Y Dail (‘The Leaves’) is the musical project of 20-year-old Huw Griffiths from Pontypridd, south Wales. Starting in 2020, the band have released a string of singles which have received excellent reviews and single-of-the-week awards on music blogs and websites.

Forthcoming debut album Teigr has been several years in the making, and is partly inspired by Griffiths’s love of 70s Welsh-language pop he remembers from school discos and his parents’ record collection. He also cites Gorky’s Zygotic Mynci, Joe Meek, Television and early Prefab Sprout as influences.

With the album’s completion and release delayed by the inevitable pandemic story, 2021 saw the deceptively young Griffiths juggling finalising the record with studying for his A Levels, eventually putting the finishing touches to the record with producer Kris Jenkins (ex Super Furry Animals) at Grangetown Studios, Cardiff in the lull following.

Since then, Marc Riley has championed the band on his BBC 6Music show, calling Griffiths’ songs “perfect pop”, and national treasure Gruff Rhys has called the band “magnificent”, with Y Dail previously performing a radio session for BBC 6music’s Huw Stephens, who has been a long term fan

TRACK LISTING

1. The Piper Pulled Down The Sky
2. Dyma Kim Carsons
3. O'n I'n Meddwl Bod Ti'n Mynd I Fod Yn Wahanol
4. Silly Boy
5. Clancy
6. You Don't Have To Be Blue Forever
7. Pedwar Weithiau Pump
8. Whizz Kids
9. Y Tywysog A'r Teigr
10. My Baby's In The FBI
11. Tennessee Skies (1956)
12. Feel The Sun
13. Tarth Y Bore

The ‘All Nyte’ EP collects together the singles ‘Aight Boom’ and ‘Drowned’, along with two brand new tracks, ‘When I’m With You’ and ‘Holding On’.

The 12” finds Y U QT further expanding on their sound and experimenting with eclectic influences whilst pulling them all together with the unmistakable Y U QT energy and talent for a memorable hook that runs throughout their catalogue.

From the bass-heavy club banger ‘Aight Boom’ and the techno and Prodigy-influenced ‘Drowned’, through to the UKG and house influences on vocal-led ‘When I’m With You’, the EP provides further evidence that Y U QT are one of the most exciting artists in the UK underground scene at the moment.

The EP release will be followed by Y U QT heading out on an ‘All Nyte’ UK headline tour in early 2023.

TRACK LISTING

Aight Boom (feat. Scrufizzer)
Drowned
When I’m With U
Holding On (feat. Sophia Saffarian)

UKG trailblazers Y U QT return with a new vinyl release collecting together new single ‘Think About You’ and previous hit ‘Heavy Lovers’.

Y U QT have been building a buzz across a string of single releases and their reworkings of classic tracks, along with their series of sold out Y U QT club nights. This release looks to further cement their status at the forefront of the UK underground garage scene, demonstrating Y U QT’s unique modern take on the genre, with irresistible hooks, moving progressions and ear worm vocals that stick.

Available to independent retailers on 12” vinyl

The release also features an exclusive 2 step mix of ‘Heavy Lovers’ and an instrumental version of ‘Think About You’ that are not available anywhere else.

TRACK LISTING

Think About You
Think About You (Instrumental)
Heavy Lovers
Heavy Lovers (2 Step Mix)

Band founder, Nicholas Galanin is one of the most vital voices in contemporary art. His work spans sculpture, video, installation, photography, jewelry and music; advocating for Indigenous sovereignty, racial, social and environmental justice, for present, and future generations. Indian Yard is a compelling document of humanity centered in an Indigenous perspective. Created by one of the world’s foremost Indigenous artists, the irrepressible Indian Yard is an intense illumination of feeling and interconnectedness. On the groups’ debut offering, "Close the Distance”, Galanin “reflects on the universal need for connection and the expression of desire across distances. The official video, directed by Stephan Gray (Shabazz Palaces “Dawn In Luxor,” “Deesse Du Sang”), extends beyond human experience to consider physical expressions of desire in biological, mechanical, and celestial forms."

TRACK LISTING

Knives (feat. Portugal. The Man)
Light The Torch
Born Into Rain (feat. Rum.gold & Tunia)
At Tugáni
Get Yourself Together
Close The Distance
We Just Sit And Smile Here In Silence
A Feeling Undefined (feat. Nick Hakim & Iska Dhaaf)
Synthetic Gods (feat. Shabazz Palaces & Stas THEE Boss)
Gently To The Sun (feat. Tay Sean)
Back In That Time (feat. Qacung)

Yabby You a/k/a Vivian Jackson, as singer, songwriter, and producer, has created some of the greatest roots reggae recordings of all time, many of which are rare and among the most sought-after records by serious reggae fans.

Dread Prophecy Crucial Cuts is a killer collection of 10 magnificent Vivian Jackson productions featuring himself as Yabby You, his Prophets vocal group, and his discovery, Michael Prophet, including some extended mixes and dubs via King Tubby.

TRACK LISTING

Side 1
1. Michael Prophet: Love & Unity (Extended Mix)
2. Yabby You & The Prophets: Babylon A Fall (Extended Mix
3. Yabby You: This Economical Crisis
4. Yabby You & Trinity: Gwaan& Lef' Me (Extended Mix)
5. Prophets All-Stars: Love In Zimba

Side 2
1. Yabby You: Get Lost Babylon (Extended Mix
2. The Prophets: Blessed Are The Poor
3. King Tubby: Love Of A Woman Dub
4. Yabby You & King Tubby: Jah Mercies
5. Yabby You: Dreadlocks Man

For the first time ever on vinyl, this limited edition (1,000 copies worldwide) LP reissue of dreamy new age electronic ambient music was recorded by musician/magician Shiho Yabuki in Japan between the years 1989-1990. This is the follow up to her legendary album 'The Body is a Message of the Universe'. The hauntingly beautiful and captivating 'Alpha Wave Music' is equally exciting and features exotic, floating and shimmering, synthesizer textures with shifting tone colors bringing the listener to a very special magic place. Relax your mind and body. Sound aesthetics with 1/f fluctuation also known as pink noise.

TRACK LISTING

1. Forest Land II
2. Fairy Forest 妖精の森
3. Wave 波
4. Autumn Leaves 落葉
5. Green Harmony 緑のハーモニー
6. Sweet Pea スイートピー
7. Blue Wind Melody 碧い風へのメロディー
8. Beyond the Endless Sky 永遠の空の彼方に

'Ocean View Unit, 2012 - 2015' is the long awaited debut album from Yacht Club. It's a classic, 80s inspired synth-pop record from the mercurial Ben Cook (singer in the legendary hardcore punk band No Warning and guitarist in the equally legendary hardcore punk band Fucked Up. And for almost twenty years now, he has been making eclectic guitar pop music under the names Young Governor, Young Guv, and— currently —GUV) & James Matthew Seven (No Warning, Night Mover).

In 2008, lifelong friends Ben & Matty were living in Toronto & L.A, where Matty was exposed to Midnight Star, Klymaxx, Shalamar and SOLAR records on LA Radio: “I started buying funk 12"s at Amoeba for $1 of all these bands, alongside Prince, Andre Cymone, The TIme. Basically anything Minneapolis funk related and all the sorta 80s pop funk bands that adapted that style. Ready for the World, Jermaine Stewart, Jody Watley, which than led me down a rabbit hole to the website beatelectric.com. It was just me being musically obsessed and discovering something new. Ben and I were already into New Wave going back to our Hardcore days in the early 2000s; we would play New Order, Duran Duran, Depeche Mode, Pet Shop Boys in the van on tour."

"I moved back to Toronto, where we started writing this new kind of music for us, and simultaneously started learning DAW's Logic and Ableton. We would get together a few times a week and make instrumentals completely innocently and primitively on these new DAW's, Ben would write all lyrics and melodies himself, it was the beginning of us both becoming producers and self-sufficiently recording music. We had a hookup thanks to Steve Chahley at this incredible studio, which is why everything came out super HIFI. We were learning a lot along the way about how to work on a real mixing board.”

This record is comprised of a selection of songs from a series of outstanding singles an EPs released between 2012 & 2015, which would have undoubtedly made the debut Yacht Club long player in 2016, if not for timing and circumstance.

STAFF COMMENTS

Barry says: Uplifting electronic pop-funk, mixing the bright keys and soaring melodies of modern electronic synth music with the laid-back groove (and cover photo!) of super chill Balearic ambient. Supremely melodic, feel-good pop music with heaps of memorable hooks.

TRACK LISTING

1. Tropicana
2. Under Power
3. His Eyes
4. A Little Messed Up
5. Fail To Cry
6. Flash
7. Brave Intelligence
8. Work For Your Love
9. Can't Leave The Castle
10. Cold Wind From Fools

Although it can’t be stated as any genre outright, 'A Way In' lends itself to the worlds of Afrobeat, Cumbia, Salsa, Jazz, Reggaeton and Soul; a stirring of potent rhythms and enigmatic melodies that make Mitchum Yacoub’s sophomore album stand tall in the world of groove music. Across the syncopated dance tracks, ethereal soundscapes, and steady backbeats, are tales of anguish, love, uprising, and healing. Ten tracks that expose and celebrate the human spirit.
Yacoub engineered, produced, and mixed the entirety of the album, ensuring the meticulously layered sound appreciated by fans of his debut 'Living High in the Brass Empire'. We are reunited with Travis Klein, Bradley Nash, and Wesley Etienne, his inimitable horn section not to be missed on record or on stage. Featuring the rising voices of Divina Jasso and Lourdes Iri on half of the tracks, 'A Way In' has no shortage of stand-out singles that will carry you from morning into night.

TRACK LISTING

1. Mr. Terrestrial
2. 89
3. Hurtin’
4. Profecía
5. Sala
6. When I’m With You
7. Away
8. Deseo Celestial
9. De La Selva
10. Gold

Dreamt up across New York, London and Seoul, With A Hammer sees Yaeji contending with a lifetime’s worth of both societal and self-imposed repression. The resulting 13-track full-length from the producer, vocalist, DJ, visual-artist and creative director is an exploration of shapeshifting sonics - blending Yaeji’s original dance music roots with Korean indie rock, electronica and pop from the ‘90s and early 2000s.

With A Hammer follows Yaeji’s journey as she wades through the murkiness of sorrow and doubt and releases the frenzy of anger, with the help of a metaphorical hammer - Hammer Lee - which she wields to smash the rigid rules, expectations, and barriers that have prevented her from speaking her fullest truth. Through this transformative process she eventually meets the thrilling self-determination and hope that awaits on the other side, and invites her listeners and fans to do the same.

Yaeji enlisted some close friends to join her on the record as features, including British musician Loraine James, up and coming Baltimore singer Nourished By Time, plus NYC-based producers K Wata, Enayet from Yaeji’s extended crew SLINK NYC. Yaeji once again floats back and forth between English and Korean to convey what’s on her heart with the utmost sincerity. It’s in this sincerity, deep care and awareness that Yaeji is seen in the U.S. and Korea as a musical renegade who has carved out her own world that exists in-between the traditional and conventional, the personal and the universal.

After breaking out with her 2017 debut EPs that featured singles “Raingurl” and “Drink I’m Sippin On,” Yaeji featured on Charli XCX’s 2019 album Charli, produced remixes for Dua Lipa, and Robyn, collaborated with the beloved Seoul-based polymath OHHYUK for stand-alone singles “29” and “Year to Year”, headlined her own and festival stages around the world, and launched her bespoke lifestyle webstore JI-MART. Born in Flushing, Queens in 1993, she has roots in Seoul, Tokyo, Atlanta, and New York City, all serving as the backdrop for her singular, hybrid-sound that synthesizes influences of Korean indie rock and electronica, late ‘90s and early 2000s hip hop and R&B, and leftfield bass and techno. With her critically-acclaimed 2020 mixtape WHAT WE DREW 우리가 그려왔던, she sharpened her vision as a musician who is creatively unbounded by language and geography, leading to collaborations with timeless entities such as PAC-MAN. Named by Pitchfork as one of the “25 Artists Shaping the Future of Music” in 2022, she’s also graced the cover of Crack, The FADER, MixMag, and Burdock, among others, and has been featured in programming at the V&A Museum, Serpentine Gallery, and MoMA PS1. Her highly anticipated debut album, With A Hammer, sees Yaeji excavating her inner world with full force, smashing everything in order to build it back up into the true visions of her dreams.

STAFF COMMENTS

Barry says: A sleek and perfectly produced juxtaposition of dancefloor-ready rhythms, crystalline synth work and cavernous bass grooves, all forming the perfect bed for Yaeji's otherworldly vocals. Chaotic in places and swooningly placid in others, but never less than impeccable.

TRACK LISTING

Submerge FM
For Granted
Fever
Passed Me By
With A Hammer
I’ll Remember For Me, I’ll Remember For You
Done (Let’s Get It)
Ready Or Not
Michin
Away X5
Happy
1 Thing To Smash
Be Alone In This

‘Back From The Brink’ is the only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei, whose recordings were thought lost after Islamic fundamentalists took control of Iran. They weren’t: Kourosh had protected them, and their collection here - spread over three LPs, double CD or a limited quadruple 7" box set - bolstered by Kourosh’s first person recollections of Iran’s 70s rock scene and its death after the Khomeni Revolution, tells the story of an immensely talented artist’s desire to persevere in the face of terrible adversity. Kourosh and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran’s musical landscape in the late 60s and early 70s.

The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, and The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them. Later, inspired by the unlikely duo of Elton John and James Taylor, Kourosh’s music took a sophisticated turn, and he churned out funky, progressive rock that is as imminently enjoyable as it is impossible to categorize. But while most Pre-Revolution musicians - including his brothers - fled Iran in 1979, Kourosh stayed, loyal to the country of his birth. He has suffered a performance and recording ban for 22 of the last 32 years. Yet he remains stoic and resolved to continue bolstering Iranian musical tradition.

TRACK LISTING

A1. Gole Yakh
A2. Dar Enteha
A3. Hajme Khali
A4. Paiz
B1. Leila
B2. Del Dareh Pir Misheh
B3. Akhm Nakon
B4. Shirin Joon
C1. Ghazal 
C2. Tavalode Yek Seda
C3. Mosafere Shar Baran
D1. Saghe
D2. Entezar
D3. Niyayesh 
E1. Saraabe Toe
E2. Reyhan
E3. Baroona
F1. Khaar
F2. Havar Havar
F3. Ashiooneh
F4. Bachehaye Khoobe Koocheh 

The only legitimately licensed anthology of the Iranian Psychedelic rock legend. 21 fully restored tracks from Kourosh’s original master tapes. Contains rare photos and ephemera of Iran’s 70s rock scene, many never before seen. Now-Again Records is proud to present Back from the Brink, the only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh’s Pre-Revolution recordings were thought lost after Islamic fundamentalists took control of Iran. They weren’t: Kourosh had protected them – along with key ephemera from the 70’s. Their collection here - spread over 3LP bolstered by Kourosh’s first person recollections of Iran’s 70s rock scene and its death after the Revolution, tells the story of an immensely talented artist’s desire to persevere in the face of terrible adversity. Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran’s musical landscape in the late 60’s and early 70’s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them. Later, inspired by the unlikely duo of Elton John and James Taylor, Kourosh’s music took a sophisticated turn, and he churned out funky, progressive rock that is as imminently enjoyable as it is impossible to categorize. His star on the rise was knocked off course by the Revolution, and its backdrop of Islamic fundamentalists burning record companies and harassing musicians. But while most Pre-Revolution musicians – including his brothers – fled Iran in 1979, Kourosh stayed, loyal to the country of his birth. He has suffered a performance and recording ban for twenty-two out of the last thirty-two years. Yet he remains stoic and resolved to continue bolstering Iranian musical tradition. Kourosh still lives in Tehran and is pleased that his story – and his glorious 70s recordings – will finally spread the world over. This essential piece of Iran’s musical history is also accompanied by a full color book and contains never-before-seen photos and ephemera.

