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Foals

Everything Not Saved Will Be Lost Part 1 - SIGNED EDITION

    LIMITED SIGNED COPIES OF BOTH THE CD AND VINYL EDITIONS.

    From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals’ trajectory has been remarkable. They’ve earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.

    After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: ‘Everything Not Saved Will Be Lost’. A pair of releases, separate but related, they share a title, themes and artwork. ‘Part 1’ is released on March 8th, with ‘Part 2’ following later in the year.

    “They’re two halves of the same locket,” frontman Yannis Philippakis explains. “They can be listened to and appreciated individually, but fundamentally, they are companion pieces.”

    Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they’ve ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band’s renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.

    The album’s lead single ‘Exits’ is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It’s a fresh anthem for Foals’ formidable arsenal, but also an ominous forecast.

    “There's a definite idea about the world being no longer habitable in the way that it was,” says Yannis. “A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response? And what’s the purpose of any response that one individual can have?”

    ‘Exits’ signposts what to expect thematically from both instalments of ‘Everything Not Saved Will Be Lost’. The title is a warning that anything – from the tiniest fleeting moment of inspiration through to the planet’s own biological diversity – can be under threat of being irrevocably erased.

    It’s a theme that permeates throughout the album’s material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance? Fear of environmental collapse? Anxiety over Trump’s next potentially cataclysmic move? It’s all there in these apocalyptic songs.

    “Lyrically, there are resonances with what's going on in the world at the moment,” summarises Yannis. “I just feel like, what’s the utility of being a musician these days, if you can’t engage with at least some of this stuff? These songs are white flags, or they’re SOSs, or they’re cries for help… each in a different way.”
    The new albums’ journeys began as the ‘What Went Down’ era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn’t be replaced – a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.

    After taking a little time out, Foals – completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened – with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They’d repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.


    FORMAT INFORMATION

    LP Info: SIGNED COPY.
    Black vinyl 180 gram and gatefold sleeve.

    CD Info: SIGNED COPY.

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

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

    STAFF COMMENTS

    Barry says: From brittle, ambient electronics to soaring, progressive modern-classical touches, the Cinematic Orchestra have crafted a beautifully diverse collection here, wonderfully accentuated by a perfect choice of guest artists hand-picked to perfectly fit their chosen tracks. With moments of calm before frantic, busy instrumentation, this is an absorbing and beguiling listen from start to finish.

    FORMAT INFORMATION

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

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

    Black Peaches

    Fire In The Hole

      Black Peaches follow up their acclaimed 2016 debut with a dazzling display of musicianship on their explosive new album Fire In The Hole – released worldwide on May 17th, 2019.

      “Black Peaches existed inside me before I was aware of it,” says the band’s Rob Smoughton, also known as a member of Hot Chip and Scritti Politti. “It’s the culmination and continuation of the music I love. I started to notice how Brazilian rhythm, funk, soul, classic country and pop were all combining in the music I was writing, and I looked for other band members to join me to bring it alive.”

      And he found other members to bring that combination alive in Susumu Mukai, Charlie Michael, Nick Roberts and Thomas Greene. Together they released 2016’s acclaimed Get Down You Dirty Rascals and now return with an album that continues to throw genres together with all the seamless grace of a seasoned cocktail maker but free of the postured affectations associated with such moves.

      Black Peaches are a place where genres collide and musical eras meld. On their second album the band has absorbed all the tropical sounds, glistening melodies and funk-ridden grooves into a sound that is truly their own. “I wanted the combination and layering of our influences to be organic,” says Smoughton. “To create Black Peaches music. To take the ideas from the first record further into our own place.”

      The result is a record that skips with the vibrancy and buoyancy of a band still in love with the idea of bringing their record collection to life, but the band now understand themselves as much as the music that inspires them and have created something new and refined.

      Given the eclectic styles rooted in the make-up of the band, to enter into the world of Black Peaches is often to feel like one is flying from country-to-country with each new song. For Smoughton this musical traversing is a key part of the experience of the band. “I find the combination of mythology, history and geography to be romantic and I want our music to elicit the same thrill. I think the album conjures up the adventure of moving from one place to another; from Spain into Northern Africa, where North America tips into the South. Narratively the songs inhabit a place between the conscious and subconscious - between dreams and waking life.”

      This globetrotting sonic voyage creates a sense of the unknown in the record, where each track exists as a new and unpredictable path. This is all done under the mission of creating a record that is capable of pure musical transcendence. “I really believe that music has the ability to transcend and move people emotionally and spiritually,” Smoughton says. “Our music is not about the separation between musician and audience but about the space in between.”

      Yet the album also works on an intuitive and physical level. On top of its narrative of the world between the conscious and the subconscious, it is also simply a collection of songs to make you dance and move. Whether it’s the Delta blues influenced strut of “Lemonade”, the “slinky and naughty” dance floor pounce of “The Black Peach Boogie” or the Afro-Brazilian skip of “Cuatro Berimbau.”

      Perhaps the most emblematic song of all when it comes to capturing the essence, power and groove of the album is the title track “Fire in the Hole”. “It comes from a phrase that miners would shout it to warn others that they had charged an explosive,” Smoughton says. “It’s to tell you something is about to explode. In this case it’s about being unable to resist the urge to dance. About giving over to rhythm and sound.”


      FORMAT INFORMATION

      Dinked Edition LP Info: Teal Vinyl.
      Numbered.
      Signed Art Print 11” x 11”.
      Bonus 7” two exclusive tracks (never to be repressed).
      Card with Download Codes.

      Snapped Ankles have taken on the guise of the very agents of their community’s demise – the property developers and brokers who heat the market on the promise of ‘Stunning Luxury’. With their adopted warehouse habitat under constant threat, the woodwose have taken this sharp-suited incarnation in order to infiltrate. The resistance starts here.

      From humble forest beginnings via bohemian East London on debut album Come Play The Trees, Snapped Ankles are moving on. The log synths have been transformed into gaudy “To Let” and “For Sale” signs, which have become the new instrument of choice for the discerning woodwose. The sounds they eke out of the housing bubble are as frenzied and unstable as you’d expect. Dystopian bangers. Illicit thrills. Stunning Luxury moves quickly through life in the capital: microdosing mindfulness in the morning, a poisoned nod to the marketing department, investment portfolios and death by same day delivery.

