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BACK CATALOGUE - Y

The next official reissue oozes the feelgood factor, a reggae disco cover of ‘Ain’t Nobody’ by Jamaican artist Yvonne Archer. For the first time since the original release in 1980 the full length original 12” mix gets the reissue treatment along with the Lovers Rock leaning ‘Checking Out The Way I Feel’.

On the flip Jura Soundsystem provide 2 edits, a main edit that pulls back on the electric guitar from the original and a Dub adding subtle delays and sparse use of the Vocal to let the groove work its magic. This is the first of two 12”s licensed from producer John Rubie that will appear on Isle Of Jura in 2020.

Even as we move from the heart of Autumn towards Winter, Smalltown Supersound keep the good stuff coming, this time via the debut album from Japanese producer Yoshinori Hayashi. Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. If you've caught anything this cat's put out on Gravity Grafitti, Disco Halal or Going Good, you should know what you're getting yourself into; if not, hold onto your hats and prepare for some A-grade weirdshit. Sharing thematic and sonic predilictions with fellow countrymen Keita Sano and Ground (check the "Sunizm" LP on ESP), Hayashi takes a combination of knackered jazz LPs, studio gear, live instrumentation and library leanings, then twists them into an entirely unpredictable web of fx addled madness which constantly veers in and out of focus.  Hayashi presents his self-described “collage expression” throughout Ambivalence, which he produced and played in its entirety. Album opener, “Overflow,” is a club-not-club track inspired by Cecil Taylor. Its freeform nature sets the tone for the album’s cosmic, hypnotic, and almost ritualistic approach. Elsewhere "Palanquin Bearing Monkey" fuses Romare's sample jazz bounce with Vakula-meets-Reich weirdness, G-Funk synths and absolutely blitzed pianos - I feel like I've taken everything in Barry's "medicine cabinet" all at once. "Bit Of Garden" brings golden bursts of epiphany out of the dislocated darkness, "Double" fires the auditory hallucinations through an echo chamber for a man-meets-monkey drum slo-mo cut while "Geckos" goes into dreamier territories for the eso-Balearic crowd. On the C-side, "0208" swells from cinematic and skewed neo-classical to dream house to neo tribalism to peak time punch and bass bin wobble, each introduced via a new and freaky breakdown. Slow dancers, out of work MCs and xanax poppers should fine a new groove in the shakuhachi vs bell break madness of "Flexible Mono", "Spasm" takes a while to get there but finally reaches Pepe Bradock bass-house insanity territories, while "Geckos" closes the set with a wonderfully warped bit of library exotica for the downbeat dreamers.


STAFF COMMENTS

Patrick says: Not only is this the maddest record I've heard this week, it's probably the most insane album I've ever heard. Twisted sound design, discord, unpredictable arrangements and a totally unique style result in a masterpiece of club-not-club weirdshit from Japan's Yoshinori Hayashi. I love this.

Yoshinori Hayashi

Bjorn Torske / Prins Thomas Remix

    The Tokyo based producer Yoshinori Hayashi released a new 12inch with remixes from Bjørn Torske and Prins Thomas. These are the first remixes of his debut LP, Ambivalence, from 2018 which received a glowing 4.0 review from Resident Advisor.

    Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. Thus far, Hayashi has released a string of 12”s on labels including Going Good Records, Jinn Records, Lovers Rock, Gravity Grafitti and Moscoman’s Disco Halal.

    Previous work by Hayashi has been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long” (Resident Advisor).

    This EP is Hayashi's release sincehis debut LP Ambivalence. Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing,he works in a record store in Tokyo. Thus far, Hayashi has released a string of 12”s on labels including Going Good Records, Jinn Records, Lovers Rock, Gravity Grafittiand Moscoman’s Disco Halal. Previous work by Hayashihas been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long”.


    The borders between London’s musical tribes have always been porous. For Yussef Kamaal, the sound of the capital – with its hum of jungle, grime and broken beat – has shaped a selftaught, UKtipped approach to playing jazz. In the states, the genre’s longrunning to-and-fro with hip hop – from Robert Glasper to Kamasi Washington – has reimagined it within US culture. On Black Focus, Yussef Kamaal frame jazz inside the basssaturated, pirate radio broadcasts of London.

    Taking inspiration from the anything-goes spirit of ‘70s jazzfunk, on albums by Herbie Hancock or the Mahavishnu Orchestra, it’s a loose template with plenty of room to experiment. The pair, made up of Yussef Dayes and Kamaal Williams (aka Henry Wu), have had little in the way of formal training. Instead, their musical tastes – and approach to playing – are indebted to Thelonious Monk’s piano as much as the drum programming of Kaidi Tatham.

    “It's all about the drums and the keys,” Williams says. “Not to take anything from anyone else, but that's where it all originates from: the chords, the rhythm of the chords and the drums.” Born out of a oneoff live session to perform Williams’ solo material for Boiler Room, it soon became a project in its own right. Coming together as Yussef Kamaal, they played a series of live shows where little more than a chord progression would be planned before taking to the
    stage.

    Bringing that unspoken understanding to the recording sessions (engineered by Malcolm Catto of The Heliocentrics), the unplanned, telepathically spawned grooves retain the raw energy of their live shows. “It's not so much about complete arrangement, it's more about flow,” Dayes says. “A lot of the tracks are just made spontaneously – Henry will be playing two chords, I'll fill in the groove and we'll just leave the arrangement naturally.” Both hail from South East London, crossing paths in 2007 as teenagers playing their first pub gigs around Peckham and Camberwell. Dayes drums for cosmicallyinclined, afrobeat outfit United Vibrations, while Williams – on top of drumming and playing keys in different incarnations over the years – has made waves with his solo, synthdraped house 12"s for muchfêted labels like 22a and Rhythm Section.

    Moving in the same circles but never playing together previously, rhythm underpins an innate musical understanding. As Williams explains, “The way we approach it is all about the energy and the feeling. We just get in there and we feel it out.” Drawing influence from all corners of London’s shapeshifting musical makeup, the sound of Black Focus is distilled – or focused – down to the core interlock between drums and keys.


    STAFF COMMENTS

    David says: The purists might argue that this isn't strictly jazz, I'm happy to argue back. It might use elements of broken beat and house on its journey but jazz is the final destination.

    Yazmin Lacey emerged onto the new jazz scene with her beautiful sound, her new release When the Sun Dips 90 Degrees is on First Word Records.The EP follows on from her two recent singles, '90 Degrees' and 'Something My Heart Trusts', both of which are included here, along with three previously unreleased tracks, 'Heaven', 'Body Needs Healing' and 'Burn & Rise'. This set illustrates again Yazmin's candid songwriting delivered in her uniquely laidback soulful style, whilst a glorious fusion of neo-soul and jazz performed by Pete Beardsworth and her trusty band rides throughout. Initially a Brownswood 'Future Bubbler' graduate, Yazmin self-released her debut EP, 'Black Moon', last year. This lead to a Maida Vale session late 2017 with Jordan Rakei, Moses Boyd, Oscar Jerome and now label-mates, Children of Zeus. She kicked off the year with a performance at the Worldwide Awards with Skinny Pelembe, and has recently done shows with artists such as Ezra Collective, Tall Black Guy and Fatima. Yazmin has a UK tour scheduled for later in the year, as well as several festival appearances across Europe locked in. There's a lot more to come from this Notts-based Londoner yet. In Yazmin's words: "'90 Degrees' is about that time of the day / night when there's a shift in pace and energy. When you decide to lock off from the 'outside' world and create your own atmosphere, take some time to give thanks for what's breathing love into your life and smoke off the fuckeries. Everyone needs a little routine for self preservation."


    STAFF COMMENTS

    Millie says: Beautifully warm vocals layered on top of relaxed neo-soul vibes and jazz elements has created this perfect sound that I’ve fallen in love with.