TRACK LISTING

A1. Gole Yakh
A2. Dar Enteha
A3. Hajme Khali
A4. Paiz

B1. Leila
B2. Del Dareh Pir Misheh
B3. Akhm Nakon
B4. Shirin Joon

C1. Ghazal
C2. Tavalode Yek Seda
C3. Mosafere Shar Baran
D1. Saghe

D2. Entezar
D3. Niyayesh

E1. Saraabe Toe
E2. Reyhan
E3. Baroona

F1. Khaar
F2. Havar Havar
F3. Ashiooneh
F4. Bachehaye Khoobe Koocheh

Susumu Yokota returns with one of his most engaging albums to date, with every track a gently glowing gem. The set features the vocal talents of Casper Clausen (Efterklang), Anna Bronsted (Our Broken Garden), Claire Hope (The Chap), Panos Ghikas (The Chap), Nancy Elizabeth, Caroline Ross and Kaori. Yokota creates an album full of great songs within a mesmerising web of sound made of subtle rhythms and deep tones. From the almost soft bossa vibes of "Love Tendrilises" to the fractured folk of "A Flower White", the electronic jazz of "A Ray Of Light" and the Twin Peaks beauty of "Meltwater", this as an album that repays deep and repeated listening.

Tracklisting
1. Love Tendrilises - vocals by Casper Clausen (Efterklang) & Anna Bronsted (Our Broken Garden)
2. Breeze - vocals by Nancy Elizabeth
3. A Ray Of Light - vocals by Nancy Elizabeth
4. A Flower White - vocals by Nancy Elizabeth
5. The Natural Process - vocals by Caroline Ross
6. Reflect Mind - vocals by Nancy Elizabeth and Kaori
7. Inside Foresighted - vocals by Kaori
8. Meltwater - vocals by Caroline Ross and Kaori
9. Tree Surgeon - vocals by Kaori, ClaireHope (The Chap) & Panos Ghikas (The Chap)
10. Suture - vocals by Casper Clausen (Efterklang) & Anna Bronsted (Our Broken Garden)
11. Bonda - vocals by Kaori
12. 12 Days 12 Nights - vocals by Nancy Elizabeth
13. Warmth

Chicago's Yakuza kick off this aural assualt with a Tibetan monk drone, that's just before some humungously large riffs drop into your lap and twist your goolies into a contorted knot. They're not averse to a bit of subtelty and invention either, in fact this is an indescribable mix of avant metal, jazzcore and post-apocalyptic psychedelia. The album ends with "01100011101", a cerebral forty-three minute instrumental that has large dollops of post hardcore about it as well as superb guitar and bass riffing. Terrorizer magazine observes 'When Yakuza hit their mark they come off as a jazz-inflected mixture of early 90s experimental thrash (Bastro seems to be a major influence) and post Helmet groove metal'.

Seminal Japanese jazz album from 1971. Journeys through jazz fusion, soul and big band moods. Impossible to obtain in its original format these days, it rests on a spiritual and serene plane, conjuring up expansive and exotic landscapes from far flung places. Obviously, some of the instrumentation and playing is nothing short of breath-taking, but with sleeve notes mainly in Japanese you're gonna have to do some serious research to find out who's responsible!

Official Mr Bongo reissue with original artwork and super fresh, clean vinyl pressing. Recommended!

TRACK LISTING

Kokiriko Bushi
Sado Okesa
Tairyo Utaikomi
Soma Bon-Uta
Komoro Mago-Uta
Nanbu Ushioi-Uta
Itsuki No Komori-Uta
Hietsuki-Bushi
Yasuki-Bushi
Yosakoi-Bushi
Kuroda-Bushi

Room 318 Productions and Laced Records are stepping into the fog to bring Akira Yamaoka’s score for the 2026 motion picture, Return to Silent Hill, to vinyl.

This 2LP features 29 specially remastered tracks carefully curated by series composer and executive producer, Akira Yamaoka, to capture the key themes of love, loss, guilt and obsession from Return to Silent Hill and the SILENT HILL 2 video game on which the film is based.

Yamaoka’s musical signature has been an integral part of the series since the first note of the original video game. His work for Return to Silent Hill marks his third time writing music for a motion picture set in the SILENT HILL universe, but this time he returns as the sole composer.

The score for the motion picture was guided by three guiding principles he’s developed while working on SILENT HILL scores – to “not decide music through emotions,” an aspiration to “blur the boundary between music and environmental sound, between reality and the inner world,” and finally, to “not reject beauty.”

“The horror of SILENT HILL is not merely unpleasant or violent. There is always something fragile, human, and irretrievably beautiful mixed within it. Refusing to deny that has remained unchanged since the beginning,” Yamaoka explains.

Working closely with director Christophe Gans, Yamaoka built the score piece by piece to extract the underlying sensibility of the world of SILENT HILL 2 and reconstruct it into music that can stand on its own as a film score. Series veterans will recognize iconic cues from the video games that have been reimagined in tracks such as “Chasing Laura” and “Brookhaven Hospital”.

“The goal was never to replay the game’s music as it was,” Yamaoka explains. “Instead, the challenge was to reinterpret it—to alter its meaning, its distance, and its placement—so it could breathe within the film’s sense of time, imagery, and the inner lives of the characters. It was not a quotation, but a reimagining.”

Whether you consider yourself a master of survival horror or this is your first time stepping into the fog of SILENT HILL, the Return to Silent Hill Original Motion Picture Soundtrack is a melting pot of distorted sounds and jagged textures unified by a single sensation: unstable, murky, and yet somehow beautiful.

TRACK LISTING

1. The Forest
2. Dance Studio
3. The House That Breathes
4. The Letter
5. Armless Creature
6. Woodside Apartments
7. Running Into Darkness
8. A Corridor Without End
9. Brookhaven Hospital
10. Dormant Voices
11. Entering Silent HIll
12. Spider Lady
13. A Tune Left Behind
14. Our Name
15. Chasing Laura
16. The Bathroom
17. 2nd Armless
18. The Field
19. Room 318
20. The Maze
21. Moth Mary
22. Tailing
23. Return To Darkness
24. Moonlight Burial
25. The Furnace Dream
26. Glass Tears
27. Ashes That Remember You
28. Echoes Of A Fading Figure
29. The Ritual

Spacious, psychedelic electronica meets desert rock, laced with lyrical other-worldliness from a collective of iconic musicians led by this Warsaw born/London raised artist living full time in the Mojave Desert. “Now that the sounds of freedom rattle the glass and fill our lungs with bronchitis, they must be on red alert, ready to shine the light” sings Patti Yang on Sounds of Freedom, the first single from her forthcoming album War On Love, out November 22 via Requiem Records. She is talking about her home in the Mojave Desert, California, which although is both stunning and unusual, is also within eyesight and earshot of the largest Marine Corps base in the US; 29 Palms. As expected, training exercises are common and the Marines set up a community phone line for civilians to call in with comments and impressions. It’s the jumping off point for War On Love, a record concerned with privacy and digital voyeurism, the tenuous relationship we hold with our sense of reality, existential sabotage and impermanence. “I began working on the album by setting myself a challenge: to break out from the daily life cycle”.

Patti explored ancient medicine and the properties of sound by studying at the Integratron, a renowned temple dedicated to sonic bliss via quartz bowls played like a giant analog synthesizer. Following an inner call, she moved from London to Joshua Tree, a small town in the Mojave Desert, California. “I fell in love with the soft, infinite silence and the open spaces which gave foundation to my research and creative work”. Songwriting began in Joshua Tree where recording spanned to London and Brooklyn, NY, at Rare Book Room, where the album was also mixed. Untethered by a specific style, the journey oscillates between unadorned hyperrealism and chaotic narratives, linked by dreamlike pop soundscapes. The collaborators are: Chris Mackin (Le Volume Courbe, Primal Scream), Matty Skylab (Skylab, David Holmes), Jagz Kooner (Reverend and the Makers, Manic Street Preachers, Primal Scream), Martin Craft (M. Craft, Jarvis Cocker), Chiara Giovando, Nicolas Vernhes (Deerhunter, Animal Collective, Daughter, Dirty Projectors, The War on Drugs). 

TRACK LISTING

01 Sounds Of Freedom
02 Technicolor Dream
03 Wonder Wells
04 Comfortably Wrong
05 Jerusalem
06 Falling
07 Bright Lights
08 Grace Me 

A special one-sided promotional pressing from Love Universal.

Built on hypnotic rhythm, deep groove pressure, and widescreen atmosphere, Yankari have quietly been carving out a sound that feels both timeless and impossible to pin down — blending afrobeat pulse, psychedelic textures, and ritual energy into something raw, transportive, and deeply physical.

For this exclusive remix, Frawl strips and dubs the original into deeper territory — extending key passages and reshaping sections for dancers, selectors, and late-night floors. A spacious, hypnotic rework built to stretch out and lock in.

Pressed in an ultra-limited run of 100 copies, this release acts as an early transmission from the wider world of the forthcoming Yankari LP — a record already generating serious attention behind the scenes.

For fans of: Deep rhythm excursions, sound system pressure, psychedelic afro grooves, and records that reveal themselves slowly over time.

http://on.soundcloud.com/VaIE33EovC6CAKPC4p

STAFF COMMENTS

Matt says: Likely to be sold out by the time you read this, that'll teach you to get those pre-orders in next time.. ;) But yeah, Love Universal on a permo-roll it seems.

TRACK LISTING

A. Enyimba (Frawl Remix)

In 2016, Foals frontman Yannis Philippakis was offered the opportunity of a lifetime: a two-day session working with the great drummer Tony Allen, who he admired intensely for his influential, multi-genre work with the likes of Fela Kuti, Sébastien Tellier and Jeff Mills.

Heading into a smoke-filled, ‘70s throwback studio in Paris, Yannis had expected them to make a nostalgic Afrobeat record. Yet something very different emerged. As the pair quickly established an intuitive telepathy, the music germinated from jams and loops, its varied touchpoints - rock, funk, jazz, dub and more - were complemented by a unique atmosphere of two cultures and creatives colliding, their expression liberated by making music in and for the moment itself.

Joined by Tony’s regular collaborators Vincent Taeger (percussion, marimba), Vincent Taurelle (keys) and Ludovic Bruni (bass, guitar) that first meeting resulted in a handful of near complete songs, which were further developed during a couple of subsequent sessions. But between scheduling issues and Covid restrictions, the recordings were never completed before Tony passed away in April 2020 at the age of 79.

Yannis felt a deep duty to complete the project, not only as a bittersweet way to honour and celebrate his friend, but also because Tony had been so eager to share these songs with the world. The result is the upcoming five-track EP, ‘Lagos Paris London’, under the Yannis & The Yaw umbrella - a project that he plans to return to in the future for further collaborations with inspiring musicians from across the globe.

‘Lagos Paris London’ EP is high-spirited, loose-grooved exuberance completed by the complex rhythms and unhurried style of the man who inspired it. It’s a communion with the past that provides an escape in the present day.

STAFF COMMENTS

Barry says: Foals' Yannis Philippakis and legendary drummer Tony Allen met and recorded some music together along with Allen's collaborators allll the way back in 2016, and now one pandemic later and 'Lagos Paris London' finally hits the shop floor. Brilliantly conceived by a bunch of musicians that have real chemistry, and the final result is the perfect tribute to Tony Allen's huge influence on the music world.

TRACK LISTING

1. Walk Through Fire
2. Rain Can't Reach Us
3. Night Green, Heavy Love
4. Under The Strikes
5. Clementine

6-track live album, recorded at sold-out shows in Paris and Amsterdam last year from Yannis & The Yaw, following the release of the critically acclaimed 'Lagos Paris London' EP (featuring Tony Allen)

'Onstage' includes a previously unreleased composition '3' plus a dazzling cover of the Tony Allen masterpiece 'Afrodisco Beat' from his groundbreaking 1979 record 'Progress, Jealousy'.

The recordings showcases the expansive, old school Afrobeat-inspired jams from the EP, capturing the spirit of the musicianship and personality that made the late, legendary Tony Allen such an inimitable figure.

Foals frontman Yannis Philippakis led the touring party and was joined by joined by key EP collaborators Vincent Taurelle (keys) and Vincent Taeger (drums) along with Dave Okumu (guitar, The Invisible) Seye Adelekan (bass, Gorillaz) and the project's visual collaborator Kit Monteith (percussion, synths).

STAFF COMMENTS

Barry says: A brilliant selection of live cuts from Yannis' tour of the album he collaboratively made with the late Tony Allen. Funky Afrobeat, thundering, hip-shaking percussion and oodles of groove : The absolute best amount.

TRACK LISTING

1. Under The Strikes (Live In Paris)
2. Walk Through Fire (Live In Paris)
3. 3 (Live In Paris)
4. Night Green, Heavy Love (Live In Paris)
5. Afrodisco Beat (Live In Amsterdam)
6. Rain Can't Reach Us (Live In Paris)

Wewantsounds is delighted to announce the release of Akiko Yano's cult 1979 album 7 O'Clock in Tokyo, recorded live in September 1978 at a pivotal moment in Japanese music history, just as Yellow Magic Orchestra was about to take the world by storm (Yano would tour the world with the group in 1979). Featuring a very funky Yano performance accompanied by Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi, plus Tatsuro Yamashita and Minako Yoshida, the album is presented outside Japan for the first time, with remastered audio, original artwork, and a four-page insert including new liner notes by Paul Bowler.

TRACK LISTING

1. God's Loyal Love/Tokyo Wa Yoru No Shichi-ji (7 O'clock In Tokyo) [Live]
2. Water Ways Flow Backward Again (Live)
3. Satchan (Live)
4. Go For It, Yanagida (Live)
5. Riding In The Balloon (Live)
6. Imomushi Gorogoro (Live)
7. Kataroon Karurun (Live)
8. Shiny Moments (To-Ki-Me-Ki ) [Live]
9. Walk On The Way Of Life (Live)

Wewantsounds continues its Akiko Yano series with the reissue of her cult classic 'Ai Ga Nakucha Ne' recorded in 1982 and co-produced by Ryuichi Sakamoto. Featuring Japan, the album includes additional recording in Tokyo with YMO and is mixed by Steve Nye and Shinichi Tanaka. It is the first time the album is released outside of Japan and the deluxe LP features the original artwork with gatefold sleeve and a lavish 24-page colour booklet with sessions photos by Pennie Smith (famous for The Clash's London Calling photo). The reissue also includes a new introduction by Mac DeMarco and a dual interview with Akiko Yano and Steve Jansen by journalist Paul Bowler. The audio remastered from the Original tapes by Mitsuo Koike.

TRACK LISTING

1. Ai Ga Nakucha Ne
2. Kanashikute Yarikirenai
3. What's Got In Your Eyes
4. Oishii Seikatsu
5. Michi De Battari
6. Onnatachiyo Otokotachiyo
7. Aisuru Hito Yo
8. Sleep On My Baby
9. Another Wedding Song
10. Donnatokimo Donnatokimo Donnatokimo
11. Good Night

Wewantsounds continues its Akiko Yano reissue programme with the release of "Iroha Ni Konpeitou," another superb Akiko Yano album and one of her funkiest, highlighting her unmissable singing and songwriting talents. Recorded in Tokyo and New York City, the album features a superb line up of the best musicians from both cities and sees Yano mixing Japanese pop with funk and a touch of electronics, playing a wide array of keyboards programmed by YMO synth wizard Hideki Matsutake. This is the first time the album is released outside of Japan and this deluxe LP edition includes remastered sound, download card plus the original 4-page insert with poster, lyrics and full line-up.