      The primal rhythms and forest chants are all present and correct. On the surface it’s hedonistic business as usual – a communal dance for the ages. But there’s a sense of discomfort too. There’s subversion, but it’s not clear who’s subverting who. There’s a message, but it’s often fragmented. Keep dancing. Keep foraging. Perhaps the woodwose are human after all…


      FORMAT INFORMATION

      Dinked Edition LP Info: Exclusive gold vinyl
      Additional gold & foiled third outer sleeve
      Pink outer sleeve
      Gold inner sleeve
      Hand-numbered
      Sticker.

      Indies Exclusive LP Info: Limited edition INDIES ONLY neon pink vinyl.

      LP Info: Black vinyl edition.

      Karen O & Danger Mouse

      Lux Prima

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


      STAFF COMMENTS

      Barry says: Half way between the glitter-laiden dancefloor of a sweaty disco club and a smokey jazz-lounge, 'Lux Prima' is the perfect balance between downbeat electronics and pitch-perfect production courtesy of legendary producer and musician DM, and Karen O's undeniably enchanting vocal prowess. They are both in top form here, and this will undoubtedly go down as some of the best work from either of them. Lovely stuff.

      FORMAT INFORMATION

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

      Coloured LP includes MP3 Download Code.

      LP includes MP3 Download Code.

      Morrissey With Billie Joe Armstrong

      Wedding Bell Blues - RSD Stores Exclusive



        FORMAT INFORMATION

        Ltd 7" Info: Clear Yellow vinyl.

        The National

        I Am Easy To Find

          I Am Easy To Find is the band’s eighth studio album and the follow-up to 2017’s GRAMMY®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was mostly recorded at Long Pond, Hudson Valley, NY with additional sessions in Paris, Berlin, Cincinnati, Austin, Dublin, Brooklyn and more far flung locations. The album features vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more.

          I Am Easy to Find is a 24-minute film by Mills starring Alicia Vikander, and a 68-minute album by the National. The former is not the video for the latter; the latter is not the soundtrack to the former. The two projects are, as Mills calls them, “Playfully hostile siblings that love to steal from each other”—they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don’t necessarily need one another. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically sidestaged in favour of a variety of female voices, nearly all of whom have long been in the group’s orbit. It is unlike anything either artist has ever attempted and also totally in line with how they’ve created for much of their careers.

          As the album’s opening track, ‘You Had Your Soul With You,’ unfurls, it’s so far, so National: a digitally manipulated guitar line, skittering drums, Berninger’s familiar baritone, mounting tension. Then around the 2:15 mark, the true nature of I Am Easy To Find announces itself: The racket subsides, strings swell, and the voice of long-time David Bowie bandmate Gail Ann Dorsey booms out—not as background vocals, not as a hook, but to take over the song. Elsewhere it’s Irish singer-songwriter Lisa Hannigan, or Sharon Van Etten, or Mina Tindle or Kate Stables of This Is the Kit, or varying combinations of them. The Brooklyn Youth Choir, whom Bryce Dessner had worked with before. There are choral arrangements and strings on nearly every track, largely put together by Bryce in Paris—not a negation of the band’s dramatic tendencies, but a redistribution of them.

          “Yes, there are a lot of women singing on this, but it wasn't because, ‘Oh, let's have more women's voices,’ says Berninger. “It was more, ‘Let's have more of a fabric of people's identities.’ It would have been better to have had other male singers, but my ego wouldn't let that happen.”

          FORMAT INFORMATION

          2xColoured LP Info: Indies only 140gram clear vinyl – limited edition, one pressing only.

          3xDeluxe LP Info: 140g set on opaque red / yellow / grey colours.
          5th side contains 22 minutes of music from the I Am Easy To Find Original Film Score – EXCLUSIVE to this format.
          Etching on the 6th side.
          Tri-fold LP jacket.
          3x printed innersleeves.
          24 page booklet.
          24” x 24” poster folder.
          Housed in printed plastic sleeve.

          2xLP Info: Black vinyl.

          SLEAFORD MODS WILL BE INSTORE SIGNING COPIES OF THEIR NEW ALBUM 'ETON ALIVE' ON MARCH 15TH FROM 4.30pm - 5.30pm.
          PRE-ORDER NOW TO GUARANTEE A COPY FOR THE SIGNING SESSION.


          Sleaford Mods are one of the most important, politically charged and thought-provoking duos currently making their mark on the UK music scene and beyond. They are now poised to release their fifth studio album entitled ‘Eton Alive’ in February 2019. The album, which features 12 new tracks from the prolific artists, was recorded in Nottingham. The record will be the first release on Jason and Andrew’s newly formed label ‘Extreme Eating’ and their first album since parting ways with Rough Trade Records.

          “Eton Alive speaks for itself really. Here we are once again in the middle of another elitist plan being digested slowly as we wait to be turned into faeces once more. Some already are, some are dead and the rest of us erode in the belly of prehistoric ideology which depending on our abilities and willingness, assigns to each of us varying levels of comfort that range from horrible to reasonably acceptable, based on contribution. So after the digestive system of the Nobles rejects our inedible bones we exit the Arse of Rule, we fall into the toilet again and at the mercy of whatever policies are holding order in the shit pipe of this tatty civilisation. It is here our flesh regenerates as we rattle into another form, ready, and ripe for order”. – Jason Williamson.

          STAFF COMMENTS

          Barry says: The Mods return once again for another politically charged slice of snarling vocal fire and wry social commentary. This time we get a more momentous charge towards post-punk minimalism, drum machines and distorted bass taking a back seat to the increasingly effective two-part baying of Williamson & Fearn.

          FORMAT INFORMATION

          Coloured LP Info: Indies Only Blue Vinyl.

          Coloured LP 2 Info: Limited to just 500 copies this an exclusive German edition on pink vinyl.

          Vampire Weekend

          Father Of The Bride



            FORMAT INFORMATION

            2xColoured LP Info: Orange double vinyl.

            Beth Gibbons And The Polish National Radio Symphony Orchestra

            Henryk Górecki: Symphony No. 3 (Symphony Of Sorrowful Songs)

              Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. 

              The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

              Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you can see and hear on this release.

              The film, was produced by the National Audiovisual Institute, Poland and directed by Michał Merczyński.