    1970's experimental & electronic music recorded in soviet Russia by Yuri Morozov. Banned by the KGB for its esoteric content and references to forbidden spiritual texts, Yuri recorded over 46 albums between the 1970s until his death in 2006. Only available on cassettes passed around in secret within the Russian music underground until now.

    “Goblin-esque prog / Sun Ra’s Nubian psychedelia / Alain Goraguer’s heavy soundtracks / industrial folk / stoner metal / primitive cyber glam - the most mind-blowing, engaging album you’ve never heard by a legend from the other side of the world” The Big Takeover

    "wonderful psych, prog, electronic & library funk madness - going to be a big hit in our shop" Pete Reilly, Soul Jazz / Sounds Of The Universe

    "like an off-kilter Soviet Radiophonic Workshop. Wonderful stuff!”
    Dan Beck, Melbourne



    STAFF COMMENTS

    Barry says: It's not often that something comes along that is diverse enough to really confound us as to what section to put it in, this is one of those. Brilliantly psychedelic, blipping electronics, soft folk and haywire noise. It's baffling and thoroughly brilliant.

    Yoshio Ojima

    Une Collection Des Chaînons I And II: Music For Spiral

      WRWTFWW Records is insanely happy to announce the first ever double CD reissue for both volumes of Yoshio Ojima’s superb environmental music project Une Collection des Chaînons I and II: Music For Spiral, originally released in 1988. The twenty track opus is sourced from original masters and comes as a double digipack CD with liner notes in English and Japanese. This marks the inaugural release from the ESPLANADE SERIES by WRWTFWW Records which focuses on the works of Yoshio Ojima and friends.

      Une Collection des Chaînons I and II gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle.

      Named after its superb curled-shaped structures laid in a vast atrium, Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating the fusion of the notions of megastructures and organic biological growth - in essence, evolving designs and constructions, adapting to human needs naturally.

      Evolving, organic, adapting, these are notions that perfectly describe Yoshio Ojima’s divinely designed brand of environmental music. Based on a meticulous work on timbres and textures, it approaches sound design in relation to various contexts, sizes, and feelings. CD 1 flows from the eerie and levitating "Entrance" to the quirky "Esplanade (LIVE)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis". On CD 2, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure.

      Sitting alongside Midori Takada’s Through The Looking Glass, Satoshi Ashikawa’s Still Way, Hiroshi Yoshimura’s Green, or Yutaka Hirose’s NOVA, as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners.

      A note from Yoshio Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."


      Yoshio Ojima

      Une Collection Des Chaînons I: Music For Spiral

      * WRWTFWW Records deliver the first ever double CD reissue for both volumes of Yoshio Ojima’s superb environmental music project Une Collection des Chaînons I and II: Music For Spiral, originally released in 1988. The twenty track opus is sourced from original masters and comes as a double digipack CD with liner notes in English and Japanese. This marks the inaugural release from the ESPLANADE SERIES by WRWTFWW Records which focuses on the works of Yoshio Ojima and friends.

      Une Collection des Chaînons I and II gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle.

      Named after its superb curled-shaped structures laid in a vast atrium, Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating the fusion of the notions of megastructures and organic biological growth - in essence, evolving designs and constructions, adapting to human needs naturally.

      Evolving, organic, adapting, these are notions that perfectly describe Yoshio Ojima’s divinely designed brand of environmental music. Based on a meticulous work on timbres and textures, it approaches sound design in relation to various contexts, sizes, and feelings. CD 1 flows from the eerie and levitating "Entrance" to the quirky "Esplanade (LIVE)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis". On CD 2, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure.

      Sitting alongside Midori Takada’s Through The Looking Glass, Satoshi Ashikawa’s Still Way, Hiroshi Yoshimura’s Green, or Yutaka Hirose’s NOVA, as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners.

      A note from Yoshio Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."

      Yoshio Ojima will be touring to support Serenitatem, his album with Visible Cloaks and Satsuki Shibano


      Yoshio Ojima

      Une Collection Des Chaînons II: Music For Spiral

      * WRWTFWW Records is insanely happy to announce the first ever double CD reissue for both volumes of Yoshio Ojima’s superb environmental music project Une Collection des Chaînons I and II: Music For Spiral, originally released in 1988. The twenty track opus is sourced from original masters and comes as a double digipack CD with liner notes in English and Japanese. This marks the inaugural release from the ESPLANADE SERIES by WRWTFWW Records which focuses on the works of Yoshio Ojima and friends.

      Une Collection des Chaînons I and II gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle.

      Named after its superb curled-shaped structures laid in a vast atrium, Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating the fusion of the notions of megastructures and organic biological growth - in essence, evolving designs and constructions, adapting to human needs naturally.

      Evolving, organic, adapting, these are notions that perfectly describe Yoshio Ojima’s divinely designed brand of environmental music. Based on a meticulous work on timbres and textures, it approaches sound design in relation to various contexts, sizes, and feelings. CD 1 flows from the eerie and levitating "Entrance" to the quirky "Esplanade (LIVE)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis". On CD 2, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure.

      Sitting alongside Midori Takada’s Through The Looking Glass, Satoshi Ashikawa’s Still Way, Hiroshi Yoshimura’s Green, or Yutaka Hirose’s NOVA, as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners.

      A note from Yoshio Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."

      Yoshio Ojima will be touring to support Serenitatem, his album with Visible Cloaks and Satsuki Shibano

      MANIMAL GROUP is excited to announce the sequel to YOKO ONO’S critically acclaimed 2007 collaboration record Yes, I’m A Witch (Astralwerks).

      'Yes, I’m A Witch Too' features new collaborations and remixes pairing ONO with Death Cab For Cutie, Peter, Bjorn and John, Sparks, tUnE-yArDs, MiikeSnow, Cibo Matto, Portugal The Man and more. 


      Yma Sumac

      Mambo

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

        RSD 2014 exclusive - RED vinyl pressing limited to 500 copies only

        Mambo was the must-have Yma Sumac record...the one that led to her rediscovery by ad agencies and movie music supervisors.

        One of the key Japanese albums of the 70s, Yukihiro Takahashi's debut solo album 'Saravah!' was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of Disco Funk, synth Pop, Ambient, French Exotica and Bossa Nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It’s the missing link between the City Pop scene of the late 70s and the synth sound of YMO which was about to revolutionise the world.

        The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and HaruomiHosono to record 'Saravah!' together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar Winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records.

        'Saravah' starts off with a couple of French and Italian exotica classics ('Volare' and 'C'est Si Bon') with delicious touches of synth while 'Saravah!' a nod to Pierre Barouh, is a languid Bossa Nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with 'La Rosa' a superb mid-tempo ambient funk featuring Takahashi's beat backed by HaruomiHosono's bumping bassline, Sakamoto's Hammond Organ and Shigeru Suzuki's fluid guitar. The first side ends with an amazing exotica-synth version of the standard 'Mood Indigo', announcing the midi revolution that was to come before things get funkier on Side Two starting with Ryuichi Sakamoto's superb up-tempo Disco instrumental ‘Elastic Dummy’ featuring soulful strings and horns with solos by Sakamoto and guitarist TsunehideMatsuki. The album then moves on to the ambient synth-pop of ‘Sunset’ before switching back to Disco Funk with 'Back Street Midnight Queen’ which. like 'Elastic Dummy' has become a dancefloor cult classic over the years.' Saravah! ends on a perfect note with the beautiful 'Present' a perfectly crafted pop song which Takahashi wanted to do in a City Pop mode, featuring a superb melody and high-class production.

        "I'm Gonna Live" is the second single taken from the album Skyline and is presented in limited edition 7" format. Inspired by the title of the Alan Lomax's Southern Journey 1959 album "I'm Gonna Live Until I Die" the title track focuses on the tiny pleasures of life as Yann sings about the tiny moments that make him feel alive.