TRACK LISTING

1. KAWAJI
2. Iroha Ni Konpeitou
3. A Long Wait
4. Hourou
5. Ike Yanagida
6. Hai Hai Gasa
7. Potsun
8. Kinou Wa Mou
9. On The Way Home
10. East Wind

Wewantsounds is glad to continue its Akiko Yano reissue series with the release of the singer's third studio album 'To Ki Me Ki', recorded in New York and released in 1978 in Japan. It follows her cult "Iroha Ni Konpeitou" LP and keeps the similar blend of Japanese pop and New York funk found in the latter. "To Ki Me Ki" features such musicians as Rick Marotta, Will Lee and David Spinozza and also programmer Hideki Matsutake who would soon join the YMO with Akiko for their international 1979/1980 tour before she recorded her next studio album "Tadaima" that year, featuring the YMO musicians. "To Ki Me Ki" is reissued outside of Japan for the first time, remastered in Tokyo by revered engineer Mitsuo Koike and featuring original artwork by Tsutomu Murakami with 4 page colour insert and new liner notes by Paul Bowler.

TRACK LISTING

1. Kodomo Tachi
2. Katarun Kararan
3. Uo Sao
4. Two On The Stage
5. Okina Ishi
6. Andante Cantabile
7. Yameru Wakenya Ikanaiwa
8. Yo Ro Ko Bi
9. To Ki Me Ki

Though she’d been writing songs in her head since she was six, and on the guitar since she was 12, it took a long time for Nilüfer Yanya to work up the courage to show anyone her music. 'I knew I wanted to sing, but the idea of actually having to do it wasreally horrifying,' says the 23-year-old. When she was finally persuaded to do so, by a music teacher in West London where she grew up, she says 'it was horrible. I loved it'.

At 18, Nilüfer, who is of Turkish-Irish-Bajan heritage, uploaded a few demos to SoundCloud. Though she’s preternaturally shy, her music, which uniquely blends elements of soul and jazz into intimate pop songs with electronic flourishes and a newly expressed grungy guitar soun, isn’t. And it didn’t take long for it to catch people’s attention. She signed with independent New York label ATO, following three EPs on esteemed London indie label Blue Flowers, and earned a place on the BBC Sound of 2018 longlist. She also supported the likes of The XX, Interpol, Broken Social Scene and Mitski on tour.

Now, Nilüfer is ready to release her debut album, "Miss Universe". Though she recorded much of it in the same remote Cornwall studio she used to jam in as a much younger person, it is bigger and more ambitious than anything she has done before. "Angels", with its muted, harmonic riffs, channels ideas 'of paranoid thoughts and anxiety' - a theme that runs through the album, not least in its conceptual spoken word interludes which emanate from a fictional health management company WWAY HEALTH TM. 'You sign up, and you pay a fee,' explains Nilüfer of the automated messages, which are littered through the album and are narrated by the titular Miss Universe. 'They sort out all of your dietary requirements, and then they move onto medication, and then maybe you can get a better organ or something... and then suddenly it starts to get a bit weird. You're giving them more of you and to what end?'

TRACK LISTING

1 WWAY HEALTH ™
2 In Your Head
3 Paralysed
4 Angels
5 Experience?
6 Paradise
7 Baby Blu
8 Warning
9 Heat Rises
10 Melt
11 “Sparkle” GOD HELP ME
12 Safety Net
13 Tears
14 Monsters Under The Bed
15 The Unordained
16 Give Up Function
17 Heavyweight Champion Of The Year

One of the most exciting musicians today, Nilüfer Yanya returns with a brand new studio album ‘My Method Actor’ set to release Sept 13th via Ninja Tune. With a unique blend of soulful melodies, indie rock grit, and jazz influences, Yanya’s music continues to captivate audiences worldwide. The new body of work being a development and evolution from her previous sound. Her first album ‘Miss Universe’ and its 2022 follow-up ‘Painless’ cemented her as one to watch and a staple in the indie scene, lauded by critics on both sides of the Atlantic. Since her debut, she has performed on The Tonight Show starring Jimmy Fallon, Late Night with Stephen Colbert, Later with Jools Holland and NPR’s legendary Tiny Desk.

STAFF COMMENTS

Martin says: Nilüfer Yanya first came to our attention with ‘Painless’; 2022’s stunning showcase - aided by long time collaborator Will Archer - of her singular approach to creating music. In contrast to her debut ‘Miss Universe’, ‘Painless’ wasn’t an unruly expression of each of her diverse musical influences but a turbulent, coherent statement of intent.

‘My Method Actor’ follows a different path again; the distinctive, hollow picked guitar still runs through, as does the eloquent, candid introspection, mainly around the torment and vulnerability of romantic relationships, her gorgeous voice the perfect foil. The distortion driven urgency of its predecessor is, however, only apparent in the majestic “Like I Say” and title track; the remainder relying on understatement for it’s beauty and power, never more so than on “Binding”, with it’s sparse echoes of The Smiths’ ”Suffer Little Children”. All that extra space allows the soul searching room to cut through, at times to the bone. Single minded and open hearted, she’s a prodigy in a field of one.

TRACK LISTING

1. Keep On Dancing
2. Like I Say (I Runaway)
3. Method Actor
4. Binding
5. Mutations
6. Ready For Sun (touch)
7. Call It Love
8. Faith’s Late
9. Made Out Of Memory
10. Just A Western
11. Wingspan

Painless is the follow-up to Nilüfer Yanya’s renowned 2019 debut album Miss Universe, which fully established her as a singular artist and a distinctive voice that simply has to be heard. The critically acclaimed Miss Universe - a widescreen concept record that took a tongue in cheek swipe at the most self-involved corners of the health and wellness industry - was followed last year by the three song EP Feeling Lucky?, which further explored Yanya’s fascination with ‘90s alt-rock melodies and drew on themes of resentment, her fear of flying, and the concept of luck. Pitchfork summed up Feeling Lucky? and her now peerless songwriting aptitude best: “Nilüfer Yanya’s melodies have a pull so strong they almost necessitate their own law of physics.” Yanya also re-released her early EPs on vinyl for the first time this year on the record Inside Out. The release is a fundraiser for Artists in Transit, a collaborative not for profit group she founded with her sister Molly that delivers art workshops to displaced people and communities in times of hardship.

As the daughter of two visual artists (her Irish-Barbadian mother is a textile designer and her Turkish-born father’s work is exhibited at the British Museum) creativity was always destined for Nilüfer Yanya’s future. Now she enters the next stage of her creative journey, Yanya is running head first into the depths of emotional vulnerability on her sophomore record Painless. The album was recorded between a basement studio in Stoke Newington and Riverfish Music in Penzance with Miss Universe collaborator and producer Wilma Archer, DEEK Recordings founder Bullion, Big Thief producer Andrew Sarlo, and musician Jazzi Bobbi.

Where Miss Universe stretched musical boundaries to include a litany of styles from smooth jazz melodies to radio ready pop, Painless takes a more direct sonic approach. By narrowing down her previously broad palette to a handful of robust ideas that revolve around melancholy harmonies and looped industrial beats to mimic the insular focus of the lyrics, Yanya has smoothed out the idiosyncrasies of previous releases without losing what is essential to her.

Painless is a record that forces the listener to sit with the discomfort that accompanies so many of life’s biggest challenges whether it be relationship breakdowns, coping with loneliness, or the search for our inner self. “It's a record about emotion,” Yanya explains. “I think it's more open about that in a way that Miss Universe wasn't because there's so many cloaks and sleeves with the concept I built around it.” She adds, summing up the ethos of the new album, “I'm not as scared to admit my feelings”.

STAFF COMMENTS

Barry says: Poppy melodies, clashing percussion and Yanya's unmistakeable voice weave around each-other, sometimes hinting at the vocal rhythms of R&B, but much more akin to a stylistic mix of electronic indie and scattered art-rock.

TRACK LISTING

1. The Dealer
2. L/R
3. Shameless
4. Stabilise
5. Chase Me
6. Midnight Sun
7. Trouble
8. Try
9. Company
10. Belong With You
11. The Mystic
12. Anotherlife

Formed in 2019, Yard Act began life when friends Ryan Needham (Bass) and James Smith (Vocals) started creating minimalist rock tracks using a primitive drum machine and borrowed bass guitar. Later drafting in George Townend on drums, and Sammy Robinson on guitars whom they met at their spiritual home The Brudenell Social Club / Leeds

After a handful of singles, Leeds' Yard Act drop their hugely anticipated debut album. ‘The Overload’ is a record of great dexterity and curation, the output of a band who were raised on a 00s digital-revolution buffet of wide musical influences. Growing up on US MTV Hip-Hop, minimal 70s No-Wave and sharp-witted British indie, Yard Act benefit from this rich tapestry of musical near-history, using it to create something that feels like more than a trendy pastiche.

In a world of great polarity, nuance is normally the answer. We may shame and bicker and amplify our outrage, but at the core of it all, we’re all still inhabitants of the same ecosystem, most of us trying to tow the delicate line between empathy and self-preservation. If nothing and no-one is purely good nor evil, true societal improvement can only come from recognizing some kind of middle ground.

In many ways, Yard Act is a project that exists through the fusion of seemingly opposing entities. Old friends in a new band, they seek out shades of socio-political grey, imbibing their stories with sharp, satirical spoken-word humour. Spearheaded by James Smith (vocals) and Ryan Needham (bass), the now four-piece, completed by Sam Shjipstone (guitar) and Jay Russell (drums), have built a sound that speaks inherently to their birthplace of Leeds, West Yorkshire, and yet ties together observations from all walks of modern British life – the small-town bloke in the local pub, the anti-capitalist stuck at a desk job, the tired activist in all of us torn between easy complicity and the desire to fight. Their sound and ethos might be progressive, but it’s not about pointing fingers so much as opening eyes.

“Lyrically, I think it’s a record about the things that we all do - we're all so wired into the system of day to day that we don't really stop and think about the constructs that define us,” says Smith. “But also beyond that, it's kind of exciting, because there’s still so much we don’t understand; how a hive mindset is forged, how information spreads, how we agree and presume things without thinking. Some people think more than others, but a lot of this sloganeering - 'I'm on the left, I'm not wrong' - doesn't achieve anything. Gammons, Karens, Snowflakes, whatever – I find it all so boring. I'm just not into that.”

What Yard Act are into is ideas. Having grown from relatively casual pub acquaintances to housemates, Smith and Needham found living together to be conducive to a high work rate, racking up demos in quick succession. Settling into a system of programming, looping and layering, the alchemy between the two created a base from which to build their narrative world. “Ryan is a vibe guy, whereas I overthink everything,” laughs Smith. “It’s been the greatest creative partnership I've ever had. When you find a groove that works, it just kind of looks after itself.”

With just three hometown shows under their belt, world events intervened. But rather than letting the pandemic derail them Yard Act set up their own imprint, Zen F.C. and across the course of 2020 and into early 2021 released four increasingly coruscating, hilariously dark singles with ‘The Trapper’s Pelts’, ‘Fixer Upper’, ‘Peanuts’ and Dark Days’ all securing BBC 6Music play, and despite the circumstances developing a remarkable, ever increasing fanbase.

“One of the first reasons we started the band, before anything even took off, was to play live because we had fun playing live,” says Smith. “but very quickly, we realised that we just loved writing songs, and writing songs isn't just about jamming in a room and writing those long noodly songs. It’s a massive cliché, but we've always been influenced by pop music, and finding a way to present it in a way that feels like ‘us’. The more people reacted to the spoken word thing, the more we felt encouraged; you can kind of hear how it gets more and more ridiculous as the singles came out. Positive reinforcement is how you explore and push the strongest bits to the extreme. And our extreme is just me talking loads — I'll talk until the track runs out!

Far from the self-indulgent bluster that Smith jokes about, ‘The Overload’ is a record of great dexterity and curation, the output of a band who were raised on a 00s digital-revolution buffet of wide musical influences. Growing up on US MTV Hip-Hop, minimal 70s No-Wave and sharp-witted British indie, Yard Act benefit from this rich tapestry of musical near-history, using it to create something that feels like more than a trendy pastiche. “There are generations of digital crate-diggers now that just absolutely love music and know how to navigate it,” says Smith. “Old music becomes new music. It's made everyone less worried about the now I think.”

While time-travelling in parts sonically, ‘The Overload’ weaves a very-2021 storyline. The group made the decision early on to leave ‘Fixer Upper’ and ‘Dark Days’ off their album debut (“it sounds arrogant, but we felt we had enough good songs without ‘em”), but the joyous specificity of their early lyrical observation is still in fine evidence, plotting a visceral, satirical journey through capitalism and greed. Across the album’s 11 tracks, an unnamed character – a bricolage of characters that Smith has met, imagined, or himself been – finds himself in quite the financial pickle, ricocheting from desk job to desperate illicit activity to police investigation, before culminating in the kind of half-cut personal epiphany that even the most law-abiding among us could relate to. Bookended by cheeky cameo’s from ‘Fixer Upper’s' Graeme and a clear structure of four parts, there is no getting around it — Yard Act have written a soap opera.

“At Ryan's insistence, the record was actually called ‘Yard Act The Musical’ for a long time, but I've got a really weird relationship with musicals, as in I fucking hate them,” deadpans Smith. “I don’t want to overthink it, but I do like concept albums, and I do think stuff works better when it's given time to be gestated and let people pick at lyrics and think what they mean.”

“We had about six standout tracks when we started thinking about an album, and from those, I saw a theme of money and capitalism, a sort of mockery of it. It's basically just a man in their late 20s, early 30s, who's always tried to fight against the system, stood up for things that they believe in and had a very strong moral compass. But it kind of crushes them in as many ways as it makes them happy – you sacrifice your beliefs for a life of comfortability, and still have to carry the burden of that decision.”

For a record of some potential heaviness, a dark sense of humour is integral. The record’s title track – its opener — plays like a raucous spaghetti western-themed night at the Hacienda, while ‘Land Of The Blind’s loose-swinging bass and jabbing guitars gives acerbic pace to its sordid tale of financial exploitation. The influence of post-punk is apparent, but the shackles of ‘authenticity’ have been shaken loose - “I think we could all feel that this post-punk thing was getting tired; ‘Land Of The Blind’ felt like quite a pivotal song in switching us away from what people thought we were.”

Even through Smith’s openly cynical lens, the world isn’t an entirely cruel and hopeless place. As our character finds themselves in the reflective epitaph of the final three songs, they explore how they might have come to be; the narcissistic peers they grew up with (‘Tall Poppies’), the Friday nights setting the world to intoxicated rights (synth-tinged “Pour Another’), and then ‘100% Endurance’, a poignant, emotional release which finds some kind of freedom in the futility of it all, an opportunity rather than an oppression; “It’s all so pointless/ But it’s not though is it?” As a closer, it’s entirely pivotal for the juxtaposition they’re trying to achieve.

“When that came right at the end of the record, it felt like it really completed it by sounding different to the rest .” says Smith. “It’s a little bit like a slip of the mask, which felt really important after a record of me being quite sarcastic, which I’m quite good at. It feels a bit like a gateway to where we can go.”

