflect the times we live in, a signpost in the ground to mark the era...Our Pathetic Age." - DJ Shadow.

                      The album was produced by DJ Shadow, and the album art was created by Paul Insect, who also designed Shadow’s The Mountain Will Fall and Outsider covers.


                      Sports Team

                      Making Hay EP

                        This London via Cambridge six piece make a glorious hookfilled racket that's part Pavement, part The Strokes and part Parquet Courts. This US import features 5 tracks and is etched on one side.
                        These are gonna fly so grab one quick!


                        STAFF COMMENTS

                        Barry says: Sports team make the sort of rawkous, off-kilter indie that we've enjoyed coming from the Australian continent (probably no coincidence that Burke Reid, Barnett's producer is on board here), but these young whippersnappers are from our own shores! Arm-waving, angular guitars and rolling bass are pulled along by a frenetic percussion backline and those 'your throat must hurt' vocal acrobatics.

                        FORMAT INFORMATION

                        Mini LP Info: Limited edition etched vinyl.

                        Seahawks & Woo

                        Celestial Railroads - Bonus Disc Edition

                        For a limited period only both formats include a bonus "super space acid temple mix tape" CDR.

                        Emotional Response and Ocean Moon come together for a special collaborative release, where Seahawks take the music of WOO on a journey to the inner sanctum. Immersive, psychoactive and phased to perfection. For those who know not the music of WOO, prepare to behold a rare and magical incarnation of transcendent beauty.

                        Perhaps Seahawks most spaced out voyage since Vision Quest One: Spaceships Over Topanga Canyon, ‘Celestial Railroads’ is a psychedelic odyssey that goes way beyond the norm. 'After the Last Train To Trancentral far Beyond The Wizards Sleeve, Celestial Railroads await….’

                        STAFF COMMENTS

                        Matt says: The nation's favourite cosmic seafarers return with cult oddball music mavericks Woo for one of their most star-flung voyages yet.

                        FORMAT INFORMATION

                        LP Info: Includes a bonus "super space acid temple mix tape" CDR.

                        CD Info: Includes a bonus "super space acid temple mix tape" CDR.

                        The Clash

                        London Calling: Special Sleeve

                          When The Clash’s third studio album London Calling was released in the winter of 1979, it was clear that the band had made an instant classic, an era-defining masterpiece that stands as one of rock's all-time greatest albums. The album is a hugely compelling melting pot of musical styles, driven by a passion for action and a fierce desire for social justice, with lyrics which remain completely relevant. 

                          FORMAT INFORMATION

                          2xDeluxe LP Info: This heavy weight vinyl edition has a special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                          2xDeluxe CD Info: This edition has a special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                          Liam Gallagher

                          Why Me? Why Not.

                            This month has seen Liam Gallagher make a typically full-throttle return. Super intimate sold-out show at Hackney Round Chapel? Biblical. Premiere and release of the long-awaited ‘As It Was’ documentary? Completed. Featured on the cover of Q, who described him as “rock’s finest frontman”? Naturally.

                            Liam wrote lead single ‘Shockwave’ with two of the key collaborators behind the all-conquering ‘As You Were’ album: Andrew Wyatt, who won the Academy Award for Best Original Song as co-writer of ‘Shallow’ from the film ‘A Star Is Born’, and the multiple Grammy-winner Greg Kurstin who also produced the track. It was recorded in Los Angeles.

                            Liam Gallagher’s debut solo album ‘As You Were’ was a critical and commercial smash. It debuted at #1, out-selling the rest of the Top 10 in the process, and was soon certified Platinum. Liam was back where he belonged, selling out huge outdoor shows and earning major awards from Q, NME and GQ.

                            More details regarding ‘Why Me? Why Not.’ will be revealed imminently. “It’s a better record than As You Were,” promises Liam. “Which is saying something, as that was epic, wasn’t it?”


                            STAFF COMMENTS

                            Barry says: He's back! Liam's newest album sees him co-writing with a duo of talented musician pals, and retains all the charm and momentum of his previous outing, but with more OOMPH. Why not indeed.