        The single is backed with an instrumental version of "Vanishing Point" in which Yann uses samples of instruments and noises from all the other tracks on his own album 'Skyline', compiling them together to form this haunting final track.

        "ALL" is the first album to be recorded at Tiersen’s new studio, venue and community centre, The Eskal, built in an abandoned discotheque on the island of Ushant, a small island positioned in the Celtic sea between Brittany and Cornwall, Tiersen’s home for the past 10 years. The album, mixed and co-produced by Gareth Jones, continues the themes of environment and a connection to nature first explored on EUSA, incorporating recordings from outside of Brittany, such as the redwood forests of California as well as field recordings from Tempelhof airport in Berlin (on ‘Tempelhof’), plus guest vocalists.

        STAFF COMMENTS

        Barry says: Since the Amelié soundtrack, i've been in love with Tiersen's work, and this is most certainly the culmination of all of his previous works. It's a stunningly delicate, but beautifully emotive collection, more classically focused than Arnalds or Frahm but as tender as either (i'm not throwing shade here, i'm mad for a good pianist). Beautiful.

        Yann Tiersen has sold hundreds of thousands of records worlds wide and even more soundtracks. Since 2009 he has been focused on playing live, with 270 shows spread over three world tours, which touched every continent. This Autumn Tiersen returns home and is releasing four beautifully re-mastered editions of his first four albums; La Valse Des Monstres (1995), Rue Des Cascades (1996), Le Phare (1998) et (Tout Est Calme 1999).

        With his whimsical, melancholy music, Yann Tiersen has become a sought-after composer, not only for his soundtrack work, but in his own right. Borrowing from French folk music, chanson, musette waltz and street music, as well as rock, avant-garde, and classical and minimalist influences, Tiersen's deceptively simple style has been likened to Chopin, Erik Satie, Philip Glass, and Michael Nyman. Tiersen became popular outside his native country for his score to Jean-Pierre Jeunet's film Amélie, but this was no over night successes. He had been working for years before the film's success brought him international acclaim.

        Tiersen was also composing soundtracks for short films and accompaniment for plays. Several of these pieces ended up on his first album, Valse des Monstres, in 1995 and introduced his delicate but deeply emotional style, and which also featured intricate arrangements incorporating instruments as varied as toy piano, banjo, harpsichord, melodica, and carillon, as well as piano and guitar. If Valse des Monstres and its follow-up, 1996's Rue Des Cascades, were intial slow burners Tiersen’s third album, 1998's La Phare, met a different fate; its single, "Monochrome," which was sung by French pop star Dominique A., was a radio hit and propelled the album, and Tiersen, to mainstream success in France. As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more the rock-oriented album Tout Est Calme. Soon after, Tiersen was preparing his next album when he was contacted by Jean-Pierre Jeunet, who wanted Tiersen to score his next movie, Amélie. Jeunet had heard Tiersen's music while driving and had been so taken with it that he bought all of Tiersen's albums. His Amelie score featured new and old compositions, and the film's success spun off to Tiersen's music. 

        Portrait. A collection of brand-new analogue recreations of songs from throughout Yann Tiersen’s career - 25 tracks including 3 new songs. Recorded in Yann’s home studio in Ushant with an array of collaborators. Features 3 tracks originally featured on the Amelie From Montmartre soundtrack including Yann’s signature tune, ‘Comptined’UnAutreÉté (L’Après-Midi)’. Includes collaborations with John Grant, Gruff Rhys (Super Furry Animals), Blonde Redhead and Stephen O’Malley from Sunn O)))

        All vinyl editions will be packaged with an exclusive 7” single including alternative versions of ‘Comptined’UnAutreÉté (L’ Après-Midi)’ from the Amelie From Montmartresoundtrack and the title track from his debut album, Waltz of the Monsters. These versions will be exclusive to the vinyl and not available anywhere else.


        STAFF COMMENTS

        Barry says: One of the most legendary voices in modern classical and sountrackery (who could forget the 2001's 'Amélie'?) joins us with his most recent outing, a revisiting of some of his most unforgettable moments, and joined by some of the most important voices in modern music (John Grant, Stephen O'Malley of Sunn, Blonde Redhead etc.) a stunning collection, and yet more proof Tiersen stands as the figurehead he does today.

        FORMAT INFORMATION

        3xIndies Exclusive LP Info: Limited edition triple clear vinyl, triple gate fold sleeve

        2xCD Info: Double CD.

        Yann Tiersen has sold hundreds of thousands of records worlds wide and even more soundtracks. Since 2009 he has been focused on playing live, with 270 shows spread over three world tours, which touched every continent. This Autumn Tiersen returns home and is releasing four beautifully re-mastered editions of his first four albums; La Valse Des Monstres (1995), Rue Des Cascades (1996), Le Phare (1998) et (Tout Est Calme 1999).

        With his whimsical, melancholy music, Yann Tiersen has become a sought-after composer, not only for his soundtrack work, but in his own right. Borrowing from French folk music, chanson, musette waltz and street music, as well as rock, avant-garde, and classical and minimalist influences, Tiersen's deceptively simple style has been likened to Chopin, Erik Satie, Philip Glass, and Michael Nyman. Tiersen became popular outside his native country for his score to Jean-Pierre Jeunet's film Amélie, but this was no over night successes. He had been working for years before the film's success brought him international acclaim.

        Tiersen was also composing soundtracks for short films and accompaniment for plays. Several of these pieces ended up on his first album, Valse des Monstres, in 1995 and introduced his delicate but deeply emotional style, and which also featured intricate arrangements incorporating instruments as varied as toy piano, banjo, harpsichord, melodica, and carillon, as well as piano and guitar. If Valse des Monstres and its follow-up, 1996's Rue Des Cascades, were intial slow burners Tiersen’s third album, 1998's La Phare, met a different fate; its single, "Monochrome," which was sung by French pop star Dominique A., was a radio hit and propelled the album, and Tiersen, to mainstream success in France. As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more the rock-oriented album Tout Est Calme. Soon after, Tiersen was preparing his next album when he was contacted by Jean-Pierre Jeunet, who wanted Tiersen to score his next movie, Amélie. Jeunet had heard Tiersen's music while driving and had been so taken with it that he bought all of Tiersen's albums. His Amelie score featured new and old compositions, and the film's success spun off to Tiersen's music. 

        Following on from 2016's superb 'Serpent Music' on label extraordinaire, PAN, Yves Tumor follows up by moving to Warp for the brilliant new LP, 'Safe In The Hands Of Love'. 

        From the throbbing sidechained electronics and fragmented vocal accentuations of 'Economy Of Freedom' it becomes clear that we're in for something pretty special. Equally obtuse and euphoric, fragments of sound are smeared liberally across a detritus-riddled backdrop of throbbing bass and static crackling before lurching into a beautiful and eerie redux. 

        This sort of dystopian noise is riddled throughout, but liberally freckled with moments of cohesive and frankly mindlblowing songwriting. 'Noid' for example, is based upon a clattering percussive loop and driving bass (Mr. Tumor really loves that bass synth), but encompasses aspects of hip-hop and soul to boot, vocals rhythmically bobbing in and out of the stereo field, lending a momentous urgency to proceedings before the swooning yang to the former's yin, employing similar vocal phrasing but swapping about the clattering instrumental maelstrom for a sleazy, warped lounge turn. 

        There are moments of divine clarity scattered throughout the whole LP, balancing the sometimes overwhelming cascade of noise and malaise, but it's these moments that make the comparitive unease so satisying, lending moments of calm to an otherwise claustrophobic affair. Perfeclty balanced spine-tingling melodies are teased out of the decay, fittingly warped and then put to work alongside the dystopian foreground. As ever, a stunningly written and perfectly balanced juxtaposition of chaos and peace. 


        STAFF COMMENTS

        Barry says: Yves Tumor smashes it out of the park once again for this shuddering, post-apocalyptic suite of scattered melodies, broken rhythms and oppressive atmospheres, punctuated with moments of deserved beauty and blessed resolution. Killer.