Pulling off a debut album in a pandemic isn’t easy, but somehow, Yard Act have made it work. Recording with Ali Chant (PJ Harvey, Perfume Genius, Aldous Harding) at his Bristol studio, those prolific demos have been sharpened down into something that speaks to the times we live in, creating a statement of intent that survives on nuance – a record of retro influences, recorded in a modern way, that manages to poke fun at society without punching down from a place of lefty superiority. ‘The Overload’ is a political record, but in the same way that all great observations of human nature are – a messy, complex, knowingly hypocritical snapshot of our current state of play.

“I just hope it makes people laugh at the peculiarities of human nature,” says Smith. “The world feels very heavy at the moment; it has done for a while, and when bad things happen, the weight of the world makes you panic, you want to change everything like flipping a switch. But that's not how it works. All you can do is plant seeds. I don’t think good and bad really exists, and I don't think you can change people's minds any other way.

“So that's what I hope, but I also just hope people can just enjoy it. And I hope it lasts. I hope people like the detail - I think we can learn a lot about each other through an observational smirk. Jenessa Williams

TRACK LISTING

Vinyl Tracklist:
Side A
1. The Overload
2. Dead Horse
3. Payday
4. Rich
5. The Incident
6. Witness (Can I Get A?)
Side B
7. Land Of The Blind
8. Quarantine The Sticks
9. Tall Poppies
10. Pour Another
11. 100% Endurance

Deluxe Vinyl Tracklist:
Side A
1. The Overload
2. Dead Horse
3. Payday
4. Rich
5. The Incident
6. Witness (Can I Get A?)
Side B
7. Land Of The Blind
8. Quarantine The Sticks
9. Tall Poppies
10. Pour Another
11. 100% Endurance
Side C - NPR Tiny Desk Home Concert Recording
1. Rich
2. Payday
3. Land Of The Blind
4. Fixer Upper
5. 100% Endurance


CD Tracklist:
1. The Overload
2. Dead Horse
3. Payday
4. Rich
5. The Incident
6. Witness (Can I Get A?)
7. Land Of The Blind
8. Quarantine The Sticks
9. Tall Poppies
10. Pour Another
11. 100% Endurance

The Trench Coat Museum is  on limited edition black vinyl, signed by no one and definitely not numbered, hand printed, stamped, and comes with no bonus prints, stickers or postcard
      
All well and good, but, what does it actually sound like!? Basically  this brand new track feels like something of a step up for this superb band. More propulsive and percussive with dare I say a funkier feel, frontman  James Smith spins a typical yarn about, well......find out for yourselves!

The A side is a whopping 8 minuts long but flip it over and there's an Arthur Baker ( yes, THE!) remix which makes the whole 12 a most desirable package,, no hand print, poster, sticker or number notwithstanding !!!

STAFF COMMENTS

Andy says: A brilliant step forwards for one of our favourite bands Love it!

TRACK LISTING

A-Side – The Trench Coat Museum
B-Side – The Trench Coat Museum (Arthur Baker Remix) (!)

Where’s My Utopia? is the follow up to the Leeds band’s critically-acclaimed debut record The Overload which arrived in January 2022. The Overload was shortlisted for the Mercury Prize after a slew of positive reviews, national radio playlistings and a placing at #2 in the Official Charts. The new album is a co-production between Yard Act and Gorillaz member Remi Kabaka Jr. 

Since first steering their golden Rover into swift public acclaim back in 2020, Leeds quartet Yard Act have become one of the great indie success stories of the decade so far. Along the way, they’ve ticked off milestones ranging from a Number Two chart placing and Mercury Prize nomination for debut album The Overload, to a co-sign from Elton John who joined the band to guest on a string-laden reworking of album closer ‘100% Endurance’.

Yet, whilst the band’s trajectory continuously shot upwards, vocalist James Smith and his wife had also welcomed in a son. And it’s this duelling sense of responsibility and ambition, guilt, love, drive and everything in between that forms the narrative backbone of brilliantly exploratory second album Where’s My Utopia?

Written in snapshots of time between a relentless touring schedule, and produced jointly by the band and Gorillaz’ Remi Kabaka Jr, the quartet’s second act is a giant leap forward into broad and playful new sonic waters. “The main reason that ‘post-punk’ was the vehicle for Album One was because it was really affordable to do, but we always liked so much other music and this time we've had the confidence to embrace it,” James explains. Across the record, influences ranging from Fela Kuti to Ennio Moricone via Spiller’s ‘00s pop smash ‘Groovejet’ make themselves known.

It’s a celebratory palette upon which Smith allowed himself to reach lyrically deeper into himself than ever. Gone, largely, are the outward-facing character studies of yore, replaced with a set of songs that stare fully into the headlights of life, wrangling with the frontman’s own fears and foibles to create a sort of Promethean narrative - but with jokes. “You can commit to the idea that we’re just animals who eat and fuck and then we die, and that’s fine,” he suggests. “But for me, creativity always seems to be the best way of articulating the absolute minefield of what human existence is.”

STAFF COMMENTS

Matt says: It’s not easy to write about Yard Act. You immediately want to find other wry social commentators to group them in with – Mark E Smith, Sleaford Mods, Mike Skinner, Jarvis Cocker - but James Smith is none of these people. Less vulgar and course than Mark or Jason, more poetic than Skinner, and without Cocker’s romantic filter; James Smith tells his tales with both wit and simplicity, highlighting humour in the mundane with incredibly fast and clever prose. “This Is My Utopia“ does however, have its more tender moments: “Down By The Stream” ends with him vehemently chastising school bullies and other abusers; while “Blackpool Illuminations” is a beautiful, personal, heartfelt message to his (recently born) son. They could well end here; but instead gift us one last hurrah via the arms-aloft anthem: “A Vineyard For The North” (which alongside “We Make Hits“ and “When The Laughter Stops“ comprises the album’s big indie-disco hits).

The band possess incredible depth and dimension. From jagged and jovial outbursts to lavish and luxurious orchestrations, sophisticated and structured arrangements seem to encompass more than they should, all with elegance and swagger. There’s sharp call-response vocal quips and jibes between Smith and his bandmates; while intricate, (sometimes) vocodered vocal harmonies, subtle dubs and plunderphonic sample usage a la Avalanches & DJ Shadow all contribute to a very ambitious album which pours out the contents of Yard Act’s hearts for us, the listener to digest and surmise: rock stars aren’t all that different to the rest of us.

TRACK LISTING

1. An Illusion
2. We Make Hits
3. Down By The Stream
4. The Undertow
5. Dream Job
6. Fizzy Fish
7. Petroleum
8. When The Laughter Stops
9. Grifter’s Grief
10. Blackpool Illuminations
11. A Vineyard For The North

Where’s My Utopia CD Fanzine edition. The second editions of the Yard Act Fanzine, designed by us for you for no other reason than to tear down more trees.

Where’s My Utopia? is the follow up to the Leeds band’s critically-acclaimed debut record The Overload which arrived in January 2022. The new album is a co-production between Yard Act and Gorillaz member Remi Kabaka Jr. The brand new album out 1st March 2024 features lead single ‘Dream Job’, which is out now.

The zine if printed on 140gsm uncoated paper and house in a beautiful 350gm uncoated cover. Includes the CD album.

TRACK LISTING

1. An Illusion
2. We Make Hits
3. Down By The Stream
4. The Undertow
5. Dream Job
6. Fizzy Fish
7. Petroleum
8. When The Laughter Stops
9. Grifter’s Grief
10. Blackpool Illuminations
11. A Vineyard For The North

Yard Act's third album, You're Gonna Need A Little Music, marks a major creative evolution for the Leeds band. After their Mercury Prize-nominated debut The Overload (2022), which explored capitalism and ambition through sharp post-punk storytelling, and the more musically adventurous Where's My Utopia? (2024), the band now turns its attention to deeper existential questions about identity, fulfilment, and shared reality.

Unlike their previous albums, which were largely assembled remotely or while touring, this record was written and recorded with all four members playing together in the same room over an uninterrupted five-month period. Working from a new studio in Leeds before finishing the album in Los Angeles with producer Justin Meldal-Johnsen (Nine Inch Nails, Beck, St. Vincent), the band wrote around 40–50 songs, allowing for greater experimentation and collaboration.

Musically, the album is presented as Yard Act's most diverse and confident work yet. Tracks range from the aggressive intensity of "Redeemer" to the disco-inspired title track, the indie energy of "Cherophobe Rock," and the reflective "Janey Said." The band believe this album represents the point where they have fully developed their own distinctive sound, comparing it to Blur's Parklife as the moment when a band truly finds its identity.

Lyrically, frontman James Smith moves away from the character-driven narratives of previous records towards a more impressionistic style. The songs explore themes of multiple realities, modern individualism, neoliberalism, and the difficulty of finding a shared truth in contemporary society. Despite tackling dark and cynical subjects, the album ultimately argues that music and creativity offer hope and connection.

The closing track, "Over The Barrel," embodies this balance between uncertainty and optimism, ending the album on a hopeful note despite acknowledging that the future remains unclear.

Overall, You're Gonna Need A Little Music is presented as Yard Act's most collaborative, ambitious, and fully realised album to date, combining their sharp social commentary with broader philosophical themes and a more expansive musical palette.

STAFF COMMENTS

Barry says: Yard Act's fourth album shows a wealth of the gritty punk-adjacent thud and roaring heft of their incendiary discography, but this time with a little more of a musical stretch towards electronic and dancefloor territories. Wonderfully inventive, constantly engaging post-everything indie-rock, from one of the most engaging bands in the game.

TRACK LISTING

Side A
Empty Pledges
New Beginnings
Tall Tales
Fiction
You're Gonna Need A Little Music
Cherophobe Rock

Side B
Thrill Of The Chase
Janey Said
Redeemer
Talky Talky People
Over The Barrel

YARD are the electrifying three-piece electropunk band from Dublin. Known for their intense and immersive live shows, YARD bridges the gap between electronica and post-punk, creating an auditory onslaught that leaves audiences sweaty, energised, and strangely unnerved.

Since their inception, YARD has shared stages with the likes of A Place To Bury Strangers, Psychotic Monks and Mandy Indiana. Their electrifying live performances, akin to Death Grips, Nine Inch Nails and The Prodigy, have earned them coveted slots at festivals such as Les Transmusicales, Haldern Pop and Into The Great Wide Open.

With a recent live performance on KEXP, continued support from Rolling Stone, BBC Radio 6, Clash and Louder Than War among others, a string of European festival appearances, featured tracks in Netflix’s ‘House of Guinness’ as well as Nicolas Cage’s ‘The Surfer’ and the release of their second self-titled EP, YARD are set to continue their meteoric rise in 2026.

A recent live review captured the YARD experience perfectly: “In their presence, you see and feel them painstakingly crafting every note and sound with their bare hands, wrestling with different sockets, switches, strings, or even their voices. The venue was transformed into this factory of raw, unadulterated noise which kept us all at the mercy of the sound - collectively banging our heads in synchronicity.”

TRACK LISTING

Side A (EP1)
Trevor
Appetite
Slumber
Sunlight

Side B (EP2)
Essential Tremor
Big Shoes
Friction
Lawmaker
Auto Erotic

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Splatter coloured vinyl, limited to 400 copies.

Featuring Jimmy Page and Jeff Beck, "...Where the Action Is!" has rare versions of hit singles, the most complete BBC archival recordings assembled, previously unavailable recordings and photographs, and was compiled with some of the old Yardbirds giving a hand.

Charly Records presents THE BEST OF THE YARDBIRDS.

The Yardbirds blend of blues, rock and pyschedelia paved the way for heavy rock… The definitive introduction to one of the UK's most successful and influential groups of the Sixties. This comprehensive band overview draws on the hugley important Giorgio Gomelsky recordings that defined the sound of The Yardbirds during their pivotal period 1963 through 1966. The distinctive and groundbreaking blues style of Eric Clapton features on half these tracks, whilst Jeff Beck and his pioneering brand of swaggering, ear-bending, psychedelic rock takes lead guitar duties on the rest. The compilation features the group's hits from the era, including the top 10 singles “Shapes Of Things”, “For Your Love”, “Still I'm Sad” and “Heart Full Of Soul”, as well as “Stroll On” from the soundtrack to the cult 1960’s film ‘Blow-Up’ scored by Herbie Hancock. Part of a new and lavish “Best of” series highlighting the key artists in the Charly Records catalogue.

TRACK LISTING

1. The Train Kept A-Rollin'
2. For Your Love
3. You're A Better Man Than I
4. Evil Hearted You
5. Shapes Of Things
6. I Ain't Done Wrong
7. Heart Full Of Soul
8. Good Morning Little Schoolgirl
9. Still I'm Sad
10. I Wish You Would
11. I'm A Man
12. I Ain't Got You
13. Stroll On (From The Motion Picture "Blow Up")
14. I'm Not Talking

Yassokiiba returns with two tracks of heavyweight modular dub pressure recorded in his Tokyo apartment! Fresh from last year's sell out drop, here we are treated to a progression in the unique blend of electronix + classic dub flavours. "Dub 11" kicks off with upbeat chubby chords rubbing up against heavyweight bassline + FX! On the flip, "Dub 15" goes a little deeper - beatless shards of metallic echoes float above rolling baselines and subtle glitch FX - the sound of modular dub now!

STAFF COMMENTS

Matt says: Yassokiiba's singular take on modular dub needs to appreciated for its ambition and inventiveness alone. Perfect to mix next to other advanceds in bass technology - see also: Ghost Dubs, Froid Dub, Krikor, SRKSINTL etc.

TRACK LISTING

A. Dub 11
B. Dub 15

Yassokiiba makes his debut with a two-track release, selected from his modular jam sessions filmed in his Tokyo apartment. Infused with his deep love for dub, reggae, electronica, and ambient, these tracks deliver pure MAXIMUM-DUB-PRESSURE — TOKYO STYLEE

TRACK LISTING

A. Dub 5
B. Dub 3

The Yawpers planted their flag at the intersection of the delta, the dive bar, and the mosh pit. Bloodshot are proud to drag their most feral albums back to the turntable. 'American Man', produced by Cracker’s Johnny Hickman, is “part blues, part rock, part folk, all slathered with early 80s punk attitude” and “a success on every level” according to the geniuses at American Songwriter.

TRACK LISTING

1. Doing It Right
2. American Man
3. Burdens
4. Tied
5. Deacon Brodie
6. To 5
7. Walter
8. Kiss It
9. A.M.
10. The Desert

The Yawpers planted their flag at the intersection of the delta, the dive bar, and the mosh pit. Bloodshot are proud to drag their most feral albums back to the turntable. Four years after 'American Man', the band moved to Chicago’s Electrical Audio to record 'Human Question' live to tape with producer Alex Hall.

The result was a record Americana UK called a “shambolic rock and roll” masterpiece, earning a 10/10 for its refusal to polish its own edges. While American Man was a “frantic folk stomp,” 'Human Question' shifted into what Punk Rock Theory dubbed “pedal-punk,” a noisy cocktail of psychobilly and gospel, presented here on sunburst splash vinyl These records aren’t just artifacts of a specific scene; they are honed to a shiv point, designed to cut through the noise of an oversaturated market. Restored and remastered with original posters dropped in for good measure, these are loud, lean, and necessary.

TRACK LISTING

1. Child Of Mercy
2. Dancing On My Knees
3. Human Question
4. Man As Ghost
5. Earn Your Heaven
6. Reason To Believe
7. Carry Me
8. Forgiveness Through Pain
9. Can't Wait
10. Where The Winters End

Over 35 years since their formation, Yazoo - Vince Clarke and Alison Moyet - are still acclaimed as one of the UK’s greatest pop duos. During their short time together they made two classic albums Upstairs At Eric's and You And Me Both, released seminal hit singles ‘Only You’, ‘Don't Go’, ‘Situation’ and ‘Nobody's Diary’ and toured before disbanding in 1983. Their legacy was a sentiment and a sonic style which sent shock waves through the early-80s charts and continues to be heard in the latest pop hits and throughout contemporary electronica.