                            FORMAT INFORMATION

                            LP Info: 140 gram black vinyl housed in a gatefold sleeve.

                            Deluxe CD Info: Deluxe CD with 3 bonus tracks (14 in total).

                            Jane Weaver

                            Loops In The Secret Society - Deluxe Edition

                              This unique package successfully archives the key elements of Jane’s ‘Loops In The Secret Society’ tour. Housed in a concise limited-edition pocket-compendium the new CD version brings Jane’s fully realised ‘Loops Variations’ and sonic installations into your own environment with new illustrations based on the songs by Andy Votel and DVD featuring the experimental film installation featured on the tour by Nick Farrimond. When science fiction turns science fact the effect can be truly momentous. The state demands that no-one wants an unlicensed machine-hum from an outbuilding; no-one wants clever prose mapping the future, no-one wants “music” that is attention-seeking, soul-defining, beneficial, Biblical, baroque and beautiful.

                              No-one told Jane Weaver that. Jane Weaver’s multi-layered synthetics evolved into a welcoming slew with 2014’s ‘The Silver Globe’, continuing through to 2017’s ‘Modern Kosmology’. ‘Loops In The Secret Society’ is a re-imagined journey through parts of both albums, with new ambient pieces primed and polished; with new tangents explored in a lab-friendly blossoming of the Weaver vision that travels yet further into the psych of our future. A continuous experience with one-line observations set in glorious sense-stimulating sound. That source material was then united in an expansionist experiment in late 2018. The ‘Loops In The Secret Society’ tour fused unrelated sounds set off against sympathetic new textures, tones and drones; hot-housed into an idealistic soundscape that formed the conducive parts of the imminent album of the same name. Co-conspirators include Henry Broadhead, PJ Phillipson and Andy Votel. Renegades all, headed by the enigmatic Weaver all under surveillance. 

                              FORMAT INFORMATION

                              2xColoured LP Info: 2LP PINK vinyl, in 5mm spine sleeve.

                              CD/DVD Info: Deluxe Bookback CD & DVD.

                              Mark Hollis

                              Mark Hollis - Reissue

                              The only solo album by former Talk Talk frontman Mark Hollis, released January 1998. Despite being released as a solo album by Hollis, it was originally intended to be credited to Talk Talk, under the name ‘Mountains of the Moon’.

                              A beautiful and haunting work, this album picks up where he left off with Talk Talk’s’ Laughing Stock’ seven years before, re-emerging with a suite of music that encompassed jazz, ambient, and folk.

                              His inspiration came not from ‘pop’ but 20th-century classical music and jazz from the late fifties and sixties (there is a distinct flavour of Miles Davis – ‘In A Silent Way’ here) and is one of the quietest and most intimate records ever made – creating an exceptional atmosphere in which the listener can submerge.

                              A Life (1895 – 1915), which has been referred to as “the album’s epic centrepiece” refers to Roland Leighton (1895–1915), a British soldier and poet who was the fiancé of Vera Brittain at the time of his death in World War I. Hollis has stated about the song…“That was someone born before the turn of the century…and dying within one year of the First World War at a young age. It was based on Vera Brittain’s boyfriend. It’s the expectation that must have been in existence at the turn of the century, the patriotism that must’ve existed at the start of the war and the disillusionment that must’ve come immediately afterwards. It’s the very severe mood swings that fascinated me”.

                              The understated artistry and minimalist beauty of tracks like The Colour of Spring and Watershed makes ‘Mark Hollis’ a truly unique and indelible listening experience.

                              “…open, restful and at times fantastically beautiful”.

                              “A sound whose ambience is as natural as breathing” – Melody Maker.

                              This genuine ‘lost classic’ is now available again on heavyweight vinyl, with original artwork – printed inner sleeve with lyrics and credits. Remastered at Abbey Road.

                              FORMAT INFORMATION

                              LP Info: Heavyweight black vinyl.