              FORMAT INFORMATION

              Indies Exclusive LP Info: Deluxe tip-on gatefold sleeve with mounted 16pp booklet insert and bonus DVD featuring concert film.

              LP Info: Heavyweight black vinyl with 12x12” booklet insert.

              Deluxe CD Info: Deluxe tip-on case-bound CD pack with 28 page booklet and bonus DVD featuring concert film.

              Seahawks

              Eyes Of The Moon - Piccadilly Exclusive Violet Coloured Vinyl

              From their coastal studio in Cornwall, Seahawks deliver a collection of mystic pop, sparkling new age and psychedelic ambience. Since forming in 2009, the UK duo (consisting of visual artist Pete Fowler and prolific musician / Lo Recordings label co-founder Jon Tye) has steadily accrued an impressive catalogue, spanning several albums and including collaborations with Laraaji, Peaking Lights, Laurel Halo and more. Eyes Of The Moon, their latest album as Seahawks — and their first for Cascine — is a transportive aural journey.

              STAFF COMMENTS

              Matt says: Cosmic voyagers Seahawks are as much a permanent fixture in our shop as Pasta Paul's dog, Tommy. Unlike Tommy, they always smell super fresh and sound sublime. Now, if they'd just step their instagram game up....

              FORMAT INFORMATION

              Coloured LP Info: Exclusive transparent violet coloured vinyl.
              This is only available via Cascine's webstore / Bandcamp and ourselves.

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

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

              STAFF COMMENTS

              Mine says: You would think that after 17 studio albums fans might get a bit bored - or that a band might have lost its momentum - but the opposite is true on the aptly titled 'Brian Jonestown Massacre'. Despite sounding 100% like Anton Newcombe, the record feels fresh and relevant, much more so than the only recently released 'Something Else' if you ask me. Highly recommend!

              FORMAT INFORMATION

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

              Mac Demarco

              Mac Demarco

                "Hi, Mac Here.
                First off, thank you for listening to my new record. This one is my cowboy record.
                Cowboy is a term of endearment to me, I use it often when referring to people in my life.
                The rusty old grinning pin on the front and back covers of the record was purchased from a man in the mountains somewhere in the Nantahala National Forest between Chattanooga, TN and Asheville, NC.
                Where I grew up there are many people that sincerely wear cowboy hats and do cowboy activities, these aren’t the people I’m referring to. Before realizing that your surroundings don’t necessarily define who you are, I felt very uncomfortable in the company of that culture.
                This record was recorded in my garage during the first two weeks of January 2019. I played all the instruments, except for a little bit of keyboard here and there, which was played by my touring keyboard player, and friend for most o me life now, Alec Meen. My travelling sound man Yakitori Santar helped me track it and put it together as well. It was raining a lot in Los Angeles while we were recording, you can hear it tapping on the windows of the garage here and there if you listen closely."


                FORMAT INFORMATION

                Coloured LP Info: Indies exclusive green/black mix coloured vinyl, with reverse artwork, gatefold sleeve, 4 page 12" insert, sticker.

                LP Info: Black vinyl, gatefold sleeve, 4 page 12” insert, Sticker.

                The rumours are true: the secret electronic album that Stephen Malkmus has been telling everyone about sees the light of day through Domino. But Groove Denied is not a full-blown plunge into EDM or hiptronica. In fact, there aren’t any purely instrumental tracks on the album. Every song is precisely that: a song, featuring Malkmus staples like an artfully askew melody and an oblique lyric. Groove Denied is Stephen playing hooky from his customary way of going about things, jolting himself out of a routine. As Malkmus commented, “It’s fun to mess with things that you’re not supposed to.”

                The first taste of Stephen’s new groove can be sampled today, with the release of single ‘Viktor Borgia’, and its accompanying video starring Stephen alone in a dance club. The title playfully merges the name of the comedian-pianist and the ruthless dynasty of Italo-Spanish nobles. With its stately melody and the almost-English-accented vocal, the coordinates here are early Human League or even Men Without Hats. “I was thinking things like Pete Shelley’s ‘Homosapien’, the Human League, and DIY synth music circa 1982,” says Stephen, adding “and also about how in the New Wave Eighties, these suburban 18-and-over dance clubs were where all the freaks would meet – a sanctuary.”

                STAFF COMMENTS

                Barry says: It's bloody brilliant this, with hints of post-punk garage and most of all 80's synth, Malkmus clearly shows his wealth of influence on 'Groove Denied', swinging from snappy grunge to 70's psychedelia without batting an eyelid. Though the diversity in sound shines through, it's not without the Malkmus charm, with his vocal prowess shining through the stylistic patchwork.

                FORMAT INFORMATION

                Coloured LP Info: Indies exclusive clear vinyl.

                Coloured LP includes MP3 Download Code.

                LP Info: Black vinyl.

                LP includes MP3 Download Code.

                Morrissey

                California Son

                  Morrissey’s new album of covers includes songs by the likes Joni Mitchell, Bob Dylan, Roy Orbison, Laura Nyro, Dionne Warwick and many more as well as having guests vocals by Billie Joe Armstrong (Green Day), LP, Ed Droost (Grizzly Bear), among others.

                  FORMAT INFORMATION

                  Coloured LP Info: 140 gram exclusive sky blue vinyl.

                  LP Info: 140 gram black vinyl in sleeve.

                  Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow their hugely successful “Popcorn Lung” label compilation LP, with their first full length of the new year, and man… this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

                  PY often likes to quote the artist directly in its press releases, and this one is no exception. Gabe’s own words, more than adequately explaining the path leading to this killer set for 2019; 'It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you’ll give my music a listen: In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself - Instead of trying to unsuccessfully make music you think other people will like, why don’t you make something that you’d actually want to listen to for once? - I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

                  This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. "ABC" represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.'

                  This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he’d get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he’s understandably excited for this one’s release!


                  STAFF COMMENTS

                  Barry says: Having provided what I think was the absolute standout track from the 'Popcorn Lung' LP at the end of last year, Gabe Knox hits us with this superb LP of kosmische pulses, whirring synths and paddling arpeggios. Clearly influenced by the flow and pacing of classic Krautrock, this is yet another standout LP from the already veritable Polytechnic Youth canon.

                  FORMAT INFORMATION

                  Ltd LP Info: Repress on black vinyl.