TRACK LISTING

Side 1:
1. Don't Go (2018 - Remaster)
2. Too Pieces (2018 - Remaster)
3. Bad Connection (2018 - Remaster)
4. I Before E Except After C (2018 - Remaster)
5. Midnight (2018 - Remaster)
6. In My Room (2018 - Remaster)

Side 2:
1. Only You (2018 - Remaster)
2. Goodbye 70's (2018 - Remaster)
3. Tuesday (2018 - Remaster)
4. Winter Kills (2018 - Remaster)
5. Bring Your Love Down (Didn't I) [2018 - Remaster]

Over 35 years since their formation, Yazoo - Vince Clarke and Alison Moyet - are still acclaimed as one of the UK’s greatest pop duos. During their short time together they made two classic albums Upstairs At Eric's and You And Me Both, released seminal hit singles ‘Only You’, ‘Don't Go’, ‘Situation’ and ‘Nobody's Diary’ and toured before disbanding in 1983. Their legacy was a sentiment and a sonic style which sent shock waves through the early-80s charts and continues to be heard in the latest pop hits and throughout contemporary electronica.

TRACK LISTING

Side 1:
1. Nobody's Diary (2018 - Remaster)
2. Softly Over (2018 - Remaster)
3. Sweet Thing (2018 - Remaster)
4. Mr Blue (2018 - Remaster)
5. Good Times (2018 - Remaster)

Side 2:
1. Walk Away From Love (2018 - Remaster)
2. Ode To Boy (2018 - Remaster)
3. Unmarked (2018 - Remaster)
4. Anyone (2018 - Remaster)
5. Happy People (2018 - Remaster)
6. And On (2018 - Remaster)

A new album from Ye, the artist formerly known as Kanye West. The rapper has inked a partnership deal with the independent music company gamma. for the release of 'BULLY', his 12th studio album.

TRACK LISTING

1. Preacher Man
2. Beauty And The Beast
3. Last Breath
4. White Lines
5. I Can't Wait
6. Bully
7. All The Love
8. This One Here
9. Highs And Lows
10. Mission Control
11. Circles
12. Damn
13. Losing Your Mind

On paper, Ye Nuns are a tribute band. An all-girl celebration of The Monks, proto-krautrock garage punkers formed by a gang of American GIs stationed in Germany who legendarily sported tonsures and nooses on stage. But Ye Nuns are more than a tribute band. Formed by seven London ladies in 2006, Ye Nuns send witchy, six-part harmonies crashing over scratchy guitars, layer on evil fuzz bass and add pounding drums. Lead vocals screech and soar. Electric banjo hacks relentlessly. Vintage keyboard sounds stab. Yet it’s still music that puts grins on faces and gets feet moving.

In an arena where youth is often prized above talent, a band of seven women north of 35 is virtually unprecedented. Their experience and assured poise shines through on stage. There’s no need for faux-sexy posing or cute apologetic stylings. Members’ other bands include Curve, Mambo Taxi, Thee Headcoatees, Gay Dad, The A-Lines, Echobelly, Joanne Joanne, The Werewandas and The Priscillas.

Debut album Nun More Black grinds, grooves and assaults. Recorded in two days flat on old-fashioned tape at Gizzard Studios, there are proper tunes, moments of astonishing avant-garde sonic assault and lashings of righteous ire which you can dance to. Again, Ye Nuns are more than a tribute band. “I love watching Ye Nuns! It was fun watching you guys do this! I love Ye Nuns!” Eddie Shaw (original member of The Monks)

“Conceptually, it’s perfect: an all-female tribute band who play the songs of The Monks while dressed as nuns.” Stool Pigeon

“The music has a simple, visceral effect delivered with such joy that the crowd in the packed tent are in motion from the first banjo twang to the last organ parp. The Monks’ warped genius has passed by musical osmosis to this unholy sisterhood.” SoundsXP

“Bad ass garage rock and roll, played with flair, experience and total confidence, and with unexpected psychedelic twists and turns.” TheGirlsAre.com

Recorded live in a house in Galway, with acclaimed producer Philip Weinrobe (Big Thief, Adrienne Lenker) at the helm, the powerful and cinematic album features deeply evocative original songs infused with memory, tribute, and gratitude. Throughout, a strong sense of home prevails, both their own hard-won digs, past and present, and an inner refuge for anyone longing for connection beyond time and geography. “All these songs have addresses,” says co-frontman Diarmuid Mac Gloinn. “They’re about specific locations and specific people.” The brothers cite fiction writers George Saunders and Claire Keegan as particular inspirations on this record.

The brotherly harmonies and multi-instrumental abilities of Diarmuid and Brían Mac Gloinn were joined on ‘All Tied Together’ by multi-instrumentalists Shahzad Ismaily (Laura Viers, Cass McCombs) who flew over from Brooklyn, Alain Mc Fadden, Caimin Gilmore, Kate Ellis, Sam Amidon, Romain Bly and Louise Gaffney.

While initially achieving renown as purveyors of their ancestors’ music mixed with folk-based originals, the Mac Gloinn brothers – Brían and Diarmuid - have increasingly focused on honing their own material, enlisting trusted co-conspirators to distill voice and vision into potent tunes. They have brought their interpretation of the Irish folk tradition to global audiences, going from Trad sessions to touring with the likes of Hozier and boygenius.

‘All Tied Together’ follows the duo’s previous acclaimed 2022 album ‘Nine Waves’ and standalone single ‘I’m A Rover’, which won them an RTE Radio One Folk Award for Best Traditional Folk Track. Ye Vagabonds were also named Best Folk Group for the second time at the 2021 ceremony, where they hold the record for most awarded artists.

‘All Tied Together’ is the tenth album to be released by River Lea (run by Geoff Travis, Jeannette Lee and Tim Chipping) following records by Lisa O’Neill, Brìghde Chaimbeul, John Francis Flynn, a compilation of Irish music from the archives compiled by Lankum’s Ian Lynch, Sam Amidon, Poor Creature and Ye Vagabond’s previous albums ‘The Hare’s Lament’ and ‘Nine Waves’.

STAFF COMMENTS

Barry says: A particularly lovely set of harmonic folk music, all shimmering acoustic guitars and staggering vocals, slowly growing orchestration and delightfully understated drive. There are moments of upbeat groove (The Flood) but even then, it's bucolic chill shines through. Stunner.

TRACK LISTING

1. On Sitric Road
2. The Flood
3. Danny
4. Cuckoo Storm
5. I’ll Keep Singing
6. Gravity
7. Where The Heart Lies
8. Mayfly
9. Young Again
10. Four Walls
11. Long Grass
12. We Always Forget About The Rain

This South Coast outfit mix skacore, folk and good old fashioned punk rock and produced a violin led frenzy of sound. Laconic S'thern vocal delivery (the singer has a nice sneer in his voice) and bags of energy. New on Household Name.

It could only be called alchemy, the transformative magic that happens during the Yeah Yeah Yeahs’ most tuned-in moments in the studio, when their unique chemistry sparks opens a portal, and out comes a song like “Maps” or “Zero” or the latest addition to their canon, “Spitting off the Edge of the World featuring Perfume Genius” — an epic shot-to-the heart of pure YYYs beauty and power.

A thunderstorm of a return is what the legendary trio has in store for us on Cool It Down, their fifth studio album and their first since 2013’s Mosquito. The eight-track collection, bound to be a landmark in their catalog, is an expert distillation of their best gifts that impels you to move, and cry, and listen closely.

TRACK LISTING

SIDE A:
1) Spitting Off The Edge Of The World (feat. Perfume Genius)
2) Lovebomb
3) Wolf
4) Fleez
SIDE B:
5) Burning
6) Blacktop
7) Different Today
8) Mars

As part of National Album Day 2025’s celebration of rock, Secretly Canadian are making Yeah Yeah Yeah’s fifth album available on limited edition Twister Vinyl. It could only be called alchemy, the transformative magic that happens during the Yeah Yeah Yeahs' most tuned-in moments in the studio, when their unique chemistry sparks opens a portal, and out comes a song like "Maps" or "Zero" or the latest addition to their canon, "Spitting off the Edge of the World featuring Perfume Genius" — an epic shot-to-the-heart of pure YYYs beauty and power.A thunderstorm of a return is what the legendary trio has in store for us on Cool It Down, their fifth studio album and their first since 2013’s Mosquito. The eight-track collection, bound to be a landmark in their catalog, is an expert distillation of their best gifts that impels you to move, and cry, and listen closely

TRACK LISTING

A1.Spitting Off The Edge Of The World - Featuring – Perfume Genius
A2.Lovebomb
A3.Wolf
A4.Fleez
B5.Burning
B6.Blacktop
B7.Different Today
B8.Mars

Vinyl reissue of their seminal, ground-breaking debut, Fever To Tell. The release will be the original album newly remastered by Stephen Marcussen on black 180g audiophile vinyl for the first time ever and five newspaper lyric posters with exclusive photos by Nick Zinner, Spike Jonze, Lance Bangs, Julian Gross, Patrick Daughters and Cintamani Calise.

Very few things in life compare to the spine tingling, adrenalin rush that comes when you hear a great single for the first time, so I reckon the day the Yeah Yeah Yeahs walked into their record company, demanding that the opening track on “It's Blitz” should be “Zero” was, in general, a good day at the office for their A&R man. 'You want the best single of the year so far to be the first track on your album? Erm, yeah, I think we can probably live with that’. “It's Blitz” is no one hit wonder though. Awash with synths, it's an album of conflicts that finds Karen O at her most vulnerable while the band, with a sly wink to NYC disco, create what can only be described as an epic soundscape behind her. Yes, the guitars have (no doubt begrudgingly) conceded top billing to Nick Zinners vintage Arp but at its heart, “It’s Blitz” is still a great ROCK record.

TRACK LISTING

1. Zero
2. Heads Will Roll
3. Soft Shock
4. Skeletons
5. Dull Life
6. Shame And Fortune
7. Runaway
8. Dragon Queen
9. Hysteric
10. Little Shadow

Celebrating 20 years of 'Show Your Bones', the album has been selected as a RSD Essentials title and is newly pressed on magenta, yellow & purple vinyl in similar effect as the cover art.

TRACK LISTING

1. Gold Lion
2. Way Out
3. Fancy
4. Phenomena
5. Honeybear
6. Cheated Hearts
7. Dudley
8. Mysteries
9. The Sweets
10. Warrior
11. Turn Into

Second album from Joe Moore's project, The Yearning. Made and managed in his own studio, this is a personal universe that is exciting, independent, separate from any other kind of precepts in the music industry; his very own. The delicious arrangements, that romantic halo, and Maddie Dobie's fascinating voice are still heard on almost the entire album. But while the last album 'Dreamboats & Lemonade' looked to sixties pop from the most cheerful girl-group perspective, 'Evening Souvenirs' is a slow, deliberate, nocturnal album, with echoes of lounge music and "chanson", of bossa and chamber pop, with touches of Sarah and l Records melancholy, and Burt Bacharach soundtracks.

Playing with a considerable number of instruments, and the participation of the Cotsworld Voices choir on many of the songs, we find ourselves with one of those albums that needs to be listened to in semi-darkness, where the notes are bursting to the surface, giving you goose bumps hair by hair.

For fans of Dionne Warwick, Nancy Sinatra and Lee Hazlewood, Dusty Springfield, Francoise Hardy and Jane Birkin. Vinyl is Limited edition of 500 copies on grey vinyl, with MP3 download.

Compilation of The Yearning's first two sold-out mini-LPs, "Jukebox Romance" and "Still In Love", plus singles and three unreleased tracks: - "Dawn", "Love Is Like A Rollercoaster" and "Dusk".

Taking their influences from late 50s/early 60s girl-groups and Phil Spector, Joe Moore's productions are becoming more and more well-known all over the world. Their signature effusive, romantic, and elegant sixties-style pop is already a trademark.

For fans of Dionne Warwick, Nancy Sinatra and Lee Hazlewood, Dusty Springfield, Francoise Hardy and Jane Birkin.

TRACK LISTING

1. Dawn (Instrumental) 00:48
2. If You Were My Boyfriend 02:17
3. Baby Be Mine 03:04
4. The Way You Love Me 03:11
5. Everybody Knows (I'm Still In Love With You) 03:15
6. Don't Call Me Baby 03:36
7. Gotta Pull Myself Together 03:18
8. Jeremy 02:39
9. Eyes Of A Movie Star 03:29
10. I Just Wanna Hold Your Hand (On Christmas Day) 03:43
11. See You Again 03:20
12. Boy Racer 04:08
13. Love Is Like A Rollercoaster 02:14
14. Kiss You In The Summertime 04:03
15. Too Young 03:22
16. Why's She Making Those Eyes At You? 03:00
17. Too Shy 03:00
18. Heart Beats A Little Bit Faster 03:12
19. All Hung Up On You 02:58
20. Pretty Lies 04:01
21. You Make Lovin' You Easy 04:05
22. Dusk 01:36

The untiring Joe Moore in his endless search for beauty in music, is back with a new mini-album from THE YEARNING, and addressing his usual inclinations: the chanson, chamber pop, bossa, and above all, the perfect song. And once again, he is handling all the production work, the recording, and the songwriting, and is playing almost all the instruments.

Amen & Goodbye is the fourth studio album from Brooklyn-based band Yeasayer.

Yeasayer offer a peek into the world of Amen & Goodbye with “I Am Chemistry,” the first track to be heard from their highly-anticipated forthcoming album. Featuring guest vocals from the legendary folk singer Suzzy Roche of The Roches, “I Am Chemistry” is a linear psychedelic journey proving Yeasayer still has the knack for writing very odd pop songs.

Amen & Goodbye is the follow up to 2012’s work Fragrant World. Moving away from a digital - heavy approach, Yeasayer recorded Amen & Goodbye to tape at Outlier Inn Studio in upstate New York, then brought on board Joey Waronker (drummer - Atoms For Peace / Beck) to deconstruct everything to make the final document.

Amen & Goodbye features Yeasayer’s trademark sound without sounding like anything the band has done before. They have created a collection of strange fables from the Bible from a universe that does not yet exist.

TRACK LISTING

1 Daughters Of Cain
2 I Am Chemistry
3 Silly Me
4 Half Asleep
5 Dead Sea Scrolls
6 Prophecy Gun
7 Computer Canticle 1
8 Divine Simulcrum
9 Child Prodigy
10 Gerson’s Whistle
11 Uma
12 Cold Night
13 Amen & Goodbye

The string of relentless Joe Claussell remix combustion continues, this month with the metal-fastening Swiss duo’s distinct brand of sleek, 1980’s synth-pop as the muse. Bestowed with 12 minutes of non-attenuated rhythmic tautness, heat-treated lead lines and that unambiguous vocal refrain squeezed for all its worth, Boris Blank & Dieter Meier’s original electro pressure-cooking classic is rendered ionized and somehow even more awe/anxiety inducing than the original 1981 dance floor cut. Pure madness pressed on yellow wax, single sided. 

STAFF COMMENTS

Matt says: Another that's likely sold out on pre-sale. However, we're trying our bestest to get our hands on more copies so get that wishlist button pressed and cross your fingers!

TRACK LISTING

A. Yello - Bostich (Joe Claussell Unreleased Hype Demo Version)

Together with Universal Music, Yello is now looking back on their complete works and releasing the first six studio albums as exclusive 2LP bundles consisting of the original albums as black vinyl re-issues, each combined with a coloured vinyl bonus LP with rare bonus versions of their most famous songs, from the original albums.