                              Dry Cleaning

                              Sweet Princess / Boundary Road Snacks And Drinks

                                Boundary Road Snacks and Drinks & Sweet Princess compile together Dry Cleaning’s first two EP releases on vinyl. Firm friends for years, the band (Lewis Maynard, Tom Dowse, Florence Shaw & Nick Buxton) only started making music after a party in 2017 inspired a collaboration. They wrote instrumentally to begin with and six months later Shaw, a university lecturer and picture researcher by day, joined on vocals with no prior musical experience. They recorded their acclaimed debut “Sweet Princess” EP before playing their first show only last year.

                                Boundary Road Snacks and Drinks takes its name from the location and context of a shared genesis, and marks a significant chapter for the band as the last tracks to be written in their original rehearsal space.


                                FORMAT INFORMATION

                                Dinked Edition LP Info: Heavyweight, transparent with black splatter vinyl.
                                Sticker set.
                                Numbered.
                                Signed by the band.

                                LP Info: Standard 180 gram black vinyl.

                                Mikal Cronin

                                Seeker

                                  Mikal Cronin releases Seeker, his fourth and finest full-length to date. Recorded live with a crew of close friends and engineer Jason Quever at Palmetto Studios in Los Angeles, it finds Cronin pushing his often devastating power pop into darker territory—from the isolation of “Show Me” to the desperation of “Fire” to the unadorned heartache of “Sold.”

                                  It comes with a backstory that feels like fate. Cronin writes:

                                  I was stuck. I’d had a rough few years. Relationships end, begin, and end again. I had to stay active, tour with other bands, make music through various other avenues—writer’s block is real and it can crush you, scratching at an itch you can’t quite get. I needed to clean up, to stop leaning on external crutches to get through the anxiety. I needed to grow the fuck up.

                                  I needed a change.

                                  I went to the woods, to Idyllwild, a small town in the mountains of southern California. I spent a month in a cabin there, alone with my cat, Ernie. It was so quiet and peaceful. I got weird looks at the store. I got bug bites that didn’t heal for months. I walked around a small lake a few times. I wrote. I took literally something that’s usually a hypothetical, something every artist thinks about doing. It worked: A large majority of Seeker was written and demoed there.

                                  But then I had to go, immediately. An arsonist had sparked a series of fires and the woods exploded. I saw the flames coming up the hill as I packed up all my instruments and recording equipment. Ernie hid under the bed and was the last to go. I got him in the car just as the police came up the street to help with evacuations. I ended up home in LA a few days early; a small blessing because I was losing my mind a bit.

                                  Once I was back, I was ready to make something. I needed help. I found Jason [Quever] and his studio. I collected as many friends as I could and brought them in to record live with me. I needed the energy of a group of people in a room playing together—a simple concept but one that I had never tried with my own songs. Most of the record is backed by Ty Segall’s Freedom Band. I play bass in this band. We had been touring and playing together for a long run over a few years, so it seemed natural to stick together.

                                  I aimed for nature. I wanted organic sounds. I wanted to bring you into the room. Jason and I talked about The Beatles’ White Album a lot when placing mics. I brought a charred pine cone from the woods to the studio, just in case it would help. Fire—specifically its cycle of purging and reseeding the landscape—is a central theme to the record. Death and rebirth.

                                  I was looking for something: answers, direction, peace. I am the seeker.



                                  STAFF COMMENTS

                                  Barry says: Superb new album from Ty Segall's Mikal Cronin, encompassing the shredding psych-rock vibe of his parent band but with a definite sound of his own. Tender moments are cut through with a swathe of distorted guitar and Cronin's gravelly vocals. At points, 'Seeker' veers towards country-rock but with a more edgy, saturated edge. A brilliant development for Cronin, and a thrilling journey for us.

                                  FORMAT INFORMATION

                                  2xDinked Edition LP Info: Edition of 450.
                                  Exclusive translucent green + black swirl vinyl LP.
                                  Includes exclusive bonus 12" with "Arsonist" b/w "Tsinosra" pressed on translucent red + yellow vinyl.
                                  Numbered.