                  KH

                  Only Human

                  The mystery is revealed! 

                  STAFF COMMENTS

                  Patrick says: Four Tet adopts his KH moniker, turns the vocals from Nelly Furtado's "Afraid" into a pseudo-African chant and creates the biggest system rinser of 2k19! Massive! Get yer Pre-orders in now! #nellylovesapinger

                  FORMAT INFORMATION

                  12" Info: One sided 12".

                  On Trust In The Life Force Of The Deep Mystery, the Mercury Music Prize-shortlisted futurist jazz voyagers The Comet Is Coming are making music for these crisis times of chaos and mass meltdown. The title of the album, the band say, concerns “finding meaning in that which you cannot grasp”, it considers “truth in the existence of a primordial energy”. It asks “What does it mean to be human? The music on the trio’s second record, out on impulse! in March 2019, fluctuates between pulsating, danceable, electronic groove-centric pieces and quieter, melodic jazz-infused compositions.

                  The Comet Is Coming are: Danalogue (keyboards/electronics), Betamax (drums) and King Shabaka (saxophone).

                  STAFF COMMENTS

                  Millie says: Comet is Coming have sparked electricity with their new album, high energy jazz and a mixture of everything in between, hints of electronic and melodic interludes woven in masterfully. The trio are channeling existential questions and ideology but have certainly nailed their cosmic jazz sound, that’s for certain!

                  Stella Donnelly

                  Beware Of The Dogs

                  Stella Donnelly is a proud, self-proclaimed shit-stirrer. On lead single “Old Man,” the biting opener of her electrifying debut album, ‘Beware of the Dogs,’ she targets the song’s titular creep, “Oh are you scared of me old man or are you scared of what I’ll do? You grabbed me with an open hand. The world is grabbing back at you.” When something needs to be said, whether it’s to an abusive man, a terrible boss, or a clueless significant other, the 26-year old Fremantle, Western Australia-based musician is fearless in telling it like it is. Delivered entirely with a sarcastic wink and a full heart, ‘Beware of the Dogs’ proves across 13 lifeaffirming songs the power in sticking up for yourself, your friends, and what’s right.

                  The album showcases an artist totally in command of her voice, able to wield her inviting charm and razor-sharp wit into authentically raw songs. It’s a resounding statement of purpose in recent memory and most importantly, it’s a portrait of Donnelly taking charge. She says, “this album made me feel like I was back in the driver’s seat. It was really liberating and grounding to realize that no one can fuck with this except me.”

                  STAFF COMMENTS

                  Barry says: There certainly is a coherent thread running between a lot of the music coming from Australia nowadays, not in terms of sound necessarily, but the attitude and pacing of the music. 'Beware Of The Dogs' epitomises that effortless cool without ever feeling like it's too loose. tightly woven melodies and strummed guitars form the perfect backdrop to the wry political meanderings and stunning vocals peppered over the top. This really is a killer LP, and one that is sure to appear in my top-10 come the end of year.

                  FORMAT INFORMATION

                  Coloured LP Info: Opaque olive vinyl.

                  Black Mountain

                  Destroyer

                    Black Mountain’s Stephen McBean turned 16 way back in 1985. And yet, until just two short years ago, McBean had lived his entire adolescence and adult life without a proper driver’s license, that first and most coveted ticket to personal independence. When he did finally take the wheel in 2017, he essentially became a 48-year-old Sixteen Year Old, blowing out the doors off the DMV like a pyrotechnics display at a W.A.S.P. gig. Black Mountain’s new album, Destroyer, named after the discontinued single-run 1985 Dodge Destroyer muscle car, is imbued with all that wild-ass freedom and newfound agency (and anxiety and fear) that comes with one's first time behind the wheel. McBean, welding mask pulled over his Alan Watts beard, has even been rebuilding a 1985 Destroyer in his step-dad’s garage all spring — building it from its frame, putting in weekends of work to have this beast ready for sunnier days. And wouldn’t you know it: when the Destoyer's engine gives its deep snarl and the stereo rattles with Metallica's $5.98 EP, McBean is fully in the driver’s seat.

                    Destroyer is structured around that first time behind the wheel of a hot rod. The fat, charging “Living After Midnight” riffs of opener “Future Shade” is, according to McBean, “Straight outta the gates. FM radio cranked.” He ain’t kidding. The song, and all of Destroyer for that matter, seems to exist at that crucial nexus of the early-to-mid 80s Los Angeles when a war between punk and hair metal was waged. Black Flag’s My War tried and failed to keep the peace. But in the trenches, some hybrid ghoul was beginning to form in bands like Jane’s Addiction and White Zombie. The heavy extended player “Horns Arising,” with its Night Rider vocals and golden, climbing Blade Runner synths, is a fill-up at a desert gas station just in time to see a UFO hovering near a mesa. . And other songs, like The serpentine “Boogie Lover” is a cruise down the Sunset Strip. You pull into The Rainbow Bar & Grill to take the edge off. Doesn’t matter what year it is, Lemmy’s there in flesh or spirit. To continue the teenage theme, there’s also a sense of to these cuts — “High Rise” is a foray into Japanese psych, rounding the bend to a careening, youthful sense of discovery, while “Closer to the Edge” feeling like falling in love with Yes (Remember how good they were for a minute there in your youth?). “Licensed to Drive” would easily be the most exhilarating and dangerous ripper on a titular film’s soundtrack, a dose of heavy right before the muscle car’s wheels fly off going 100 mph on the freeway.

                    Shacked up in his rehearsal space, McBean found an old chair in an alley, spray painted Producer on the back and pressed record. Friends from the endless rock’n’roll highway were invited over and 22 songs were brought to life. And while some were laid back into shallow graves to dig up once again at a later date, the remaining skeletons were left above ground — given organs, skin, eyes, and the opportunity to grow their hair real long and greasy. Some of these zombie hesher jams were sent on a journey to Canada where longtime band member Jeremy Schmidt, slipping on the Official Collaborator satin jacket, had at them with his legendary synth arsenal. As he added long flowing robes, sunglasses, driving gloves and medallions, the undead songs began to transform into the new breathing creatures that make up Destroyer. Schmidt’s work with these songs was the needed transformative glue for this new era of Black Mountain.