In an elaborate state-of-the art process, the old original tapes were remastered in the highest possible resolution to reproduce the sound as authentically as never before. In addition to the cult debut "Solid Pleasure" (1980) with the hit "Bostich", the albums "Claro Que Si" (1981), "You Gotta Say Yes To Another Excess" (1983), the Top 1 breakthrough "Stella" (1985), including the mega hit "Oh Yeah", the legendary follow-up "One Second" (1987), from which the single "The Rhythm Divine" emerged, as well as the electro-pop milestone "Flag" from 1988, including the pop anthem "The Race" in a completely new sound shine.

Together with Universal Music, Yello is now looking back on their complete works and releasing the first six studio albums as exclusive 2LP bundles consisting of the original albums as black vinyl re-issues, each combined with a coloured vinyl bonus LP with rare bonus versions of their most famous songs, from the original albums.

In an elaborate state-of-the art process, the old original tapes were remastered in the highest possible resolution to reproduce the sound as authentically as never before. In addition to the cult debut "Solid Pleasure" (1980) with the hit "Bostich", the albums "Claro Que Si" (1981), "You Gotta Say Yes To Another Excess" (1983), the Top 1 breakthrough "Stella" (1985), including the mega hit "Oh Yeah", the legendary follow-up "One Second" (1987), from which the single "The Rhythm Divine" emerged, as well as the electro-pop milestone "Flag" from 1988, including the pop anthem "The Race" in a completely new sound shine.

Together with Universal Music, Yello is now looking back on their complete works and releasing the first six studio albums as exclusive 2LP bundles consisting of the original albums as black vinyl re-issues, each combined with a coloured vinyl bonus LP with rare bonus versions of their most famous songs, from the original albums.

In an elaborate state-of-the art process, the old original tapes were remastered in the highest possible resolution to reproduce the sound as authentically as never before. In addition to the cult debut "Solid Pleasure" (1980) with the hit "Bostich", the albums "Claro Que Si" (1981), "You Gotta Say Yes To Another Excess" (1983), the Top 1 breakthrough "Stella" (1985), including the mega hit "Oh Yeah", the legendary follow-up "One Second" (1987), from which the single "The Rhythm Divine" emerged, as well as the electro-pop milestone "Flag" from 1988, including the pop anthem "The Race" in a completely new sound shine.

Together with Universal Music, Yello is now looking back on their complete works and releasing the first six studio albums as exclusive 2LP bundles consisting of the original albums as black vinyl re-issues, each combined with a coloured vinyl bonus LP with rare bonus versions of their most famous songs, from the original albums.

In an elaborate state-of-the art process, the old original tapes were remastered in the highest possible resolution to reproduce the sound as authentically as never before. In addition to the cult debut "Solid Pleasure" (1980) with the hit "Bostich", the albums "Claro Que Si" (1981), "You Gotta Say Yes To Another Excess" (1983), the Top 1 breakthrough "Stella" (1985), including the mega hit "Oh Yeah", the legendary follow-up "One Second" (1987), from which the single "The Rhythm Divine" emerged, as well as the electro-pop milestone "Flag" from 1988, including the pop anthem "The Race" in a completely new sound shine.

Together with Universal Music, Yello is now looking back on their complete works and releasing the first six studio albums as exclusive 2LP bundles consisting of the original albums as black vinyl re-issues, each combined with a coloured vinyl bonus LP with rare bonus versions of their most famous songs, from the original albums.

In an elaborate state-of-the art process, the old original tapes were remastered in the highest possible resolution to reproduce the sound as authentically as never before. In addition to the cult debut "Solid Pleasure" (1980) with the hit "Bostich", the albums "Claro Que Si" (1981), "You Gotta Say Yes To Another Excess" (1983), the Top 1 breakthrough "Stella" (1985), including the mega hit "Oh Yeah", the legendary follow-up "One Second" (1987), from which the single "The Rhythm Divine" emerged, as well as the electro-pop milestone "Flag" from 1988, including the pop anthem "The Race" in a completely new sound shine.

Harmless Melodies is the debut EP by British singer-songwriter Yellow Days, released in November 2016 on the Good Years Music label. At the time, George van den Broek was just 17 years old, and the record marked his first major introduction to the music world. 

The EP’s sound blends soulful, introspective vocals with lo-fi production and influences drawn from jazz, blues, and classic soul, creating moody, evocative tracks that feel both timeless and contemporary. Its seven tracks — including the standout “Your Hand Holding Mine” — feature reflective lyrics about love, heartbreak and everyday life, set against laid-back guitar, organ-tinged riffs, and thoughtful vocal delivery that belies his youth. 

TRACK LISTING

1. Intro
2. Your Hand Holding Mine
3. A Little While
4. Interlude (It’s Alright)
5. Gap in the Clouds
6. People
7. Outro (Baked in the Sunshine)
8. Go Home (Bonus Track)

Yellow Days’ new album 'Rock And A Hard Place' is a tour de force which sees George van den Broek returning to his soul roots, channelling everyone from Stevie Wonder to Gil Scott-Heron to his idol, Ray Charles, in a set of emotionally charged songs constructed with an attention to detail worthy of the Brill Building.

TRACK LISTING

Roadkill
Special Kind Of Woman
Let Me Down Easy
Glitter & Gold
Sharon
Love Is Getting Complicated
Baby, I'm For Real
I Cannot Believe In Tomorrow
Worried I'll Break Your Heart
Shoot Me With Your Love Gun
Daylight Miracles
California
Can't Fight The Tears
You Didn't Leave Me

• 180 gram audiophile vinyl
• Insert
• PVC protective sleeve

'Solid State Survivor' was the second album by Japanese electronic music band Yellow Magic Orchestra, released in 1979. Featuring Haruomi Hosono (bass, keyboards, vocals), Yukihiro Takahashi (drums, lead vocals) and Ryuichi Sakamoto (keyboards, vocals), the trio hit their stride with this second long player, a brisk and confident set of synth-disco pop tracks that continues along the line drawn five years before by Kraftwerk. Fun-loving and breezy where Kraftwerk had been ponderous and statuesque, the album sets out YMO's template for electronic pop with less minimalism and a more varying use of synthesizer lines. The English lyrics, written by Chris Mosdell but sung by YMO themselves, make for hilarious listening especially on a cover of the Beatles' "Day Tripper".

TRACK LISTING

Side A
1. Technopolis
2. Absolute Ego Dance
3. Rydeen
4. Castalia
Side B
1. Behind The Mask
2. Day Tripper
3. Insomnia
4. Solid State Survivor

Influenced by Adam & The Ants, ABC and The Rocky Horror Picture Show, YSN are Stanley Kubrick's Droogs cast as a pop band of Edwardian dandies. This is their third single, and was produced by XTC and Clash producer Simon Humphrey.

Joe Yellow is a studio project started in 1983 by Domenico Ricchini and the producers Miki Chieregato and Roberto Turatti.Their big hit Eurobeat / Hi NRG tune "U.S.A."('92) will be 7inch on first time, with Japanese imaginary jacket.The song became famous in Japan when dance-pop group Da pump covered it.

TRACK LISTING

1. U.S.A. (Extended Vocal Remix)
2. U.S.A. (Instrumental)

While retaining the melodic, enveloping guitar soundscapes of previous releases, "Melt Inside" is different in one key element. On this occasion, Jon's mesmerising, minimalist, guitar-based arrangements are enhanced by the divine vocals of Ally Todd. The album features nine tracks, composed and recorded between Lund, Sweden and Leicestershire, UK during 2004-5. But it is more than simply a collection of songs. These are vibrant, emotional stories of love and loathing, of mystery and intrigue, of despair and elation.

Now signed to Capitol Records, this EP is a taster of what's to come, after playing on the Vans Warped Tour Yellowcard are proving to be one of the most entertaining new emo-pop bands on the scene and this five track mini-album is just the ticket.

1984 set from Yellowman. Mr Slackness arrived back with another set of deejay cuts for the dancehall featuring the Roots Radics Band. Produced by Henry "Junjo" Lawes and recorded at Channel One, this is one of the last pre-digital dancehall reggae albums. The title track was sampled by Eazy-E on his west coast hip hip cut 'Nobody Move'.

The two front-runners from the early 80s dancehall scene - King Yellowman and the Colonel - face off Volcano style on this head-to-head clash! This 1984 Roots Radics backed superstar face off was produced by Henry 'Junjo' Lawes at Channel One with Soldgie at the controls. Yellowman leads the way on side A, serving up 'Society Party', 'Mr. Big Shot ' and more, while Josey Wales rides the mic on the flip with cuts like 'Bobo Dread' and 'Mi Have Fi Get You'.

One of the most successful of the 70s progressive rock groups, Yes began their career with this adventurous debut album. Influenced by the explosion of new pyschedelic prog rock bands like Pink Floyd, Cream and the Nice (who weren't afraid to mix rock idioms with classical music) "Yes" was issued in November 1969 it featured Jon Anderson's distinctive vocals, Chris Squire's huge bass sound, Peter Banks' angular guitar and Tony Kaye's keyboards which were underpinned by Bruford's remarkable drumming that managed to be both complex and effortless. It was their first step on the path to prog rock success.

Captured on June 17, 1976 at Roosevelt Stadium in Jersey City, this newly released concert documents Yes at full mid-’70s strength—bold, exploratory, and firing on all cylinders.

Performing to a massive open-air crowd during their 1976 North American tour, the band delivers expansive arrangements, virtuosic interplay, and the unmistakable sense of scale that defined Yes as one of progressive rock’s greatest live acts.

TRACK LISTING

1. Apocalypse
2. Siberian Khatru
3. Sound Chaser
4. The Gates of Delirium
5. I've Seen All Good People
a. Your Move
b. All Good People
6. Long Distance Runaround
7. The Story of I (excerpt)
8. Clap
9. Olias of Sunhillow (excerpt)
10. Ritual
11. Heart of the Sunrise
12. Roundabout
13. I'm Down

Effortlessly blending downer, emocore lyrics with poppy hardcore backings this new Lookout Records outfit has what it takes to make you happy as they get more depressed. Oh so young to be sooo cynical. Great stuff.

1yeule (aka Nat Ćmiel), the cyborg alchemist coalescing the soundscapes of glitch-pop electronica, alt rock, and trip-hop. After their breakthrough sophomore album in 2022, 'Glitch Princess', Nat Ćmiel crystallised their place as alt electronica luminary with their boundary-breaking 2023 album, 'softscars'. Both albums were named ‘Best New Music’ by Pitchfork with the latter lauded as a “riotous, high-energy journey” by the Guardian.

'Evangelic Girl is a Gun', is yeule’s most unrestrained and emotionally baring work yet, as they grapple with ideas of a self-destructive identity burning through the canvas of post-modernity. Accompanied by still visual artworks made in collaboration with artist Vasso Vu (Ashnikko, Marina Abramović), Ćmiel explores the duality of darkness, as well as their personal history to their role as the "painter.” Through the album’s hypnotic melodies, they present a portrait of the tortured artist trapped within an image, as Ćmiel’s haunting vocals act as an emotional chokehold atop dance beats. The album features production from A.G. Cook (Charli xcx, Caroline Polachek), Chris Greatti, Mura Masa, Clams Casino, Fitnesss and Kin Leonn, Ćmiel’s trusted collaborator and co-executive producer of 2023’s 'softscars'. 

STAFF COMMENTS

Barry says: Jagged, snapping synth-pop that's as innovative as it is surprising. Waves of glitch and distorted vocals churn alongside rapidly morphing FM bass and snarling digital pads, all while retaining a strong sense of rhythm and unrivalled futuristic ingenuity.

TRACK LISTING

1. Tequila Coma
2. The Girl Who Sold Her Face
3. Eko
4. 1967
5. VV
6. Dudu
7. What3vr
8. Saiko
9. Evangelic Girl Is A Gun
10. Skullcrusher

45 Pounds is a record of thrilling cacophony: whirring drums meet the sound of instruments which have been twisted and bent into new shapes, all of which are paired with the arresting growls of Zack Borzone. Across the record the four-piece re-imagine what is possible within the confines of a band set up, creating music that perfectly encapsulates the information overload of our times.

The band have become known for their stellar live performances and now with 45 Pounds they have set that electrifying feeling to record. With 45 Pounds YHWH Nailgun have created a statement that is short to cut through the modern day post-algorithmic sludge. Stay tuned for more news. 

TRACK LISTING

1. Penetrator
2. Castrato Raw Fullback
3. Pain Fountain
4. Animal Death Already Breathing
5. Ultra Shade Beat My Blood Dog Down
6. Iron Feet
7. Tear Pusher
8. Sickle Walk
9. Blackout
10. Changer

Based in New York, YHWH Nailgun have built a reputation on music that is visceral, immediate, and impossible to neatly categorize. What began in 2020 as the raw collision between vocalist Zack Borzone and drummer Sam Pickard has since evolved into a full four-piece alongside guitarist/producer Saguiv Rosenstock and synth player Jack Tobias. Their new album 'Magazine' further sharpens the band’s uncompromising vision.

Across 10 tracks that unfold in just 11 minutes, 'Magazine' pushes YHWH Nailgun’s sound into even more skeletal and immediate territory. Opening with the slow fade-in of ‘Ghost of Love’, the record feels less like a conventional album than a fragment pulled from an endless transmission. The band balances chaos with precision: frantic guitars, bruising percussion, air-raid synths, and Borzone’s now-unmasked vocals, delivered with a newfound clarity that brings his surreal, religiously charged imagery into sharper focus. 'Magazine' was previewed at C2C Festival NYC with the band performing the record in its 11-minute entirety before abruptly exiting the stage. Known for their dynamic and volatile live shows, the performance generated equal parts confusion and excitement.

While their acclaimed 2025 debut '45 Pounds' introduced the band’s feral intensity, 'Magazine' strips away abstraction in favour of something even more direct. Pickard’s drums are leaner, Rosenstock’s production more exposed, and Borzone’s lyrics—filled with visions of blood, serpents, God, and the Devil—take centre stage. Despite the extremity of their sound, the band approaches their music with instinct over self-consciousness, building what they describe as an autonomous creative world unconcerned with trends or reactionary impulses.

Rooted in improvisation and the pursuit of “quick bursts” of inspiration, YHWH Nailgun continues to refine a sound that feels both confrontational and strangely transcendent - music that resists definition while fully committing to its own singular language.

TRACK LISTING

1. Ghost of Love
2. Stillness Blues
3. Innocent Sigh
4. Hips on a Wheel
5. Ballerina
6. Give Blood
7. Magazine
8. Sewer Tree
9. Burns
10. To The Devil

Hooray for Beck-influenced home recording nutjobs! Jason Temple and Brian Esser are a pair of Floridans who gathered a bunch of electronic analog boxes and set them and turned them loose on each other, like a music geek's version of playing toy soldiers. There's a little bit of Sukia electro-soundscape artiness, some Black Dice beat processing, some sci-fi robotics, and finally a dollop of Suicide damaged keyboard music. This music is what they will be playing on commercial transports to Mars in about 50 years. All these songs have a homemade feel, but also an art loft appeal. Songs are not based on chord progressions but nearly sound effects stitched together over rhythm loops. Favourites are "Big Bass With Platinum Limbs" which has a few lyrics and glitchy beats before being tossed into a salad shooter (or something). And of course "High Heel To Mammal" which struts a weird, funky robotic catwalk beat over bubbling synthesizers. This is what robots will do stripteases too.