                                  Fenella

                                  Fenella

                                    ‘Fenella’ is the latest project from Jane Weaver - musical polymath and one of the most respected electronic composers of recent times - and her long-term bandmates Peter Philipson and Raz Ullah.

                                    Having already released three critically-acclaimed LP’s within the last five years Weaver’s creativity continues to expand ever further into the (modern) kosmos with this reimagined soundtrack to Marcell Jankovics’ cult animation Fehérlófia.

                                    Released in 1981, Fehérlófia is a remarkable animation based in ancient folklore with a narrative culled from mythical tales of the Scythans, Huns and Avars.

                                    Weaver’s richly emotional and psychedelic music offers a perfect contemporary dialogue with Jankovics’ astonishing visual aesthetic.

                                    A mixture of ambient textures, menacing drones and spine-tingling vocals combine to create a lavish soundscape saturated with hypnotic moods and cinematic atmosphere.

                                    Fenella’s self-titled LP is a continuation of Fire Records re-imagined score series.

                                    STAFF COMMENTS

                                    Barry says: F'in-ell-a, this is good. As you'd expect, a project from Raz, Jane and Peter being anything but wonderful would be a rare day indeed, but this woozy slab of arpy psychedelia is pushing the boundaries. Intricate but easily digested, this rich tapestry of fizzing oscillators and analogue saturation is a gift straight from the white mare's mouth. AT LEAST 250ug of pure joy.

                                    FORMAT INFORMATION

                                    Dinked Edition LP Info: Limited Edition ‘Ink Spot’ Vinyl.
                                    Individually Foil Numbered.
                                    500 copies only.

                                    Coloured LP Info: Crystal clear vinyl.

                                    Noel Gallagher's High Flying Birds

                                    Blue Moon Rising EP

                                      Noel says of the single: "It was written in Abbey Road last November on the same day I wrote ‘Black Star Dancing’. It’s that good, it sounds like it took 5.4 people to come up with it. It’s already a live standard and we haven’t even played it yet.”

                                      The upcoming EP features new songs plus a remix of the title track and will be available digitally and on limited edition vinyl formats.


                                      David Bowie

                                      Space Oddity - 50th Anniversary Edition

                                        50th anniversary edition of Bowie’s seminal album featuring a brand new mix by original producer Tony Visconti, and a new die cut O-card.

                                        The vinyl will be randomly distributed worldwide with a mixture of hand-numbered labels; numbers 1 to 1969 on silver vinyl numbers and 1970 to 2019 on gold vinyl, with the remainder being black vinyl.

                                        Originally released 14th November 1969, the sophomore effort from Bowie was a big turning point from his 1967 debut. The album most famously introduces the character of Major Tom in ‘Space Oddity’ which would go on to be one of his most enduring classics.

                                        The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the track listing in its initially intended position before it was originally dropped due to time constraints of vinyl.


                                        FORMAT INFORMATION

                                        LP Info: 180g Gatefold w/ Die Cut O-card.

                                        CD Info: CD w/ Die Cut O-card.

                                        Recording at Malcom Catto's analogue studio has been an ambition of Greg's for a long time, not only for the studio itself but for Malcolm's skill using this vintage equipment, very few people can achieve such an incredibly big sound.

                                        Earlier this year we grabbed the chance to get the full Greg Foat group joined by Binker Golding (Binker and Moses) on Tenor Saxophone, Malcolm Catto on drums and Hugh Harris (The Kooks) on Guitar on the session.

                                        Moving to a more rhythmic space, you could call it Jazz funk or Fusion, but labels suck so just listen and appreciate the pure sense of space Malcom achieves with this recording. Instruments float in space, aided by the Vintage EMI desk and a host of valve equipment which has taken Malcolm a lifetime to collect. In amongst the more rhythmic pieces we also have some classic Foat style compositions; 'Lake Kussharo' and 'The Dreaming Jewels' as emotive and personal as ever, a feeling that can only be expressed and articulated in music. These past few years will no doubt be looked back on with great favour in musical history, with prolific and high quality output in all his various projects this LP is his crowning achievement of 2019. A strong year indeed!