        FORMAT INFORMATION

        2xLP Info: 2LP in paper inners, in gatefold sleeve with 12”
        insert and digital download code.

        This CD is the first-ever release of an extraordinary 1987 New York City performance. Recorded at the Great Hall of the New York Hall of Science, this majestic recording captures the 60-minute opening performance of Yoshi Wada's interactive sound installation "The Appointed Cloud", which consisted of a self-made 80-piece pipe organ, a pipe gong, sirens and a massive suspended metal sheet, all triggered by a computer program designed by David Rayna, who assisted La Monte Young in his electronic work and performances in 1980s. The CD also features Wada, Bob Drombowski and Wayne Hankin on bagpipes, plus Michael Pugliese, who ever worked with David Tudor for Merce Cunningham's dance company, on percussion. Dramatically structured, shifting and intense, "The Appointed Cloud" features massive low frequencies and regal percussion vying with the ululations of bagpipes, all resounding in the huge reverberant space of the Great Hall with its 24-meter ceiling.

        Y Assassin

        Vitamin Y

          After soaring with Social Politics and Pretty Face, the five piece all girl band Yassassin (featuring ex members of The History Of Apple Pie, Lust, Bonfire Nights, and Loaded) release their debut EP Vitamin Y via Babelogue. Produced by Dave Allen (The Cure, Neneh Cherry) and mixed by Mike Moore (Liam Gallagher), Vitamin Y is released on a limited edition transparent blue 12" vinyl. Lead track Cherry Pie is dark, sleazy and psychy which hints of The Big Moon, Veruca Salt, Dream Wife and the Breeders.

          Chain Tripping — the band’s seventh LP and third for DFA —was recorded between Marfa, Texas and the band’s home in Los Angeles. The ten songs are unlike anything YACHT has ever made: pop experiments from a sideways dimension coaxed into their studio through a portal opened by machine intelligence.

          “AI and Machine Learning represent a revolution in music equivalent to the introduction of the synthesizer or the beginning of laptop music. We’ve been a band long enough to watch technology overwrite our assumptions many times, and felt compelled to bring these new tools into our life,” explains YACHT.

          YACHT (an acronym for “Young Americans Challenging High Technology”) is Claire L. Evans, Jona Bechtolt, and Rob Kieswetter. For "Chain Tripping", the trio invented their own working method, at the intersection of DIY and high-tech: they used neural networks to break their patterns apart into infinite variations, which they re-assembled into new songs that they then learned, performed, and recorded live. Rather than rely on any single tool, they brought together several distinct AI processes to generate lyrics (Char-RNN), musical data (MusicVAE), raw audio (SampleRNN), and instrumentation (a “neural synthesizer” called the NSynth). They were inspired by the long history of generative composition, from William S. Burroughs’ cut-up writing method to David Bowie’s custom “Verbasizer” lyrics software from the ‘90s.

          Yak

          Atlas Complex EP

            'The EP, largely recorded at the Third Man Studios, follows on from the release of their critically acclaimed second album Pursuit of Momentary Happiness earlier this year. Frontman Oli Burslem explains, “‘Atlas Complex’ was recorded between Nashville and South London at the beginning of this summer. The "atlas complex" is centred around an idea of losing all sense of everything. It’s a state of mind in which a person believes that the world is on their shoulders and they're unable to deal with what they perceive as endless problems and uncertainty.” 

            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

            Yak had blazed a trail through the indie rock scene with their debut album ‘Alas Salvation’ and ended that era of their career with a landmark show at London’s Scala. There’s always been an element of chaos to the London-based trio Yak, which made their exhilarating live shows so memorable. It’s an approach that they take to a new level with their second album.

            They headed to RAK Studios with producer Marta Salogni (Björk, Django Django) and spent 10 hectic days recording 29 songs, 11 of which feature on the album!

            Yakuza

            Way Of The Dead

            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'.

            Hozan Yamamoto With Sharps & Flats

            Beautiful Bamboo-Flute

            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!


            Geinoh Yamashirogumi

            Akira: Symphonic Suite

            The symphonic music to "Akira" was composed by Dr. Shoji Yamashiro, head of the beloved Japanese musical collective Geinoh Yamashirogumi, and performed by the group. Remastered using the most advanced audio techniques available, this release of the unforgettable score of "Akira" is peerless in quality and audio fidelity. The vinyl release features audio so pristine that it invokes the 'hypersonic effect', a physiological change in the brain that occurs when listening to sounds above the audible human range (40kHz+). The result is a comfortable, relaxed feeling induced by the hi-frequency audio.

            In addition to the CD release, the vinyl version is a double black vinyl 180g gatefold LP. The discs are packaged in high quality printed sleeves displaying artwork from the film. A download card includes a lengthy commentary by composer Dr. Yamashiro on topics ranging from "Akira" to Geinoh Yamashirogumi to his work in advanced brain studies is also included.


            FORMAT INFORMATION

            Deluxe LP Info: 180g Vinyl Double LP + download card.

            Patti Yang Group

            War On Love

              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). 

              Nilüfer Yanya

              Do You Like Pain?

                “Though her instrumentation is sparse - usually just guitar, saxophone, and drums - and her voice is mellow, Yanya’s hooks are always rife with dizzying romantic insight […] NilüferYanya cements her status as one of the most promising new artists of the year.” - Pitchfork

                “Boldness is warranted when you’ve got a hook as devastating as the one that singer Nilüfer Yanya repeats with mounting intensity on her post-punktinged single.” - The New York Times

                “Nobody does steely, wounded restraint right now quite like this south-London guitarist” - The Guardian

                The Yardbirds

                Little Games

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

                  Splatter coloured vinyl, limited to 400 copies.

                  The Yardbirds

                  Where The Action Is

                  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.

                  Optimo Music treat all fans of indie miserablism, bedroom gloom and post punk groan to the new album from Jacob Yates (Uncle John and Whitelock). Not only is he one of the label's all-time favourite artists from Glasgow, but he is one of their favourite artists from anywhere. Criminally unknown except to a few who have been long transfixed by his recordings and performances, we hope this release will open a few more ears to his wondrous musical world.

                  “The Hare, The Moon, The Drone” is the gloom auteur's third LP. This recording finds the band exploring dark hawthorn hedged lanes, moors and suburban, new build estates. There's something more earthy about the songs but the menace and darkness remains. Musically there is a big shift on this album, a field recording of a folk band from a dark, pine filled glen. The opener, The Car sets the scene for the rural side of the album, dank and stone cold. The tracks then shift through the woods, people turn into animals, we pass a sunlit glade, do you hear a love song? Cassie Ezeji closes the side sweetly lamenting in Gaelic as the snow falls.

                  Side two is a more urban affair opening with despair in a bedroom in Belgium, we visit a faith healer and drop in on your lonely mother. Lovatt recounts the story of a karaoke addicted murderer before we finally go home to our new build just outside of town where the pylons tower over Michael and his sister Rachel. It's a journey you can go on, looking out of the window of the bus, glimpses of lives glide by, cards on seats promise to help you. Ding! It's time to get off.


                  The Yawpers

                  Human Question

                    The Yawpers are the sheep in wolf’s clothing. Through their first three albums, the group divined a signature style--what Pitchfork described as - an expansive vision of rock n roll, one that cherrypicks from various folk traditions: punk, rockabilly, blues, whatever they might have on hand or find in the trash. The sound is a front-heavy, groovy, fire & brimstone punk-blues overlying a dynamic and metaphysical roots rock.

                    Americana UK - 10/10 - "Flawless third record from one of the most exciting bands around."

                    Yazoo

                    Upstairs At Eric's

                      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.

                      Yazoo

                      You And Me Both

                        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.

                        Ye Nuns

                        Nun More Black

                          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

                          Ye Wiles

                          Smoothing Away The Horrors Of Indigestion

                          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.