While their colossal sonic achievements are well-documented, Yo La Tengo's ninth album is more "In A Silent Way" than "Interstellar Space": a quietly intense melange of pulsing beats, acoustic guitar strum, ringing vibraphone and organ washes. Add electric guitar buzzing underneath dreamy, nearly whispered vocals, and "ATNTIIO" is more mood swing than song cycle. Yo La Tengo have stripped away layers of electric guitar chaos from their sound. Is it so we can hear their voices? So they can hear each other? Whatever the reason, Georgia and Ira's most audible and distinctive vocal performances to date are genuinely intimate and affecting. The quieter settings allow other subtle details to emerge: guest Susie Ibarra's percussion on the first single, "Saturday," high close harmonies swelling in from nowhere, Hubley's delicate brushwork, the gorgeous shimmer of vibes and mellotron. Such are the gifts of Yo La Tengo. They are a pop band, but don't just write pop songs; they write what can only be described as Yo La Tengo songs. By not rocking out, Ira, Georgia and James have made a record which shows how tight-knit a musical unit the trio have become. They are like a three-cornered atom harnessing its energy to the point where blinding explosions are no longer necessary to emanate power.

Continuing with their ever-expanding Revisionist History series, Matador Records announce a 25th anniversary reissue of Yo La Tengo’s 1995 album Electr-o-pura. Now in a gatefold sleeve and cut from the original 58-minute master, the new reissue is pressed for the first time on two LPs to ensure the highest quality of audio the album has had on vinyl to date.

On their seventh studio album, Yo La Tengo would further expand on the venturous songwriting established on their previous album Painful with stunning craft and a deepened exploration of contrasting textures, moods and atmospherics. Chock full with moments of pop gold like “Tom Courtenay,”melancholic ballads such as the heartbreaking “Pablo And Andrea,” and sweeping, feedback-laden jams like the show-stopping “Blue Line Swinger”, Electr-o-pura is a thrilling document of one of America’s most beloved bands hitting their creative stride and remains one of the most sublime records the band has released in their uninterrupted 36-year career.

TRACK LISTING

Decora
Flying Lesson (Hot Chicken #1)
The Hour Grows Late
Tom Courtenay
False Ending
Pablo And Andrea
Paul Is Dead
False Alarm
The Ballad Of Red Buckets
Don't Say A Word (Hot Chicken #2)
(Straight Down To The) Bitter End
My Heart's Reflection
Attack On Love
Blue Line Swinger

‘Fade’ is the most direct, personal and cohesive album of Yo La Tengo’s career. Recorded with John McEntire at Soma Studios in Chicago, it recalls the sonic innovation and lush cohesion of career high points like 1997’s ‘I Can Hear The Heart Beating As One’ and 2000’s ‘…And Then Nothing Turned Itself Inside Out’. ‘Fade’ is a tapestry of fine melody and elegant noise, rhythmic shadow play and shy-eyed orchestral beauty, songfulness and experimentation.

‘Fade’ attains a lyrical universality and hard-won sense of grandeur that’s rare even for this band. It weaves themes of aging, personal tragedy and emotional bonds into a fully-realized whole that recalls career-defining statements like ‘Blood On The Tracks’, ‘I Want To See The Bright Lights Tonight’ or Al Green’s ‘Call Me’.

“Nothing ever stays the same / Nothing’s explained”, the band sing in unison on the reflective opening track ‘Ohm’. “We try not to lose our hearts / Not to lose our minds” - a straightforward sentiment for a band that prefer private intimation to forceful expression, making the song’s resistance to resignation feel that much more earned.

This is the first time Yo La Tengo have collaborated with producer John McEntire, best known for his work in post-rock band Tortoise as well as his work with such artists as Bright Eyes, Stereolab and Teenage Fanclub. He has helped the band hone a set of songs as multifaceted as they are seamless, flowing from the low key shimmy of ‘Well You Better’ to the muted motorik kick of ‘Stupid Things’, to the cozy distortion of ‘Paddle Forward’ and right through to the cagey groove, horns and strings of the gorgeous album closer, ‘Before We Run’, in which the band’s Georgia Hubley and Ira Kaplan sing “Take me to your distant lonely place / Take me out beyond mistrust.”

‘Fade’s emotional core sits at its very centre with two songs, one sung by Kaplan and one by Hubley. The tender, raw, Kaplan-sung ballad ‘I’ll Be Around’ pivots around a circular guitar figure set against James McNew’s calm, pulsating bassline. The song’s simplicity and starkness stand like a beacon against the emptiness.

‘Cornelia And Jane’ features Hubley gently singing “I hear them whispering, they analyse, but nobody knows what’s lost in your eyes / Sending the message that doesn’t get to you, how can we care for you?”, supported by whispering cushions of horns and delicate vocal harmonies. The effect is both heartbreaking and reassuring.

“In the best possible sense, Yo La Tengocan feel less like a band and more like a beloved national trust” - Stereogum

STAFF COMMENTS

Andy says: Modern-day Velvets do it again.

Fakebook is the fourth studio album by American indie rock band Yo La Tengo, released in 1990 by record label Bar None. A collection of mainly cover songs that lean toward the idiosyncratic (e.g., Peter Stampfel, Daniel Johnston, Jad Fair), Fakebook is warm, low-key, and lovely, with heartfelt singing and playing that never flags after hundreds of replays. It's impossible to imagine playing this record and not smiling and singing along. A big bonus is a great version of the Flamin' Groovies' "You Tore Me Down." When Yo La Tengo released Fakebook, their fourth full-length, the band was only a twosome, as future YLT bassist James McNew was presumably still playing in various bands and moonlighting as a parking lot attendant, having yet to join up with the Hoboken-bred crew. According to Ira Kaplan (vocals and guitar, with Georgia Hubley on vocals and drums rounding out the modern trio), the record itself was mostly an excuse to screw around in the studio with YLT’s first lead guitarist, Dave Schramm. While Fakebook is primarily a compilation of covers, like its eventual offspring, the YLT (as “Condo Fucks”) record Fuckbook and 2006’s Yo La Tengo is Murdering the Classics, it also includes five originals. Setting aside their noisier proclivities and the rawer elements of their former work in favor of a more stripped-down, breezily folkish approach, the album was, in its time, a novel approach for the band. Today, more than 20 years on, Fakebook remains a testament to Yo La Tengo’s versatility and early promise, as well as being the first full glimpse into the group’s almost frightfully encyclopedic familiarity with what must be hundreds of radio hits and older cuts.

TRACK LISTING

A1 Can't Forget
A2 Griselda
A3 Here Comes My Baby
A4 Barnaby, Hardly Working
A5 Yellow Sarong
A6 You Tore Me Down
A7 Emulsified
A8 Speeding Motorcycle

B1 Tried So Hard
B2 The Summer
B3 Oklahoma, U.S.A.
B4 What Comes Next
B5 The One To Cry
B6 Andalucia
B7 Did I Tell You
B8 What Can I Say

Once again moving the bar for 'what can be done in just one record', no two songs sound the same. There's everything from epic soundscapes to jaunty popsongs, to gorgeous love songs with a few rock'n'roll numbers thrown in. All delivered with humour, a smattering of falsetto and a huge dose of that unique Yo La Tengo charm.

‘I Am Not Afraid Of You And I Will Beat Your Ass’ is the eleventh full-length album by Hobokonbased alternative indie band Yo La Tengo, originally released on September 12, 2006. It is their sixth album released on Matador.

The title of the album is rumoured to be a (paraphrased) quote by NBA player Tim Thomas. Sitting on the bench together during a game, Thomas was caught on tape by the MSG Network in a profane exchange with another player: “Everyone in this organization is afraid of you, but I’m not, and I will beat your ass.”

The most live-sounding Yo La Tengo album in years. Times have changed for Yo La Tengo as much as they have for everyone else. In the past, the band has often worked with outside producers and mixers. In their latest effort, the first full-length in five years, This Stupid World was created all by themselves. And their time-tested judgment is both sturdy enough to keep things to the band’s high standards, and nimble enough to make things new. At the base of nearly every track is the trio playing all at once, giving everything a right-now feel. There’s an immediacy to the music, as if the distance between the first pass and the final product has become more direct.

Available on standard black vinyl, CD and on limited blue vinyl.

STAFF COMMENTS

Martin says: Yo La Tengo's newest outing takes all of their famous melodicism and folky melancholy and refines it perfectly into a distillation of everything that's made the band so great over the years. Brittle in parts, but retaining the intensity of their more driven excursions and wall of sound art-rock they do so well.

TRACK LISTING

1. Sinatra Drive Breakdown
2. Fallout
3. Tonight’s Episode
4. Aselestine
5. Until It Happens
6. Apology Letter
7. Brain Capers
8. This Stupid World
9. Miles Away

Back in print for the first time in over 20 years, the compilation assembles more than two hours of hard to find and unreleased Yo La Tengo music from 1988 – 1995.

TRACK LISTING

1. Evanescent Psychic Pez Drop
2. Demons
3. Fog Over Frisco
4. Too Late
5. Hanky Panky Nohow
6. Something To Do
7. Ultra-Powerful Short Wave Radio Picks Up Music From Venus
8. Up To You
9. Somebody's Baby
10. Walking Away From You
11. Artificial Heart
12. Cast A Shadow
13. I'm Set Free
14. Barnaby, Hardly Working
15. Some Kinda Fatigue
16. Speeding Motorcycle
17. Nutricia
18. Her Grandmother's Gift
19. From A Motel 6 # 2
20. Gooseneck Problem
21. Surfin' With The Shah
22. Ecstasy Blues
23. Too Much, Part 1
24. Blitzkrieg Bop
25. One Self: Fish Girl
26. Enough
27. Drum Solo
28. From A Motel 6 # 1
29. Too Much, Part 2
30. Sunsquashed

“Sorrow is nothing but worn-out joy…”

For the first time on vinyl, Yo La Tengo’s understated, lonesome score to Kelly Reichardt’s classic 'Old Joy'.

Recorded in a single afternoon at YLT’s studio in Hoboken, 'Old Joy' is a drifting, improvisatory journey, born out of years-long friendship between the band and the film’s director.

The six instrumental tracks, created in collaboration with legendary guitarist Smokey Hormel, carry that unmistakable YLT sound, but delivered in service of another great work of art. The music, like so much of Reichardt’s film work, is low-key yet arresting, stripped down to the essentials, warm and unpretentious. The record includes two variations on the beloved “Leaving Home” theme, released for the first time on vinyl after years traveling in YLT fan circles.

This music is a balm, remarkably full of emotion despite (or maybe because of) its restraint and minimalism.

Originally released on 'They Shoot, We Score', a CD compiling several of the band’s soundtracks, 'Old Joy' stands as a cohesive whole here, blooming and rewarding repeat listens.

Sliding reverbed guitars, muted piano and percussion, the hum of an old amp - the blurry memory of an afternoon in the studio, or a short-lived road trip through the backwoods of Oregon.

TRACK LISTING

1. Leaving Home
2. Getting Lost
3. Path To Springs
4. Driving Home
5. End Credits
6. Leaving Home - Alternate Version

There's a riot going on. You don't need me, or Yo La Tengo, to tell you that. These are dark times, in our heads as much as in the streets. It's easy to lose contact with the ground, flying through endless banks of storm clouds day after day. Confusion and anxiety intrude into daily life and cause you to lose your compass. There are times that call for anthems, something to lift you out of your slump and put fire in your feet. And then there are times when what is indicated is a balm, a sound that will wrap around you and work out the knots in your neck.

While there's a riot going on, Yo La Tengo will remind you what it's like to dream. The sound burbles and washes and flows and billows. If records were dedicated to the cardinal elements, this one would be water. There are shimmery hazes, spectral rumbles, a flash of backward masking, ghostly flamingos calling "shoo-bop shoo-bop." You are there. And even if your mind is not unclouded--shaken, misdirected, out of words and out of time--you can still float, ride the waves of an ocean deeper than your worries, above the sound and above the Sound.

For Yo La Tengo this is a slow-motion action painting, and Georgia Hubley, Ira Kaplan, and James McNew did it all themselves, in their rehearsal studio, with no outside engineer (John McEntire later did the mix). They did not rehearse or jam together beforehand; they turned on the recorder and let things coalesce. Songs came together over long stretches, sometimes as much as a year going by between parts. You'd never guess this, since the layers are finessed with such a liquid brush. You'd imagine most of the songs had sprung forth whole, since they will enter your head that way. Within two listens you will be powerless to resist the magnetic draw of "Shades of Blue," will involuntarily hear "She May, She Might" on your internal jukebox first thing in the morning and "Let's Do It Wrong" late at night. While there's a riot going on you will feel capable of bobbing through like a cork.

In 1971, when the nation appeared to be on the brink of violently coming apart, Sly and the Family Stone released There's a Riot Goin’ On, an album of dark, brooding energy. Now, under similar circumstances, Yo La Tengo have issued a record with the same name but with a different force, an album that proposes an alternative to anger and despair. Their first proper full-length since 2013’s Fade, There's a Riot Goin’ On is an expression of freedom and sanity and emotional expansion, a declaration of common humanity as liberating as it is soft-spoken. 

TRACK LISTING

You Are Here
Shades Of Blue
She May, She Might
For You Too
Ashes
Polynesia #1
Dream Dream Away
Shortwave
Above The Sound
Let's Do It Wrong
What Chance Have I Got
Esportes Casual
Forever
Out Of The Pool
Here You Are

Yo No Se return after a 5-year hiatus since their last album, Soma. Their new album Terraform continues on from the dystopian world created in Soma but this time taking the narrative to the stars. Terraform explores the ideas of making a fresh start on another planet but the same problems creep in…. Greed, corruption and hate. Exploring more of a grunge feel along with some hard psych the band recorded with Dom Mitchison (as well as Alex doing guitars and vocals at home), mixed with Ali Chant and mastered again with grunge godfather, Jack Endino. The band have toured across Europe in support of Soma in the last 5 years and gained a reputation for their loud and energetic shows. The album has 3 drummers under its belt and countless breakdowns on the road. With the pandemic kicking in just as the band started touring, they had plenty of time to finally record (and find another drummer). Terraform is a record 5 years in the making due to sheer bad luck. Hopefully, their luck will change as the band are already working on their follow up record.

The first single Black Door approaches the subject of corruption amongst 'leaders'. The idea comes from Boris Johnson getting Brexit 'done' to forward his own career without thinking about the impact it will have on peoples lives. We’ve had enough and we're ready to tear down the establishment. The idea being that these problems we now face will follow us wherever we go unless we stamp them out, here, on earth. The artwork for the cover is by renowned sci-fi artist Bruce Pennington.

TRACK LISTING

1. Black Door
2. Santa Muerte
3. Pilot
4. Misery
5. Mosquito
6. Slaughter
7. Hairy Chin
8. Feast Of Lies
9. Hold Fire
10. Nectar
11. Terraform

Liverpool's YOBS release their self-titled debut album on May 3rd 2024 via Fuzz Club, arriving off the back of their debut double single, 'Fortune Teller b/w Cemetery Man', which saw the four-piece burst on the scene n a gloriously scuzzy and hedonistic blaze. "All skull-crushing riffs and hallucinogenic effects", as Clash Magazine wrote, YOBS deal in primitive garage-punk/noise-rock salvos that race by with a bludgeoning intensity. Across the album's ten tracks and rapid 26-minute running time, the band revel in an abrasive, fun-as-hell rock'n'roll that will leave your bones rattling just as much as your speakers. Emerging out of the rubble of the now-defunct Liverpool bands Weird Sex and Ohmns, YOBS was kick-started in 2022 and is made up of Joey Ackland (Vocals), Alex Smith (Bass/Vocals), Michael Quinlan (Guitar/Vocals) and George Gebbie (Drums). Their debut full-length – recorded in four days at Hackney Road Studios with James Aparicio – arrives off the back of a 2023 spent playing rowdy, ear-ringing shows with the likes of A Place To Bury Strangers, Mark Sultan, C.O.F.F.I.N, Alien Nosejob and more.