                                        The Big Moon

                                        Take A Piece / Your Light

                                          'The British gang arrived like a breath of fresh air with their Mercury Prize nominated debut album, Love In The 4th Dimension, back in April 2017. Fronted by Juliette Jackson, The Big Moon unleashed song after song fizzing with melody and charm.

                                          The band are Juliette Jackson, Soph Nathan, Celia Archer and Fern Ford. 

                                          The Orielles

                                          Disco Volador - Piccadilly Exclusive Bonus Disc Edition

                                            Defiant in the face of existential dread, The Orielles were always going to approach their second album with nothing but stellar levels of intent. Disco Volador sees the 4-piece push their sonic horizon to its outer limits as astral travellers, hitching a ride on the melodic skyway to evade the space-time continuum through a sharp collection of progressive strato-pop symphonies.

                                            “Its literal interpretation from Spanish means flying disc but everyone experiences things differently. Disco Volador could be a frisbee, a UFO, an alien nightclub or how you feel when you fly; what happens to your body physically or that euphoric buzz from a great party,” suggests bassist and singer, Esme. “But it is an album of escape; if I went to space, I might not come back.”

                                            Voyaging through cinematic samba, 70s disco, deep funk boogies, danceable grooves and even tripping on 90s acid house, Disco Volador is set to propel The Orielles spinning into a higher zero-gravity orbit. Written and recorded in just 12 months, it captures the warp-speed momentum of their post-Silver Dollar Moment debut album success; an unforgettable summer touring, playing festivals like Green Man and bluedot, and deepening their bond whilst witnessing the sets of their heroes Stereolab, Mogwai, and Four Tet. Disco Volador’s library catalogue vibes stem from a band lapping up and widening their pool of musical discovery whether nodding to Italian film score maestros Sandro Brugnolini and Piero Umiliani, or the Middle Eastern tones of Khruangbin and Altin Gün. “All the influences we had when writing this record were present when we recorded it, so we completely understood what we wanted this album to feel like and could bring that to fruition,” tells drummer, Sid. “This is the sound of where we are at, right now.”

                                            Returning to Stockport’s Eve studios where the band cooked together, went swimming, took walks, and relaxed in the soundwaves of an occasional gong bath, Henry, Sid and Esme called a family reunion under the watchful whisker-twitching of studio cat, Adam (“He was probably a producer in a past life,” they say). With keysman Alex now adding texture through his classically trained know-how, they re-joined engineer Joel, and producer Marta Salogni (Liars, Björk, The Moonlandingz) whose vast expertise of drones, delays and mad effects were so intrinsic to their Disco Volador vision – sketched out by the band in Sharpie doodles on the studio wall. “Marta is so positive, she has a great way of getting the best out of us,” guitarist, Henry tells. “Marta is the 5th Orielle,” affirms Sid. “Because we’d worked together before, we were even tighter; it’s a shared mind-set.” For Marta, the feeling is mutual; “It’s sonic tidying really, the band just do their thing and I work with that.”

                                            Built from instrumentals around the concept of “boogie to space, space to boogie,” Disco Volador’s energy comes from the melodic fission of tension and release. Recurring motifs explore space, not only of earth’s celestial atmosphere, but also what happens within the gaps and how sound manipulation has the power to carry, or displace, its listener. “We like throwing in wide curveballs by taking the music somewhere different then figuring our way back… like jumping off,” says Henry. “Jez from ACR taught us about pauses and that’s massive on this record; space can be the most beautiful part of a song.” In fact, by unleashing the tension with their own smattering of esoteric noise through delay pedal fuckery, the layered poetics on ‘Whilst The Flowers Look’ and ‘Memoirs of Miso’s saxophone stylistics (loaned by Glasgow band Lylo’s Iain McCall), filling voids is exactly what gives the album its magic. “Those unplanned moments are great,” Sid says, “mistakes can become something special. For these next shows we’ll have to change our tech spec up so much!”