                          Yeah Saint Paul

                          Women Are Stoned

                            The album, a mellow journey which explores themes such as self-belief, change, sexuality and companionship has started to receive acclaim from certain quarters of the British music press, and is beginning to gain attention in other territories.

                            Songwriter Angel Rivers' story encompasses years of work with a number of obscure London bands, having spent much of his time under the radar, honing his craft in the studio and on rare live appearances.

                            The album was recorded on an old eight-track, at locations in London and East Sussex, where gruelling sessions would go until late night during summer, or early morning in winter; fire heaters ablaze, snow falling outside; wine and cigarettes to anaesthetize the routine. The result was the brilliant debut album "Women Are Stoned".

                            Yeah Yeah Industrial

                            Pseudoxia Epidemica

                            Its a behemoth of a record...consisting of a 2 track 33prm 7" and a 74 minute one track CD (plus an extra 4 tracks on the download code clocking in at an extra 44 minutes of music)Think of this as a denser, cosmic companion to the Ambience series...a truly astral trip of cosmic proportions! YYI are a well renowned northern improv duo (who also perform with Hugs Bison & Some Some Unicorn) who make walls of sound using a myriad of sounds from found sources which are fed through FX units, twisted, cut up, stretched, reformed...you name it, it's done with effortless ease and craftmanship. The 3 pieces here were recorded in 1 take.

                            FORMAT INFORMATION

                            Ltd 7" Info: 2 track 33prm 7" and a 74 minute one track CD (plus an extra 4 tracks on the download code clocking in at an extra 44 minutes of music)

                            Yeah Yeah Yeahs

                            Fever To Tell

                            Only three singles old and already hailed as 'the most exciting band on the planet' (thanks NME!) but there's definitely something happening here. Proper post-punky, arty, super-creative yet free and careless garage rock. There's weird sound and angular guitars a-plenty but it's the singer Karen O (a film studies graduate from New York Uni) and her effervescent sense of fun, that steals the show. Half Shirley Manson, half Siouxsie Sioux, she has a lyrical audacity and electrifying presence to rival even PJ Harvey at her very best. She's searching for love, with thrills, pills and alcohol thrown in for good measure. There's an exhilarating sense of abandon here; you can lose yourself in this joyous chaos!!!

                            Yeah Yeah Yeahs

                            Fever To Tell - 15th Anniversary Edition

                              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.

                              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.

                              The Yearning

                              Take Me All Over The World

                                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.

                                FORMAT INFORMATION

                                10" LP Info: 10" is numbered limited edition of 750 copies. Includes download.

                                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.

                                Yellow Days

                                Harmless Melodies EP

                                  The reason why I make music is to understand myself and the world around me,” sums up the Manchester-raised, Surrey-based musician, whose candid, soul-doused songs have guided a spotlight on him since emerging in 2016. On 2017’s debut EP ‘Harmless Melodies’ and the full-length project ‘Is Everything Okay In Your World?’, we witnessed the first steps in van den Broek’s coming-of-age story. Both works, written and recorded in his garden shed and released via Good Years, vividly document new relationships blooming and old ones fizzing out. George is in possession of a rich, smoke-stained voice, which lends itself neatly to stripped-down soul or frenzied psych. Outside of Yellow Days, he also makes beats and hip-hop instrumentals, and a 2017 collaboration with Irish rapper Rejjie Snow (‘Lately I’) hints at another future path to head down. “[Hip-hop] is something I really want to delve into the future. It's within my goals.” But while his work transgresses simple categorisation, the feeling within these songs is easier to capture. “I just see music as something that is honest and pure.

                                  It's all about feelings and truth and honesty,” he states. He relates to old-school heroes like Ray Charles and Billie Holiday; singers who allow the cracks and imperfections to show through their emotion. And he aligns himself with fellow modern-day self-starters like Mac DeMarco and Tame Impala’s Kevin Parker, independent forces who’ve perfected their own, untouchable sound. “They're all well-read musicians who have a vision, and that's what music should be about. It's not a vanity project, it's some real shit.” Sincerity lines the seams of van den Broek’s songs, and he’s been rightly praised for his ability to detail struggles with mental health, especially at a time when speaking up is paramount. “I can talk about my feelings ‘til the sun goes down with my friends,” he laughs, but he admits that music, which he describes as a “diary”, is his one true outlet for expression. “I love to just assess my own human condition; why I act a certain way. That debate constantly goes on in my music.” “The whole point of Yellow Days is to be a project about youth,” he states. “It's all about being young and having this overwhelming sense of emotion, this confusion, all heading towards an eventual goal of happiness.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Limited magnolia coloured LP.

                                  Yellow Days

                                  Is Everything Okay In Your World?

                                    The reason why I make music is to understand myself and the world around me,” sums up the Manchester-raised, Surrey-based musician, whose candid, soul-doused songs have guided a spotlight on him since emerging in 2016. On 2017’s debut EP ‘Harmless Melodies’ and the full-length project ‘Is Everything Okay In Your World?’, we witnessed the first steps in van den Broek’s coming-of-age story. Both works, written and recorded in his garden shed and released via Good Years, vividly document new relationships blooming and old ones fizzing out. George is in possession of a rich, smoke-stained voice, which lends itself neatly to stripped-down soul or frenzied psych. Outside of Yellow Days, he also makes beats and hip-hop instrumentals, and a 2017 collaboration with Irish rapper Rejjie Snow (‘Lately I’) hints at another future path to head down. “[Hip-hop] is something I really want to delve into the future. It's within my goals.” But while his work transgresses simple categorisation, the feeling within these songs is easier to capture. “I just see music as something that is honest and pure. It's all about feelings and truth and honesty,” he states. He relates to old-school heroes like Ray Charles and Billie Holiday; singers who allow the cracks and imperfections to show through their emotion. And he aligns himself with fellow modern-day self-starters like Mac DeMarco and Tame Impala’s Kevin Parker, independent forces who’ve perfected their own, untouchable sound.

                                    “They're all well-read musicians who have a vision, and that's what music should be about. It's not a vanity project, it's some real shit.” Sincerity lines the seams of van den Broek’s songs, and he’s been rightly praised for his ability to detail struggles with mental health, especially at a time when speaking up is paramount. “I can talk about my feelings ‘til the sun goes down with my friends,” he laughs, but he admits that music, which he describes as a “diary”, is his one true outlet for expression. “I love to just assess my own human condition; why I act a certain way. That debate constantly goes on in my music.” “The whole point of Yellow Days is to be a project about youth,” he states. “It's all about being young and having this overwhelming sense of emotion, this confusion, all heading towards an eventual goal of happiness

                                    FORMAT INFORMATION

                                    2xColoured LP Info: Limited ice blue vinyl.

                                    Yellow Magic Orchestra

                                    BGM - Clear Vinyl Edition

                                    180 gram audiophile vinyl
                                    4-page insert
                                    PVC protective sleeve
                                    First pressing of 1000 numbered copies on transparent vinyl

                                    On their fourth album 'BGM' (1981), YMO continued where they left off with 'X∞ Multiplies', by venturing further into synthesizers, drum computers and experimentation with rhythm, sequences and speeds.

                                    This album is more focused on atmosphere and mood, some even say this album is a turning point for YMO and the international pop music scene. They successfully merged lyrics, sound bites and their signature electriconically programmed music on 'BGM'.

                                    "1000 Knives" and "Cue" are the most famous; the hand clap on "1000 Knives" is probably one of the most used samples in the 80s, early 90s.

                                    Yellow Magic Orchestra

                                    Public Pressure - Clear Vinyl Edition

                                    • 180 gram audiophile vinyl
                                    • PVC protective sleeve
                                    • Insert
                                    • Limited edition of 1000 numbered copies on transparent vinyl

                                    This is YMO’s first live recorded album and their second number 1 album in Japan. Several concerts were recorded for 'Public Pressure', all in 1979 (at the Venue in London, Greek Theater in LA, Bottom Line in NYC, Sun Plaza in Nakano). The best of each of these live shows was collected together for this release.