                    Coming off his newfound automotive freedom, McBean also saw some personnel shuffling within Black Mountain. Both Joshua Wells and Amber Webber have retired their Black Mountain Army uniforms while Arjan Miranda paid his outstanding membership dues and rejoined. New members include Rachel Fannan (Sleepy Sun) and Bulgasem (Dommengang & Soft Kill) plus other familiar names like Kliph Scurlock (Flaming Lips), Kid Millions (Oneida), and John Congleton (St Vincent, Swans) take a turn in the shotgun seat. Collectively, there’s a renewed vitality to Black Mountain on Destroyer — a seasoned, veteran of heady hard rock that’s found new, young muscles to flex and roads to explore.


                    FORMAT INFORMATION

                    Dinked Edition LP Info: Exclusive clear coke bottle coloured vinyl.
                    Deluxe bespoke art – DIE CUT SLEEVE (no other version will have this).
                    Numbered.
                    Signed 12 x 12" print.

                    Dinked Edition LP includes MP3 Download Code.

                    Coloured LP Info: White coloured vinyl.

                    Coloured LP includes MP3 Download Code.

                    Earth

                    Full Upon Her Burning Lips

                      Commemorating thirty trips around the sun as one of metal’s most monolithic bands, Earth have announced plans to release their ninth studio album, Full Upon Her Burning Lips. A purge of the embellishment and panache from previous releases, Full Upon Her Burning Lips intimates Earth’s commitment to the minimalism of their primordial days.

                      Deconstructing the tried-and-true dynamic consisting of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion, Full Upon Her Burning Lips taps into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world. In addition to scaling back the flourishes of their hulking, drone-driven opuses, Full Upon Her Burning Lips was composed sans narrative, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed.

                      The record was engineered, mixed, and mastered by long time associate Mell Dettmer at Studio Soli. Showcasing Carlson’s sepia-toned Bakersfield Sound guitars and Davies’ death knell drums, Full Upon Her Burning Lips mines for the expressive, nuanced, and tonally rich components of Earth’s arsenal of sound. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

                      “I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,” Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

                      FORMAT INFORMATION

                      2xColoured LP Info: Limited to 500 copies on Crimson / Black Galaxy vinyl.

                      2xColoured LP includes MP3 Download Code.

                      2xLP Info: Black vinyl.

                      2xLP includes MP3 Download Code.

                      Ian Brown

                      Ripples

                        Ian Brown's comeback record is everything you'd want from the funky monkey. Care-free, breezy, uplifting vibes with words that mix the cosmic with a conscience, this record was made almost totally independently. Just Ian, his sons and his old engineer provide that unique blend of the groovy, quirky, and endlessly catchy that we've all come to love and expect.

                        There's mellow, soulful, bluesy funkers, a rock reggae cover, a reggae reggae cover, a couple of slinky, bouncy, elastic shufflers, some massive, psych-tinged slowies (Syd meets Lennon!) and his most Roses sounding tune so far: evidently a ballad ABOUT The Roses (insert broken-hearted emoji here!?)

                        Soundwise this is Ian's most beautifully produced record by a mile. Warm, fat and analogue, with killer basslines and a big bottom end, there's a sparseness in the textures but a depth and width in the mix that's more akin to late 70's reggae than any old 'indie' rock. Ripples is all about the SPACE. Ian's voice and words, as charismatic and enigmatic as ever, are central to it all. And he's never sounded better. Self produced, self written (bar 3 co-writes with his sons. What could be more natural?) and with zero session musicians in sight, this feels like Unfinished Monkey Business, the Second Chapter. But with way better songs, way lusher production; a glorious combo of Tunes, space and sound. The dream belongs to the dreamers!

                        FORMAT INFORMATION

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

                        Signed LP Info: SIGNED EDITION!!
                        Limited edition indies only coloured vinyl. Heavyweight white vinyl, spined sleeve, printed inner sleeve.

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

                        CD Info: Jewel case, 16 page booklet.

                        Frank Sidebottom

                        Cease & Desist

                          Commonly known as the ‘Manx’ tape, due to the rumours of it originating in the ‘Isle of Man’, this audio cassette contains 45 minutes of rather rare and unreleased material recorded by Frank Sidebottom, seemingly between the years 1985-1989. Originally intended as a promotional item, the tape contains an ace and top selection of shed recordings, live radio sessions and audio adventures.


                          FORMAT INFORMATION

                          Cassette Info: Limited to 50 copies.

                          The afrobeat-inspired eight-piece Kokoroko drop their hotly-anticipated debut, a horn-fuelled, soul-shaking introduction to the young collective.

                          Kokoroko are part of the thriving scene that’s grown out of london’s young, jazz-influenced musical circles. Led by bandleader Sheila Maurice-Grey, their self-titled ep is the group’s first solo release, following their early 2018 debut with ‘Abusey Junction’, a track that has gone on to accrue over 15 million plays on youtube and 2.6 million on spotify. Across the E.P’s four tracks, the eight-piece deliver on the promise of that memorable introduction, offering a bigger vision of their afrobeat-influenced, soulfully-imbued sound, west african roots shaded with inner London hues.

                          ‘Abusey Junction’ was first featured on we out here, the 2018 Brownswood compilation documenting London’s bright-burning, jazz-influenced musical underground, picked by Rough Trade as compilation of the year 2018, and praised by the Wire, Monocle and the New York Times. Writing and performing as a group since 2014, Kokoroko have played at iconic venues from ronnie scott’s, performed at the festival, Afropunk, and toured in Brazil, Colombia and France. Inspired by Fela Kuti, Ebo Taylor, Tony Allen and the great sounds that come out of West Africa, Kokoroko put on a performance to honour the masters that taught them.

                          STAFF COMMENTS

                          Emily says: Kokoroko have (deservedly) attracted a lot of attention since being featured on Brownswood’s “We Out Here” compilation. The promising London jazz ensemble are now offering their debut EP which draws inspiration from afrobeat giants Fela Kuti, Ebo Taylor and Tony Allen. “Abusey Junction” is a slowly unfolding ballad tinged with melancholy and nostalgia. “Uman” begins with a bittersweet horn chorale and slowly builds into a joyous afrobeat stomper. A record filled with moments of wisdom, celebration and fabulous musicianship.

                          The Fall

                          Bend Sinister / The 'Domesday' Pay-Off Triad-Plus!