                                            At times haunting and unsettling, Disco Volador’s film-like structure flows from fact to fiction. Its tales are culled from waking life as easily as they become a soundtrack for lucid dream sequences. Watching Foley-inspired 70s thriller Berberian Sound Studio whilst recording may account for the album’s dynamic sound effects – created with Eve’s array of instruments plus Henry’s flexatone - a Secret Santa gift from Esme. Lynchian outros capture the album’s thematic dread as they spiral into infinity and pave the way for potential loops, imitating the fades between the songs of the band’s summer DJ sets. Brian Eno-inspired dreams about a rocket-fuelled mission may or may not have inspired ‘Rapid’ or ‘Come Down On Jupiter’ after ideas sunk deeper into their subconscious. “I’d been reading about phenomenology and Czechoslovakian writer Milan Kundera’s ideas about existence; the weight of your own body, what you feel and how that interacts with your surroundings,” hints Esme, at possible inspiration behind the lyrics.

                                            Whilst the future of the world and its current cosmic wasteland might be up in the air, The Orielles’ new album has its feet beating out a much-needed four to the dancefloor. Welcome to Disco Volador; time really does fly when you’re having this much fun.

                                            FORMAT INFORMATION

                                            Coloured LP Info: Transparent orange vinyl with green blob centre.
                                            Initial quantities include "The Universe Is Blue" bonus 'mixtape' on CD.

                                            CD Info: Initial quantities include "The Universe Is Blue" bonus 'mixtape' on CD.

                                            Without pausing for breath and hot on the heels of their exhilarating debut album "5", the elusive and suarve, Sault return with their sophomore full length titled "7". Their signature hybrid of funk, dance, post-punk, soul and disco is front and centre once again, confidently delivered with their typical fearless nature. If "5" had you out of your seat, "7" will have you dancing in the streets with its celebratory and flamboyant nature. Spread the word, Sault are back at it! 



                                            STAFF COMMENTS

                                            Matt says: Second LP from this band who've burst outta nowhere this year with two nothing-short-of-essential LPs. Bound to get you cool points with your on-trend family members, thankfully the hype is well warranted - these are ACE!

                                            Boards Of Canada

                                            Peel Session

                                            Third release in Warp's new reissue series and it's another Peel Session from another stalwart of UK electronica - Boards Of Canada.

                                            Taken from 1998 it features landmark tracks, "Aquarius (Version 3), "Happy Cycling", "Olson (Version 3)" and "XYZ".

                                            Demonstrating the act's uncanny knack at crafting dreamy, cinematic-cum-fairylike soundscapes, glued together by dusty breakbeats and DIY electronix, tracks like "Aquarius" and "Happy Cycling" are treasured artifacts amongst long-term fans and newbies alike.

                                            Two experimental tracks decorate side B, smothered in electrostatic and musicality combined, the two elements that would make this act such a formidable force during their heyday and such a well respected addition to British electronic music.


                                            STAFF COMMENTS

                                            Matt says: A vital piece of the Boards jigsaw; this late 90s John Peel session is a high watermark of creativity and subtlety from this bastion of UK electronica.

                                            Beck

                                            Hyperspaces

                                              Hyperspace will be Beck’s 14th album, following 2017’s Colors, which won Best Alternative Music Album and Best Engineered Album, Non-Classical at the 61st GRAMMY Awards earlier this year.

                                              2014’s Morning Phase also won Album of the Year, Best Engineered Album, Non-Classical and Best Rock Album.

                                              This album features production credits from Pharrell Williams, Cole M.G.N., Greg Kurstin and Paul Epworth.



                                              FORMAT INFORMATION

                                              Indies Exclusive LP Info: Metallic silver coloured 180 gram vinyl in a gatefold sleeve.

                                              Indies Exclusive LP includes MP3 Download Code.

                                              LP Info: 180 gram black vinyl in a gatefold sleeve.

                                              LP includes MP3 Download Code.