                                    This album contains first class recordings, clear and sparkling; YMO is arguably at its best with an audience. Akiko Yano is a welcomed addition to YMO, as she completes the band with sublime vocals.

                                    This live album has a much more relaxed approach to the music, as it feels like they’re jamming on stage and clearly enjoying themselves!

                                    Yellow Magic Orchestra

                                    Service - Clear Vinyl Edition

                                      'Service' was the sixth and, at the time, final studio album by Yellow Magic Orchestra. The band dissolved the following year after a world tour, but would later reform in 1993 for a one-off reunion album, 'Technodon'. Each member would continue their already established solo careers, while Haruomi Hosono and Yukihiro Takahashi also formed the band Sketch Show (with Ryuichi Sakamoto assisting), which later turned into YMO.

                                      Like '×-Multiplies', it contains a mixture of YMO songs and comedy sketches performed by Super Eccentric Theater, or SET Service features “You’ve Got to Help Yourself”, which was previously featured in instrumental form on the previous album, 'Naughty Boys Instrumental'.

                                      FORMAT INFORMATION

                                      LP Info: 180g clear audiophile vinyl edition. 1000 numbered copies only. Includes 4-Page Insert and PVC protective sleeve.

                                      Yellow Magic Orchestra

                                      Solid State Survivor

                                      • 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".

                                      Yellow Stripe Nine

                                      One Look (It's Love)

                                      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.

                                      Yellow Stripe Nine

                                      Trouble With Girls

                                      Yellow Stripe Nine are an art-rock style pop band from Leeds, who've been compared to everyone from Roxy Music to Talking Heads and The Teardrop Explodes. This single was recorded with XTC and David Byrne producer Simon Humphrey.

                                      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.

                                      Yellowcard

                                      The Underdog EP

                                      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.

                                      The follow up EP to Yes Blythe's Debut album "Keep The Faith" first saw the light of day as a short run cassette release on the Gnod tape imprint Tesla Tapes. "Initiate Screen Prevails" is finally being given a vinyl release on Sacred Tapes. Not only the first Vinyl release for the label, kicking off an offshoot SAC-R series, but also a first vinyl release for the artist.

                                      This 30 minute EP ranges from subtle layered field recordings to intense crushing noise created with depth and detail. The record comes packaged with printed fabric insert and risograph'd recycled card info sheet.


                                      When Rick Wakeman replaced Tony Kaye on keyboards in 1971 the last piece was finally in place and Yes were soon to be regarded as amongst the premier progressive rock acts around. Surrounded by banks of instruments, Wakeman played organ, synths, Mellotron, piano and electric harpsichord alongside Anderson, Squire, Bruford and Howe and the first recordings by (what many believe to be) the definitive Yes line-up resulted in "Fragile". Four group tracks and five featuring each individual band member produced classic tracks like "Roundabout", "Heart Of The Sunrise" and "Long Distance Runaround".

                                      FORMAT INFORMATION

                                      CD Info: Newly remastered with restored Roger Dean artwork, this edition features two bonus tracks.

                                      Yes

                                      Friends And Relatives Volume 2

                                      A second collection of tracks from the various side-projects from the members of Yes including Jon Anderson on "Magic Love" and Rick Wakeman on "Catherine Howard" plus rarities from Nikki Squire and Bill Bruford. New original artwork from Roger Dean in all twenty tracks of top stuff.

                                      Yesterday's Kids

                                      Everything Used To Be Better

                                      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.

                                      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.

                                      FORMAT INFORMATION

                                      CD Info: This new edition has new notes and is remastered with six extra tracks.

                                      Limited edition bonus disc version also available - click here.

                                      The incredible second album from Parisian psych-pop duo Yeti Lane, the follow-up to 2010’s hugely acclaimed self-titled debut.

                                      Includes the track ‘Analog Wheel’, premiered on The Line Of Best Fit last December, and the single ‘Sparkling Sunbeam’, featuring guest vocals from Herman Dune.

                                      Co-produced and mixed by Antoine Gaillet (M83, Zombie Zombie, The Berg Sans Nipple).

                                      Artwork by Jean-Philippe Talaga, founder of the Gooom Disques label.

                                      For fans of Kraftwerk, My Bloody Valentine, Broadcast, Stereolab, Can, Pavement and LCD Soundsystem.

                                      STAFF COMMENTS

                                      Andy says: Grandaddy gone Krautrock. Heavenly.

                                      Darryl says: Superb psyche-kosmische indie-pop mantras from this Parisian duo on the Sonic Cathedral label.

                                      Yeule

                                      Serotonin II

                                        “After solidifying her sound through a collection of releases, yeule has become an idea and experience. Her music feels like entering an echoing, uncharted territory driven by veins of noise and a nomadic upbringing. By further developing and drifting into yeule’s identity, Ćmiel carves out her own lane of electronic music.” MILK Magazine // Yeule is the manifested reflection of Nat Cmiel. An ongoing project since 2012, yeule's music is as ethereal as it dynamic, reflective of her nomadic upbringing. Though she grew up and attended school in Singapore for most of her life, her family travelled often, developing emotional connections with places far from home that left her searching, unmoored. Obsessed with tinkering and discovery, she began building her own synths. There is a complex, intuitive, and deeply personal nature to her music making. With a launchpad, keyboard and microphone she morphs her original cinematic classical compositions into electronica. More clues to her process can be found in her other mediums. As a practicing visual artist, her paintings emanate her deep connection to the process of mark making, both visually and sonically. Her first full length, Serotonin II, is the fully realized result of this process, resonating with her 'mutable self expression.' She describes this as "the stifling psychological haze turned into perfume." 

                                        My Krazy Life is the debut studio album from West Coast rapper YG.

                                        It was released on March 18, 2014, by CTE World, Def Jam Recordings and Pushaz Ink. The album features guest appearances from Kendrick Lamar, Drake, Lil Wayne, Nicki Minaj, Rich Homie Quan, Ty Dolla $ign, Schoolboy Q, Meek Mill, Jay Rock, Jeezy, TeeFlii and RJ, while the production was primarily handled by frequent collaborator DJ Mustard, along with production from Ty Dolla $ign and Terrace Martin.

                                        Urban Legends/UMC reissue the vinyl of My Krazy Life in 2LP standard black vinyl, featuring the additional track “459.”

                                        Girma Yifrashewa

                                        Love And Peace

                                          New recordings of solo piano pieces by Ethiopian composer Girma Yifrashewa, the first release of Yifrashewa's music outside of Africa. Born in Addis Ababa in 1967, Girma Yifrashewa is a worthy new torchbearer of African pianism. His highly personalized approach to the piano likens him to Ethiopian composer Emahoy Tsege Mariam, while his use of Ethiopian pentatonic scale within the Western Art Music format places his compositions in conversation with more academically minded work. Traditionally Ethiopian in melody, cinematic in vision, and deep in beauty, his compositions occupy a lyrical middle ground between classical and jazz that is supremely listenable yet defies easy classification.

                                          Beginning his musical life at a young age with the traditional krar (influenced by Ethiopian folk legends like Kassa Tessema) Girma did not discover the piano until he was sixteen years old. He enrolled quickly thereafter in the Yared Music School, eventually earning a scholarship to study at the Sofia Conservatory in Bulgaria. Despite a short period as a refugee in Italy following communism's demise in Bulgaria and the consequent loss of his scholarship, Girma completed his conservatory training in Bulgaria gathered through charitable organizations in direct recognition of his talents. Following the passing of Ethiopian composer Ashenafi Kebede in 1998, Girma moved beyond his conservatory repertoire and began his career as a composer, penning the composition "The Shepherd With The Flute" - an homage to Kebede's most famous work, "The Shepherd Flutist." Since then, Yifrashewa has established himself a pre-eminent composer of Ethiopia, touring Africa and Europe extensively on cultural commissions. The emotional directness and unique quality of his work make it destined for wider popularity, still.