TRACK LISTING

1. YOBS Theme
2. Cyanide
3. Wasted
4. Shitty Eye
5. Plastercine
6. Fortune Teller
7. Head The Ball
8. Cemetery Man
9. Tito Puente
10. Carpet Burns (On My Tongue)

The Yolanda Be Cool EP captures the playful energy and globally-inspired grooves that define their sound.

Leading the charge is the iconic multi-platinum hit ‘We No Speak Americano’, complemented by the equally infectious ‘Dance And Chant’.

The flip side features the massively recognisable ‘Sugar Man’ and club favourite ‘Soul Makossa (Money)’.

These four tracks are a true representation of the innovative sound design that cemented Yolanda’s status in house music.

Limited Pressing act Fast.

TRACK LISTING

A1. We No Speak Americano
A2. Dance & Chant
B1. Sugarman
B2. Soul Makossa (Money)

Demanding to eclipse previous triumphs, Yonaka return with highly anticipated album ‘Until You’re Satisfied’. Sonically charged self-production paired with Theresa’s rich vocals, an intimate manifesto on matters of the heart. “We will let the music do the talking - it’s soft in places and chaos in others, just like life.”

TRACK LISTING

TBA

Since seeping out from the Lisbon underground in 2012 with some clandestine internet musics and supplemented by a debut LP - “Love” which garnered universal admiration and confusion - Yong Yong have since relocated and reconvened at the other end of Europe.

The duo have re-assessed their sound, experimenting with near dancefloor-bothering beat making, warped samples on degrading loops and a much deeper exploration of the frayed atmospherics that they only hinted at previously. On "Greatest It’s" Yong Yong have further embraced the ethical rectitude of the mistake, further opened the crack in the mirror that popular culture perpetually presents to the consumer. Making a virtue of their limitations, "Greatest It’s" was recorded on decaying machinery and obsolete software but with an enhanced sense of electronic dynamics than previous work: still glorifying in the skewed and broken, but now with new depths and emotional response. Tracks like "Sesamstrrat" seem to pour radioactive fog into a R&B pop hit, resulting in a mutated form of unique electronic pop music, "Macu Lu-Lu" present a broken beat that dredges the outer limits of a mid-90s Warp experimentation and the epic "Oeiras" drags a wobbly beat through the melancholic wringer.

Currently residing in the culturally-rich, former industrial superpower of Glasgow, Yong Yong’s excavations of the recent past point ever more pertinently to music of the future. A resolutely imperfect future built on erring, yet beautiful foundations.

Originally recorded in 1968 and slated for release on Sire Records, 'Microminiature Love' by outsider-folk/psych-rock icon Michael Yonkers languished unreleased until unearthed and issued by De Stijl Records as a limited, vinyl-only pressing in 2002.

Back then,  Aquarius Records described it better than we ever could: “An obscure late-sixties ahead-of-his-time visionary gets his due with this LP reissue. Yonkers’ stuff was like nothing anyone had heard back then (or even now really): fucked-up garage psych with dementedly genius lyrics and crazy acid-fried guitar. Yonkers, a legendary Minneapolis-area figure, built his own effects pedals, cut his Fender Telecaster down to a plank, and played like no one else ever. I’m at a loss of words on how to describe this. It’s sort of like a fusion of stripped down Black Sabbath, The Troggs, Pere Ubu, and The Cramps??” Sub Pop subsequently released the album on CD, and then in 2011 did a limited vinyl pressing, which has been out of print for many years.

Sadly, Michael Yonkers passed away in 2026 during the planning of this reissue. An incredible, truly singular artist, and one of the sweetest people they'd ever met, Sub Pop hope that this release helps shine a light on his artistic legacy.

TRACK LISTING

1. Jasontown
2. Microminiature Love
3. Boy In The Sandbox
4. Smile Awhile
5. Returning
6. Puppeting
7. Kill The Enemy

Thom Yorke releases his new album ‘ANIMA’.

‘ANIMA’ was written by Thom Yorke and produced by Nigel Godrich.

A ‘one-reeler’, also entitled ‘ANIMA’, will be available exclusively via Netflix, made by Paul Thomas Anderson and set to three tracks from Thom’s new album.

STAFF COMMENTS

Barry says: ‘Anima’ is yet more evidence of Yorke's endless artistic vision and his ability to turn his hand to any musical or audio-visual endeavour with unparalleled success. ‘Amina’ is both an arresting visual feat and a brilliantly realised auditory artifact, as comfortable being listened to in situ (with visuals) or on it's own.

TRACK LISTING

CD/DOWNLOAD:
Traffic
Last I Heard (...He Was Circling The Drain)
Twist
Dawn Chorus
I Am A Very Rude Person
Not The News
The Axe
Impossible Knots
Runwayaway

Vinyl:
Traffic
Last I Heard (...He Was Circling The Drain)
Twist
Dawn Chorus
I Am A Very Rude Person
Not The News
The Axe
Impossible Knots
Runwayaway
Ladies & Gentleman, Thank You For Coming (NB: This Track Is Vinyl Only And Isn't Available On The Download Voucher)

In January it was revealed that Thom Yorke composed the original score for Daniele Luchetti’s film Confidenza, an adaptation of the Italian drama based on Domenico Starnone’s novel of the same name.

Confidenza follows Yorke’s previous full-length score and original soundtrack for Luca Guadagnino’s 2018 Suspiria remake, Suspirium receiving a GRAMMY-nomination for Best Song Written for Visual Media. Produced by Sam Petts-Davies (Suspiria, The Smile Wall Of Eyes), Confidenza sees Petts-Davies and Yorke working again with the London Contemporary Orchestra alongside a jazz ensemble which included Robert Stillman and fellow The Smile bandmate Tom Skinner. In 2019 Yorke contributed music to Edward Norton’s Motherless Brooklyn and in 2022 he wrote two original tracks for the series finale of Peaky Blinders.

As of late, Yorke has been touring with The Smile (Tom Skinner, Jonny Greenwood, Thom Yorke), who released their second studio-album Wall Of Eyes in January which follows the band’s 2022-debut album A Light For Attracting Attention.

STAFF COMMENTS

Barry says: Classic Yorke this, beautifully rendered sonic sculptures that morph and twist around a solid narrative core. There are moments of divine beauty, nestled amongst the brutalist electronics and shimmering modern classical unease. I'm sure it's a perfect match for the film, but it's certainly a grand listen on it's own merit.

TRACK LISTING

1. The Big City
2. Knife Edge
3. Letting Down Gently
4. Secret Clarinet
5. In The Trees
6. Prize Giving
7. Four Ways In Time
8. Confidenza
9. Nosebleed Nuptials
10. Bunch Of Flowers
11. A Silent Scream
12. On The Ledge

Suspiria consists of 25 original compositions written by Thom specifically for Luca Guadagnino reimagining of the 1977 Dario Argento horror classic. The album is a mix of instrumental score work, interstitial pieces and interludes, and more traditional song structures featuring Thom’s vocals such as “Unmade”, “Has Ended” and “Suspirium,” the album's first single featuring the melodic theme that recurs throughout the film and its score.

As scoring a horror film presented Thom with altogether new challenges and opportunities, Suspiria stands apart from any of his other work. Piano/vocal ballads, Krautrock-esque modular synth work inspired by the film’s Berlin 1977 setting, multilayered vocals, and melodies that convey terror, longing and melancholy combine to create a chaotic yet cohesive musical spell.

Suspiria was written and arranged by Thom Yorke, recorded and produced by Thom and Sam Petts-Davies. The album also features the London Contemporary Orchestra and Choir, Noah Yorke on drums on “Has Ended” and “Volk,” and Pasha Mansurov on solo flute on “Suspirium.”

TRACK LISTING

A Storm That Took Everything
The Hooks
Suspirium
Belongings Thrown In A River
Has Ended
Klemperer Walks
Open Again
Sabbath Incantation
The Inevitable Pull
Olga’s Destruction (Volk Tape)
The Conjuring Of Anke
A Light Green
Unmade
The Jumps
Volk
The Universe Is Indifferent
The Balance Of Things
A Soft Hand Across Your Face
Suspirium Finale
A Choir Of One
Synthesizer Speaks
The Room Of Compartments
An Audition
Voiceless Terror
The Epilogue

TRACK LISTING

A Brain In A Bottle
Guess Again!
Interference
The Mother Lode
Truth Ray
There Is No Ice (For My Drink)
Pink Section
Nose Grows Some

Yorkston/Thorne/Khan release their new album Neuk Wight Delhi All-Stars, the follow up to the band’s debut album, 2016’s critically acclaimed Everything Sacred, and presents a confluence of currents, among them the north Indian sarangi; jazz-tinged bass, reminiscent in places of Danny Thompson; acoustic guitar that owes a debt to Elizabeth Cotton, Dick Gaughan and Mississippi John Hurt; and three very different vocalists - James Yorkston (East Neuk of Fife), Jon Thorne (Isle of Wight) and Suhail Yusuf Khan (New Delhi).

“Piya is a word in the Hindi language, meaning beloved,” explains Khan. “The Hindi lyrics of the song were composed and written by me. They talk about a lover who is longing for a beloved, devastated by pain. A point comes when the lover starts hallucinating that the beloved has arrived and starts having conversations with this hallucination. There is a strange feeling of dark happiness: the beloved is there, but only as a hallucination.” “When Suhail explained the Hindi lyric to me,” Yorkston continues, “it reminded me of the great old song The Daemon Lover, also known as The House Carpenter, so I sang a fragment of Annie Watson’s version to introduce the piece.”

This harmonious and singular collaboration can be found across all of Neuk Wight Delhi All-Stars, and in fact, YTK’s Everything Sacred may be the only precedent. “The combination of a singer-songwriter, a jazz bassist and an Indian classical sarangi player is totally unheard off,” says Khan.

A collection of traditional Indian and UK folk songs, beautiful originals and idiosyncratic covers, Neuk Wight Delhi All-Stars does not only bring together Indian classical music and jazz, then, but kosmische too; Yorkston also cites dub reggae, Uilleann pipes and the Madagascan guitarist D’Gary as influences. That breadth, says Thorne, is critical: “I think YTK is a fine example of how music operates without boundaries as a common international language and a source of cross-cultural unity. It’s an important message in the times that we live in.”

Produced by YTK and recorded entirely onto 24 track 2” tape at Analogue Cat studios in Northern Ireland by Julie McLarnon, Neuk Wight Delhi All-Stars comes after a period of steady touring for the band (including incredible main stage performances at Green Man, Celtic Connections and Edinburgh International Festival, and tours in India, Spain and Ireland) and reflects the confidence and increasingly fluid interplay between Yorkston, Thorne and Khan.

STAFF COMMENTS

Barry says: From the warming droning fiddles and chanting of 'Chori, Chori' and the soaring emotive twists of 'Bales' to the more ambient excursions and traditionalism of 'Jaldhar Kedara', this is a fascinating and riveting glimpse at one of the most enjoyable and unique collaborations out there today. Brilliant.

TRACK LISTING

1. Chori, Chori (Vocals: Suhail)
2. Samant Saarang / Just A Bloke (Vocals: Jon, Suhail)
3. Bales (Vocals: James, Suhail)
4. Jaldhar Kedara (Wedding Song) (Vocals: Suhail)
5. False True Piya (Vocals: James, Suhail)
6. The Blue Of The Thistle (Vocals: Jon)
7. Recruited Collier (Vocals: James, Suhail)
8. The Blues You Sang (Vocals: James, Suhail, Jon)
9. Halleluwah (Vocals: Suhail)
10. One More Day (Jon’s Song) (Vocals: Jon)

Navarasa : Nine Emotions is the trio’s third record. The first fruits of their fantastic expedition entitled Everything Sacred appeared in 2016. The second, Neuk Wight Delhi All-Stars, followed in 2017. Navarasa : Nine Emotions takes their journey many, many leagues on.

At the heart of YTK’s transporting new album is the subcontinent’s navarasa; the nine (nava) emotions or sentiments (rasa) of the arts. This central unifying underpinning is a centuries-old organising principle. The individual artistic emotions range from Shringara (love, beauty) through Hasya (laughter, mirth, comedy), Raudra (anger), Karuna (sorrow, compassion or mercy), Bibhatsya (disgust), Bhayanaka (horror, terror), Veera (heroism, courage), Adbutha (surprise, wonder) to Shanta (peace, tranquillity).

Each song on YTK’s new album is connected to one of these emotions, and the first track to be shared from Navarasa : Nine Emotions is “Westlin’ Winds”, paired with Adbutha.

“Westlin’ Winds” starts with the life-destroying Act I of Robert Burns’ poem ‘Now Westlin Winds, (And Slaught’ring Guns)’ and deliciously transplants its disjoined, nature-extolling and life-affirming Act II onto Indian soil with a composition “in Purbi, a specific dialect of old Hindi. I learnt the song,” says Suhail, “by listening to various qawwali [Muslim devotional song] singers singing at Hazrat Nizammuddin’s dargah [shrine] in Delhi. Its source is Hazrat Amir Khusrau.” Thus YTK unite one of the key spiritual visionaries and architects of Hindustani art music, the poet-philosopher Hazrat Amir Khusrau with the key literary visionary of Scottish and Scots-language culture, Robert Burns.

This bricolage of diverse cross-cultural elements is apparent across Navarasa : Nine Emotions and all of what YTK create. James Yorkston weaves in Scottish folk, sangster and literary strands. Jon Thorne is grounded in jazz and groove. What the New Delhi-based, eighth-generation hereditary musician Suhail Yusuf Khan brings to this feast of pulses and cycles is northern Indian classical, light classical (thumri, for example) and Sufi devotional musical and literary forms. What binds these diverse musical strands together is, in James’ phrase, “a dark happiness”.

TRACK LISTING

Sukhe Phool
The Shearing’s Not For You
Thumri Bhairavi
Westlin’ Winds
Song For Oddur
The North Carr
Twa Brothers
Waliyan Da Raja
Darbari

Bonus Tracks Exclusive To Vinyl:
All Saved But One
Jon's Poem
Skinfast Haven Blues

Landmark recordings of the 21st century British folk renaissance reissued.

This 10th Anniversary Edition of ‘Moving Up Country’ consists of two discs.

CD1 features the original album, now with the legendary hard to find stand alone debut Domino single ‘The Lang Toun’.

CD2 is a collection of ‘Moving Up Country’ demos, including never heard before demos and a Peel Session originally broadcast on January 2003.

His first album since 2008’s ‘When The Haar Rolls In’, ‘I Was A Cat From A Book’ finds James Yorkston playing with a new band comprised of members of Lamb and The Cinematic Orchestra, alongside old friends.

The album was produced by James Yorkston and Dave Wrench and mostly recorded live during five wintery days in Bryn Derwen Studios, North Wales.

It’s an album full of energy and great musicianship, and contains James’ strongest and most bewildering set of songs yet.

Since the release of ‘When The Haar Rolls In’, James has published a book (‘It’s Lovely To Be Here’), collaborated with The Big Eyes Family Players on Folk Songs, and seen the ten year anniversary release of ‘Moving Up Country’, his landmark debut album.

TRACK LISTING

Catch
Kath With Rhodes
Border Song
This Line Says
Just As Scared
Sometimes The Act Of Giving Love
The Fire & The Flames
A Short Blues
Spanish Ants
Two
I Can Take All This
Thar She Blows *
Black Horse White *
(* = Vinyl Only Track)