                                              The incredibly elusive band Sault release their debut album "5" on vinyl via independent record label Forever Living Originals. The record fuses African, soul, funk and post-punk vibes amongst other flavours. With support from Radio 6's Lauren Laverne and USA's KWRC and KEXP, the band are set to go from strength to strength becoming one of the most prolific bands of 2020 with a barrage of material up their sleeves.

                                              Instantly possessing that charisma and flair that make many an album CLASSIC; it's musically accomplished, inventive and playful all at once, with it's multitude influences replicated and morphed with a sincere authenticity. If you're looking for something new, arresting and, moreover FUN to grab you by the lapel's and shake you into a fervent dance this Winter - then look no further folks! 


                                              STAFF COMMENTS

                                              Matt says: Swaggering in with the kind of confidence and accomplished song writing that immediately makes you sit up and take note, Sault might just be the coolest thing to arrive on our shelves all year. Form an orderly queue please as we witness the embryonic birth of a new Major Force.
                                              *EDIT* I've just been informed off Dave and Barry that I'm already late to the party on this one and have gone home for the afternoon with my tail feathers between my talons.

                                              William Doyle

                                              Your Wilderness Revisited

                                                William Doyle (previously Mercury nominated with his East India Youth project) releases his first new album for four years ‘Your Wilderness Revisited’. The album is an extraordinarily imagined exploration on the theme of the British suburban environment, inspired by William’s personal experience of having grown up in this setting and how he eventually saw beyond its ordinary stereotypes, towards something that was both illuminating and inspirational. It features guest appearances from writer and film maker Jonathan Meades (whose programme ‘Magnetic North’ was an influence on the album), saxophonist Laura Misch and legendary musician Brian Eno.

                                                As William himself puts it, “This album has been rattling inside of me for over 10 years now. When I left the suburb I spent my entire teenage life in, I started to think back to it and notice the influence it had on me, on my art, and on my development as a person. The architecture and the planning of the modern British suburb influenced this album as much as the experiences and emotions I superimposed upon that landscape at a formative age. I started creating in these places, I started to expand myself in these places, I grappled with grief and loss in these places. I realised that I wouldn’t be alone in having these experiences here, and so I thought there should be a way of redefining or reimagining these places that painted a different picture of them in our collective consciousness. These weren’t just places to escape to the nearest city from – perhaps they held as much truth and beauty in them as anywhere else. This album is, in part, an interrogation and excavation of that truth and beauty.”

                                                FORMAT INFORMATION

                                                Coloured LP Info: Indies exclusive green vinyl with alternative cover.

                                                IDLES

                                                A Beautiful Thing: IDLES Live At Le Bataclan

                                                  ‘A Beautiful Thing: IDLES Live at Le Bataclan’ is the brand new live album from IDLES, recorded at Le Bataclan in Paris on 3rd December 2018, at the close of a 90 date world tour. The album celebrates the band’s success over the last two years, featuring songs from ‘Brutalism’ and ‘Joy as an Act of Resistance’, and highlights their overall message of unity, and of healing through community.

                                                  “Our show at Bataclan was the end of a very long journey for us. On that tour we learnt so much about ourselves, each other and the audiences we have grown with over the past 10 years. That show was nothing short of catharsis and nothing more than love. We love what we do and the people who have carried us here, there was no hiding that at Bataclan and we are so very grateful that the moment was captured in all its glory, love and fatigue. Long live the open minded and long live the moment.” - Joe Talbot

                                                  Available on limited edition coloured vinyl (three variants, with photobook and download card) and double CD. 'A Beautiful Thing: IDLES Live at Le Bataclan' is released on 6th December 2019 on Partisan Records.

                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: Neon Clear Orange Vinyl.

                                                  2xColoured LP 2 Info: Neon Clear Lime Green Vinyl.

                                                  Coloured LP 3 Info: Neon Clear Pink Vinyl.

                                                  Kim Gordon

                                                  No Home Record

                                                    With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.

                                                    It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Exclusive white vinyl edition.


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