                                          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.

                                          Yo La Tengo

                                          And Then Nothing Turned Itself Inside-out

                                            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.

                                            STAFF COMMENTS

                                            Darryl says: Their ninth album released back in 2000 saw Yo La Tengo peaking with gorgeous melancholy. An introspective, delicate and dreamy sound that shimmers along with shivery pulses and hushed vocals. Perfect for a moody winter night.

                                            Yo La Tengo

                                            Genius + Love = Yo La Tengo

                                              Sprawling, 28-song compilation of B-sides, outtakes, compilation tracks, soundtrack stuff hardly anyone heard, and live stuff spread over two discs (one of 'em all-instrumental) with extensive liner notes. For hardcore enthusiasts and neophytes just aching for a confusing introduction. Features material from 1988 up to 1995.

                                              Yo La Tengo

                                              I Am Not Afraid Of You And I Will Beat Your Ass

                                              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.

                                              Yo La Tengo

                                              I Can Hear The Heart Beating As One

                                                Sixty five plus minutes of breath-taking material recorded under smooth circumstances in lovely Nashville, TN. This one will without a doubt appeal to long time Yo La Tengo fans, considering the fact that this is their very best one yet. The really good thing, though, is that a lot of people who will buy this record will do so without knowing that it probably is the only TRULY GREAT record they will buy in their lives. Until the next one comes out, of course!!

                                                Yo La Tengo

                                                OHM

                                                  3 12″ singles with a printed flat in a 4-box poly shower curtain display case. There’s metal grommets in the curtain if you’d prefer to display it on your wall (or, if you’re especially nuts, in your shower).

                                                  All versions are unreleased except the original version. Each 12″ pack comes with a download coupon with all the tracks plus the radio edit of “Ohm”.

                                                  There are only 20 copies of this for the UK so don't snooze if you want one!

                                                  FORMAT INFORMATION

                                                  3xLtd 12" Info: This sold out as soon as we got it in, but someone who ordered it didn't collect it, so if you want this last copy, get your skates on!!

                                                  Yo La Tengo

                                                  Painful




                                                    FORMAT INFORMATION

                                                    LP Info: One of a series of vinyl represses from the Beggars Banquet stable.

                                                    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. 

                                                    FORMAT INFORMATION

                                                    2xColoured LP Info: Independent stores only orange vinyl.

                                                    Aside from being the phonetic pronunciation of her given name, Yohuna ("yo-HUN-ah") is the solo project of Johanne Swanson, an unsettled native of Eau Claire, WI, whose hazily brilliant music evokes the purest states of mind. With a Casio keyboard, layered vocal arrangements and vehement, minimal beats, she writes sedated, downbeat anthems. Sounds and lyrics drip with moody reference to past love, loss, reflection and rejection while maintaining a hopeful, airy quality eagerly anticipating an uncertain future. Over the course of a year in New Mexico, with her head and heart in other, faraway places, Swanson transformed her emotions into four enigmatic, intimate, leisurely structured pop gems and a collaborative drone.

                                                    Recorded December of 2010 with the help of friend Andrew Todryk (Vacation Dad) in a basement during a bitter Wisconsin winter, her debut EP Revery remains relatively unearthed— still frozen in that season waiting to be thawed. Only 50 hand-dubbed cassettes were made, now long soldout rarities. Coupled with a considerate amount of blog coverage, however, Revery left an undeniable impression as a meaningful piece of music in early 2011- an essential listen for anyone interested in home recording. Art Fag Recordings, a California-based label home to a small but potent roster of up-and-coming artists, dug it up a year later, and the label is proud to present a remastered Revery on 7-inch and cassette, incontrovertibly giving this hidden treasure the proper release it deserves. Four sedated, intimate, downbeat pop gems.

                                                    The Sound Of Vast imprint offers up a retrospective collection of cuts from esteemed Japanese house producer Shinichiro Yokota (who had two tracks on Hunee's "Sounds From The Far East" and previously a CD-only 'best of' comp..). None of these tracks have been pressed on vinyl before now. A complete picture of this truly amazing producer with his slick approach fuelled with nothing but postive energy.

                                                    Recorded over the last 28 years "Ultimate Yokota 1991-2019" traverses through Shinichiro's emotive and playful house sound - employing infectious synth hooks, analogue drums, soulful vocals and an underlying upliftedness throughout. Designed as an introduction those unfamiliar with his impressive back catalogue, and for hardcore fans alike there really isn't a single bad track amongst the twelve showcased here - and on top of that they're all spread out and pressed beautifully across two discs! 




                                                    This year marks the 5th anniversary of Susumu Yokota’s departure from this world and yet he is very much still here. His music always had a timeless quality and this new release is a perfect example. It was conceived following the discovery of a DAT tape by Mark Beazley containing unreleased tracks and early sketch versions of tracks that formed ‘The Boy and the Tree’. Mark had worked with Yokota on the Rothko/Yokota collaboration EP ‘Rivers Edge’ but had no recollection of why or when he was sent the tape. Mark sent the tracks to Jon Tye who ‘decided to do my best to honour the spirit and legacy of Yokota’s work by completing the tracks in a way which I thought he would approve’.

                                                    ‘I only met Susumu once but communicated with him many times and always felt a strong connection with him and his music, it all came together swiftly and flowed from start to finish without thought or question. I hope what I have created is a fitting tribute. It was a privilege to enter the world of Susumu Yokota and spend time with his spirit. Many of the titles and the quotation below are taken from the book ‘Cloud-Hidden, Whereabouts Unknown’ by Alan Watts, which I was reading at the time the tracks were mixed’.

                                                    Searching For The Hermit In Vain

                                                    I asked the boy beneath the pines,
                                                    He said ‘The masters gone alone
                                                    Herb-picking somewhere on the mount
                                                    Cloud-hidden, whereabouts unknown

                                                    Chia Tao (777-841) Trans. Lin Yutang

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Limited clear vinyl.

                                                    Family Affair Records inaugural release steps out of the shadows bearing a quadruplet of vibrant, imaginative and totally curveball edits by the faceless Yondo. Re-imaginings of 80’s club staples by Mary Jane Girls & Evelyn Champagne King and 90s R&B-sides by SWV & Lucy Pearl breathe new life into some familiar jams while keeping their essence - all updated and re-birthed for 2018. Stylistically it lands somewhere between Bullion, Theo early doors at Plastic People, Dilla and Two Inch Punch - all with some well known source material thrown in for good measure!

                                                    Hand screen-printed and hand-stamped with vibrant fluoro solvent ink. Get it while you can cuz it ain’t ever coming back.

                                                    Family Affair Records is a record label started by Raj Chaudhuri (Livin’ Proof / NTS / Boiler Room). Artwork by Mason London. 


                                                    STAFF COMMENTS

                                                    Matt says: Mad as a box of frogs but oh so delicious! Headturning glitch-hop re-rubs here from some new talent. Check!

                                                    FORMAT INFORMATION

                                                    Ltd 12" Info: 12" + screen printed sleeve

                                                    Michael Yonkers

                                                    Michael Lee Yonkers

                                                      By now, the legend of Michael Yonkers has ascended to estimable levels, at last. It should have happened long ago - after all, it was over ten years back that the word got out, when his previously-unreleased 1968 Sire album ‘Microminiature Love’ was issued by Destjil and then Sub Pop. A thousand noise-rock ears pricked up, in the same fashion as in 1967, when folks heard The Velvet Underground and Nico, when those lucky enough to stumble across said sounds formed their own bands immediately. Yes, it turns out the reclusive Minneapolis dancer had just as seminally prefigured proto-punk / metal / noise though his own brand of amped-up garage rock, but no one knew. In this blog-happy latter decade, Michael has picked up where he left off, exploring blown-out frequencies with collaborators around the globe, and his work has claimed a seat next to underground legends like The Fugs, VU, Sonic Youth and even ol’ Jimi.