                            Beggars Arkive reissue The Fall’s ninth studio album, Bend Sinister, originally released in 1986. This edition is titled Bend Sinister/The 'Domesday' Pay-Off Triad-Plus!

                            It was the last of three albums in a row produced by John Leckie and was named after a dystopian novel by Vladimir Nabokov.

                            After the universal acclaim for the previous year’s This Nation’s Saving Grace, Bend Sinister often stands in its predecessor’s shadow. It is a dark, brooding album made at the height of the group’s Beggars Banquet years and many people include this at the top of the list of favourite Fall albums.

                            From Bend Sinister, “Mr. Pharmacist” is a lurching instalment in pop music’s ongoing conversation with drug dealers, illicit and otherwise. Actually a cover of 1960s garage-rockers the Other Half, it’s also a demonstration of how the Fall’s relatively unchanging style could bolster other people’s songs. – PITCHFORK

                            “Part musical hypnotist, part ranting madman, Smith was a singular figure in post-punk. His Mancunian accent, dry witticisms and plays on words were one of the Fall’s most constant characteristics. Their songs were odysseys into his ever-verbose psyche, marked by repetitive rhythms and melodies.” – ROLLING STONE

                            “At various points in the band’s four-decade career, the Fall might sound like punk, hard rock, psychedelia, funk, blues-rock, jazz-rock, electropop or sheer noise. “If it’s me and your granny on bongos, it’s the Fall,” Mr. Smith once declared. The BBC disc jockey John Peel, an early and steadfast supporter, said of the Fall that ‘they are always different, they are always the same.’” - THE NEW YORK TIMES

                            "Mark E Smith’s group of psychedelic post-punks rank as one of the most visionary, singular British bands of all time.” -THE GUARDIAN

                            FORMAT INFORMATION

                            2xLP Info: Double LP, gatefold sleeve with inner bags. Includes replica program for the Riverside production of ‘Hey Luciani!’.

                            2xCD Info: Double CD contains 6 unreleased songs, casebound, and includes 24-page booklet with notes by Daryl Easlea.

                            Idlewild

                            Interview Music

                              Having taken a break in 2010 (the previous fifteen years seeing them turn from raucous cult curiosity to chart bothering national treasures) Friendship and the bind of their creativity brought Idlewild back together for 2015’s Everything Ever Written. With it, came critical praise, an album in the top 20, and the band selling out venues as large as they ever had. With new members Luciano Rossi and Andrew Mitchell on board, Roddy Woomble, guitarist Rod Jones and drummer Colin Newton felt a renewed sense of purpose. So much so that the week that Everything Ever Written was released, they were already back at the drawing board to start work on what would become the bold step sidewards, forthcoming album Interview Music.

                              Inspired, they later decamped at the end at the end of a US tour in 2016 to Los Angeles to flesh out their ideas, but it would be some years before they set themselves up at Jones’ own Edinburgh studio to finish the record. “A lot of the songs are about dreams and dreaming and the thoughts and ideas that come from this state,” says Woomble. I live in the Scottish Highlands, and between there and California you’ve got two locations that can put you in a dream like state – driving down Sunset Boulevard as the sun sets or driving over the remote Ardnamurchan peninsula as the sun rises. The world seems unreal, magical. You’re dreaming through a landscape.”

                              Before finishing the album, the band performed a run of shows to celebrate the anniversary for their seminal record The Remote Part. One of those shows would see them meet up once again with the producer of that record and 100 Broken Windows, Dave Eringa, who would provide Idlewild with the grounding they needed to finish Interview Music. “Dave produced five songs on the album, but also brought a focus back to the band, and actually made us finish it!” admits Woomble. “He made it sound like us”.

                              This is no more apparent than on opener ‘Dream Variations’; with its echoing, fever-dream melody, chiming fizzing riff, and vocal harmonies, before taking a surprise left-turn and drifting into a waltz-like trance. Much like the rest of the record, it has the indie-rock DNA of the band, but mutated in new and strange ways. ‘Same Things Twice’ takes the fire of the heavier highlights like ‘A Modern Way Of Letting Go’ or ‘Little Discourage’, but carries it with a more mature grace. Then ‘I Almost Didn’t Notice’ and ‘Mount Analogue’ make for record’s centre-pieces as playful, adventurous and strange – driven by abandon but still loyal to all that you want from Idlewild; not least for Woomble’s lyrics. Here you’ll find another tapestry of riddles written to “celebrate vagueness”. “What’s really important about Idlewild is that we are basically punk rock kids,” concludes Woomble. “No one ever taught us how to play anything. We formed a band and we learned. In our own way. We were inspired by the bands we saw just getting up on stage, making a noise and exchanging ideas, and trying to change your ideas. That’s principally what the band still do. I’m not a kid rolling around screaming into a microphone on the floor anymore, but that ideal is still at our core.”

                              Flight Of The Conchords

                              Live In London

                                In October of 2018, ten years after the launch of their hit HBO series, musical comedians Bret McKenzie and Jemaine Clement returned to HBO for the all-new comedy special. Live in London was taped before a live audience at the Eventim Apollo and featured the Conchords performing songs from the sold-out UK and Ireland edition of “Flight of the Conchords Sing Flight of the Conchords Tour.” 


                                FORMAT INFORMATION

                                3xColoured LP Info: Clear vinyl loser edition.

                                Sebadoh

                                Act Surprised

                                  The inventors of lo-fi indie rock return with a 15-track blast of melodic melancholy, all delivered by the smudged middle finger of Dinosaur Jr original Lou Barlow…

                                  “The auteur of the subterranean lovesick blues.” Houston Press.

                                  Their first studio album since 2013’s ‘Defend Yourself’ and their first release with Fire Records, Lou Barlow and team return with a smorgasbord of beautifully dysfunctional tunes harking back to their finest college rock anthems.

                                  It’s Barlow at his introverted songwriting best; matter-of-factly delivering a stream of self-questioning stories, punctuated by detuned guitars, spine-tingling time changes and throwaway one liners.

                                  A grainy post grunge postcard wrapped in bittersweet melodies with an aftertaste that’s pure heartbreak.

                                  More songs about growing up wrong for those who continue to act surprised at life itself - all illegibly handwritten and lovingly submitted to vinyl.

                                  FORMAT INFORMATION

                                  Dinked Edition LP Info: Pressed on special dinked edition tricolour vinyl.
                                  Limited to just 500 copies.
                                  Hand numbered.
                                  Includes lyric insert and postcard.
                                  Includes custom sticker sheet.

                                  Dinked Edition LP includes MP3 Download Code.

                                  Coloured LP Info: White vinyl LP housed in a full colour sleeve, with lyric insert and download.

                                  Better Oblivion Community Center

                                  Better Oblivion Community Center

                                  Better Oblivion Community Center is a brand new band comprising the formidable talents of Phoebe Bridgers and Conor Oberst, two of the most lauded American songwriters of the past several years. Written and recorded in Los Angeles during the summer of 2018, their self-titled debut album will be released on Dead Oceans in early 2019. The pair first collaborated on Bridgers’ 2017 single, “Would You Rather”, taken from her acclaimed debut album Stranger In The Alps. They teamed up again for a recording of Oberst’s “LAX” in the fall of 2018.

                                  Co-produced by Bridgers, Oberst and long time Oberst/Bright Eyes collaborator Andy LeMaster and mixed by John Congleton, Better Oblivion Community Center features the work of several talented friends, including Nick Zinner (Yeah Yeah Yeahs), and Carla Azur (Autolux, Jack White) among others.

                                  STAFF COMMENTS

                                  Barry says: Better Oblivion provides the perfect stage for the juxtaposition of Oberst's rough husky vocals and Bridgers' smooth, ethereal air. Exactly as beautiful as you'd expect from this duo, tender and innovative, full of wonderful heartbreaking moments and perfectly written, wonderfully delivered bliss.

                                  Steve Mason

                                  About The Light

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

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

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

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

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

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

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

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited indies exclusive silver vinyl edition.

                                    Black Bones prove they possess some of the deepest mining equipment on the market, excavating some more sonic gold from the rich seams across the world.

                                    Not a groove of precious vinyl wasted as we get another indispensable 4-tracker turning up Bayou funk, 80's Spanish pop, a classic mid-80's UK hit (that was bigger in Chicago's burgeoning house scene than it was in Soho), and winding up with a wonderfully sordid slab of early 90's Weatherall channeling psychedelia...

                                    Limited, hand-stamped vinyl 12".


                                    STAFF COMMENTS

                                    Matt says: Worth the entrance fee alone for "Feel Sureal" - the John Rocca sample that went onto inspire Carl Craig and Derrick May's "I Want It Be Real" track - boooom!

                                    'Inferno' is acclaimed Australian singer-songwriter Robert Forster's first solo album in four years - his second album over the last eleven years. Forster only makes records when he feels he has the songs - on 'Inferno', he has nine he totally believes in.

                                    They range from the exhilarating top ten pop of 'Inferno (Brisbane In Summer)', the beach shack groove of 'Life Has Turned A Page', via 'Remain's 1977 New York strut, to finish in a way that this concise, brilliant, drama and wit filled album only can - on the big build epic 'One Bird In The Sky'.

                                    'Inferno' was made in Berlin in 2018, during the hottest German summer in decades. Noted producer/engineer Victor Van Vugt (Beth Orton 'Trailer Park', P J Harvey 'Stories From The City, Stories From The Sea'), recorded the album; the first time he and Forster had worked together since Van Vugt engineered Forster's debut solo album classic 'Danger In The Past' in Berlin in 1990.

                                    'Inferno' in its making is a perfect mix of the familiar and the new. Also working with Forster again, are Brisbane based multi-instrumentalists Scott Bromley and Karin Bãumler from 'Songs To Play' (2015), while new recruits are drummer Earl Havin (Tindersticks, Mary J. Blige) and keyboardist Michael Muhlhaus (Blumfeld, Kante). Four musicians from the corners of the world, who, with Van Vugt's bold and beautiful production, sound like a band of the ages. In front of them, Forster delivers the best vocal performances of his career.

                                    STAFF COMMENTS

                                    Barry says: Encompassing all of the best melodic aspects of some of the greatest songwriters to date (Forster's vocal drawl sounding not entirely unlike Morrisey's at points), Forster manages to be both poignant and accessible all at once. Shimmering acoustic guitar and crisp production come together to accentuate the country-folk-indie at every turn. A wonderfully written and brilliantly conceived outing.

                                    Richard Hawley

                                    Further



                                      FORMAT INFORMATION

                                      Coloured LP Info: Limited Edition Orange LP.

                                      LP Info: Black vinyl edition.

                                      Los Angeles-based artist SASAMI announces her self-titled debut album.

                                      If you’ve ever drafted an overly long text to someone and decided against sending it, then you'll probably hear something of yourself in SASAMI. Los Angeles based songwriter and multiinstrumentalist Sasami Ashworth wrote the album’s ten tautly melodic rock tracks over the course of a year on tour, playing keys and guitar with Cherry Glazerr, tracking the thrills, disappointments and non-starters of a year spent newly single and on the road.

                                      With featured artists Dustin Payseur (Beach Fossils), Devendra Banhart and Soko, this is a slice of 90s distorted guitar pop wonderment you won’t want to miss.

                                      STAFF COMMENTS

                                      Barry says: Wonderfully wonky at points, rhythmically diverse and musically immersive, Sasami's debut LP is an absolute storm of inventive poly-rhythms ('In Hollywood' is a prime example) presenting themselves without getting in the way of the listeners enjoyment. From tender, almost whispered vocals to huge distorted scree, this debut LP is an absolute rollercoaster, and unlike a rollercoaster, enjoyable throughout.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Indies exclusive red vinyl.

                                      Durand Jones & The Indications

                                      American Love Call

                                      Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. Even with an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications’ sophomore LP, American Love Call, is planted firmly in the present, with the urgency of this moment in time.

                                      The Indications’ 2016 self-titled debut was the product of friends who met as students at Indiana University in Bloomington, In., recorded for $452.11, including a case of beer. American Love Call, the band’s sophomore LP is instead the record the Indications dreamed of making, fleshed out with strings, backing vocals, and a newfound confidence in songwriting.

                                      Blending a slew of influences from years spent crate-digging, guitarist Blake Rhein says the Indications approach songs in the same way hip-hop producers do, as likely to pull inspiration from ‘70s folk-rock or classic R&B as they are Nas’ Illmatic.

                                      “Did I expect to do this shit once I got out of college? Hell no,” Jones relays, laughing. “Totally not. But this is what God is telling me to do – move and groove. So I’m gonna stay in my lane.”

                                      STAFF COMMENTS

                                      Barry says: A brilliantly emotive and smoothly contrasting duo of voices over this classic soul, brought to the modern day with crisp, clean production and the perfectly sunny songwiting Durand Jones has become known for. From mournful, lost-love ballads to swinging, dancefloor ditties, this is yet another mindblowing LP from Jones & co.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Transparent orange vinyl.

                                      Coloured LP includes MP3 Download Code.

                                      Don Rendell & Ian Carr Quintet

                                      Dusk Fire


                                      Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
                                      The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
                                      The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

                                      The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

                                      Born in 1950 near Constantine and raised on a parental diet of traditional Arabic music, Zohra quickly took up singing and playing the guitar and kept doing so after she and her family moved to the North of France. Playing gala events and receptions during her first years in France it took an encounter with multi-talented instrumentalist, composer, arranger and conductor Joel Hannier to take her into the world of recorded music. Joel Hannier’s experience in writing and interpreting music for ballets, television, orchestras and a vast array of French and international musicians made sure their collaboration – sung in a Berber dialect – was destined for success. The title track ‘Badala Zamana’ gets picked up by various radio stations, most notably in Arabic speaking countries. In France the song did not go unnoticed either, but until today - although championed by Habibi Funk among a few others – it remains relatively unearthed.

                                      STAFF COMMENTS

                                      Patrick says: Music Take Me Up come through with a reissue of Zohra's sought after 1977 rarity "Badala Zamana" with an extended version on the flip. Organic Arabic disco with a French twist? Sounds Balearic to me, and Radio Soulwax agree!

                                      UNKLE

                                      The Road: Part II / Lost Highway

                                        Following on from the critically acclaimed The Road: Part I, James Lavelle's UNKLE returns with the follow up The Road: Part II / Lost Highway, split across two parts with 22 tracks, James described this journey as having "more of a mixtape aesthetic being the ultimate road trip"

                                        FORMAT INFORMATION

                                        3xColoured LP Info: Triple 180g neon vinyl package housed in a triple gatefold sleeve, with 16 page booklet. Limited to 1500 copies worldwide.

                                        3xDeluxe CD Info: Triple CD package containing the full album and a bonus disc of instrumentals, housed in a deluxe multi-panel package with 16 page booklet.

                                        Helado Negro returns with This Is How You Smile, an album that freely flickers between clarity and obscurity, past and present geographies, bright and unhurried seasons. Miami-born, New York-based artist Roberto Carlos Lange embraces a personal and universal exploration of aura – seen, felt, emitted – on his sixth album and second for RVNG Intl. Helado

                                        Negro’s 2016 album "Private Energy", re-released as "Private Energy (Expanded)" in 2017, is an urgent affirmation of self-love and solidarity driven by Lange’s personal response to sanctioned violence towards people of color. The widely embraced album furthered the artist’s visibility beyond a community of fans long established through a rigorous recording and touring career, with moments like “Young, Latin and Proud” and “It’s My Brown Skin” aligning with a larger social demand for basic rights amongst marginalized people and the universal imperative to love, be loved, and thrive.

                                        This Is How You Smile’s opener “Please Won’t Please,” a call back to Private Energy, finds vitality in turning the privacy dial further inward. Setting the scene with a sparse drumbeat that moves the music forward in a more maligned than militant march, Lange’s voice tenderly permits himself weariness: “We light ourselves on fire, just to see if anyone believes.” Something must be reserved, “will anyone rescue what’s left of me.” Diving into glimmering spirals, the remainder of the album takes leave of the broader “we” and mines intimate pairings - siblings, parent / child relationships, partnership, and old friends. The story of This Is How You Smile includes a jaunty, head-nodding walk with his brother on hot pavement to the community pool of his childhood neighborhood in Florida. Such days end with a welcome fatigue and chlorine blurred reveries in “Seen My Aura.” The confidence and security of youth, moves away from family, across years and regions, to a bleak winter of “Imagining What to Do,” and loving partners deciding to make each other smile, while waiting for the sun to return.

                                        This Is How You Smile derives from Jamaica Kincaid’s “Girl,” a story she wrote in the form of a mother’s sole, complicated, but loving voice, speaking a “How to” litany of advice ranging from domestic chores to what a daughter, an immigrant and young woman of color, must do to protect herself in a world that was not designed by or for her. This is how joy, or its visage, at turns comforts, constricts, or becomes armor.

                                        Contemplating a parental voice, or its absence, becomes a question of where one may choose to return or depart. The lyrics of “Running,” seem to retrace the cyclical path of pop’s familiar obsessions, addressing the unrequited, fickle, or feared lover, “I feel you in my mind, all the time… you got me running, running…” Instead, the repetition of fleeing breaks with a languid laugh of recognition, that the lives of those who came before are within one’s own, even when we diverge, “I see you in my hands… just like you.” The song may also be read beyond seeing the humanity of self and parent, to the ever more visible global failures of patriarchal structures, and those moments when one sees their traces in self and those dear. Lange describes the album as the soundtrack of a person approaching you, slowly, for 40 minutes. In “Fantasma Vaga,” one of the first songs he wrote that set his approach for the album, a ghost wanders in from the low end, building a fuller form with each shaking step. Whirring, stops and starts of an eco espectral, may be musician trying to imitate, synthesize, the sound of a haunting, or a ghost itself trying to render the human voice. Lange often visualizes meeting strange beings, the odd encounters that occur in the creative process, a sound form of manipulation, in which who, or what is changing whom, becomes unclear. This Is How You Smile invites listeners on a walk through the changing colors of early mornings and evenings, writing, recording, or hearing a friend, a figure emerges, and there you are.


                                        STAFF COMMENTS

                                        Barry says: A superbly balanced mix of rhythmic downbeat, hip-hop percussion and good old fashioned songwriting, 'This Is How You Smile' epitomises how effective a melting pot of styles can be, fittingly for it's subject matter, being all the better for it's diversity and willingness to embrace a wide range of genres to great effect. A perfectly conceived and excellently written opus.


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