                                                      What a lot of folks still don’t know is that Michael put aside his hand-built fuzz boxes and bellowing vocal style in the 70s to record and self-release some truly lilting homespun folk albums, where he explored the sound of acoustic guitars, layered, madrigal-like vocals, and only the most subtle applications of electricity, all in service of some truly somber and mesmerizing songs. Of these albums, only ‘Goodbye Sunball’ and ‘Grimwood’ have been reissued, as well as Drag City / Galactic Zoo Disk’s now sold-out ‘Lovely Gold’ (recorded in 1977, but unreleased until 2010).

                                                      There’s yet another musical colour revealed on the uber-rare private press, ‘Michael Lee Yonkers’, which was home-recorded in 1971-72, while Michael was working in an unheated, hundred year-old warehouse. He ran the forklift and drove the truck for the company, hauling extremely heavy loads of industrial surplus and scrap metal. His co-workers almost exclusively listened to country & western music, which inspired him to create and perform an oddly countrified set on weekends, when he would play in coffeehouses and at house parties. Yonkers would do an acoustic set of original “country” and “rock” music for the first part, then he would get out an “electronic music machine” that he had built himself and play “electronic music”, according to Michael himself.

                                                      ‘Michael Lee Yonkers’ is a recording of some of the ‘country’ songs he was doing at the time, as well as a few songs he wrote for the children at the house parties (like ‘Mrs. Jennings Fruit Fly Farm’, recorded live, where you can hear the kids going nuts). The tracks were recorded on a variety of tube-type, reel-to-reel tape machines, which give them a unique analogue sound that begs comparisons to outsider hillbillies like Peter Grudzien, Holy Modal Rounders and The Legendary Stardust Cowboy, as well as beloved longhair outlaws like Townes Van Zandt and Kris Kristofferson (ok, even one St. Johnny Cash too).

                                                      The original art and labels have been faithfully reproduced and, with a discreet remastering touch, the tracks sound better than ever. Originals go for over $60, so get these before they fly out the door and sell for almost $60, ala ‘Lovely Gold’.

                                                      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.

                                                      FORMAT INFORMATION

                                                      2xColoured LP Info: Includes a free EOY 2019 CD sampler.
                                                      Indies exclusive 140g orange vinyl in a wide-spine single sleeve with an additional 10th track (Ladies & Gentlemen, Thank You for Coming). This bonus track is exclusive to the vinyl and not included on the CD version or downloads.

                                                      2xColoured LP includes MP3 Download Code.

                                                      2xDeluxe LP Info: Includes a free EOY 2019 CD sampler.

                                                      A beautiful hardback book containing both the lyrics and many strange drawings done in pencil by Stanley Donwood & Dr Tchock.

                                                      Orange 180 gram double vinyl with an additional 10th track (Ladies & Gentlemen, Thank You for Coming).

                                                      Printed onto Italian Fedrigoni Special Brown material paper and section sewn, the book is made up with an exposed orange cloth spine and orange gilt edging and finished with Bodonian Binding.

                                                      2xDeluxe LP includes MP3 Download Code.

                                                      2xLP Info: Includes a free EOY 2019 CD sampler.
                                                      Black 140 gram double vinyl in a wide-spine single sleeve with an additional 10th track (Ladies & Gentlemen, Thank You for Coming). This bonus track is exclusive to the vinyl and not included on the CD version or downloads.

                                                      2xLP includes MP3 Download Code.

                                                      CD Info: Includes a free EOY 2019 CD sampler.

                                                      Thom Yorke, Flea, & Wynton Marsalis

                                                      Daily Battles (From Motherless Brooklyn: Original Motion Picture Soundtrack)

                                                        “Daily Battles” was written by Thom Yorke (Radiohead, Atoms For Peace) for “Motherless Brooklyn” the film directed, written by, produced by and starring Edward Norton. The film features two versions of the song, each performed by musical icons of modern music. Thom Yorke along with Flea (Red Hot Chilli Peppers, Atoms For Peace) performs a sparse and emotionally stunning version of the song. The other version of “Daily Battles” was arranged and performed by jazz trumpet icon Wynton Marsalis, who, along with his hand-picked quintet of heavy-hitter-jazz-stalwarts delivers an instant jazz standard version of the song that conjures images of the 1950’s-era gin-soaked Harlem jazz club seen in the film.

                                                        FORMAT INFORMATION

                                                        Ltd 7" Info: Limited to 500 copies on black vinyl.

                                                        Thom Yorke

                                                        I See You - Crack Magazine Present (A Zine) Curated By Thom Yorke

                                                          As a companion piece to the 100th Issue of CRACK Magazine, which featured Thom Yorke on the cover, the magazine have worked with Thom on a limited edition zine, entitled I See You.

                                                          Centred around resistance, pressure and panic in 2019, Crack Magazine and Thom Yorke have collaborated on a special limited-edition zine which unites the thoughts and messages of eight artists and activists chosen by Thom. All eight are asked the same set of questions written by Thom and the disparate answers are presented together alongside a patchwork of visual fragments from each interviewee’s world.

                                                          The zine features pioneering synth legend Laurie Spiegel, prominent global warming activist George Monbiot, Edinburgh poet and writer Harry Josephine Giles, New York contemporary artist Amy Cutler, fashion designer Jun Takahashi, director and screenwriter Luca Guadagnino, experimental musician Kali Malone and Brooklyn-based artist Christian Holstad.

                                                          Featuring an exclusive foreword note from Thom, as well as artwork from Stanely Donwood and Dr Tchock the zine serves as an expansion on the themes explored in his cover story for Issue 100 of Crack Magazine – an assessment of anxieties, futures, sustainability and opposition.

                                                          All profits from the zine go to Greenpeace. Approx 100pg.

                                                          FORMAT INFORMATION

                                                          Magazine Info: 100pg perfect bound book, foil blocking on the cover. Solid colour 3 edges.

                                                          Thom Yorke

                                                          Suspiria (Music For The Luca Guadagnino Film)

                                                          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.”

                                                          Thom Yorke

                                                          Tomorrow's Modern Boxes



                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Printed with a metallic silver laminate and multi-tone black, the album is pressed onto heavyweight 180g white vinyl completed with undersize 75mm centre labels, housed within heavy white board inner and outer sleeves (Side B contains a locked groove).

                                                          CD Info: The CD is a ‘mini gatefold’ with an 8 page artwork booklet.

                                                          Yorkston / Thorne / Khan

                                                          Nine Emotions

                                                            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”.

                                                            Yorkston/Thorne/Khan will play a special album launch show at Glasgow’s Celtic Connections before their own UK headline tour in March.

                                                            FORMAT INFORMATION

                                                            2xColoured LP Info: 2 x DARK GREEN coloured standard weight vinyl

                                                            James Yorkston

                                                            The Cellardyke Recording And Wassailing Society

                                                            James Yorkston, an artist not unfamiliar with the notion of collaboration, has opened the studio doors to a broad and brilliant selection of players on this his eighth studio album.

                                                            Produced by Hot Chip’s Alexis Taylor in London’s Livingston studio, it features KT Tunstall, The Pictish Trail, Rob Smoughton, Fimber Bravo and his long term collaborators Jon Thorne and Emma Smith.

                                                            ‘The Cellardyke Recording And Wassailing Society’ finds James at his most personal and reflective, following 2012’s ‘I Was A Cat From A Book’.

                                                            What James and his collection of fine musicians have created is an album that connects the intimacy of his hometown life with the camaraderie of good friends. ‘The Cellardyke Recording And Wassailing Society’ flows with acceptance and relief and is James’ fullest body of work.

                                                            The album artwork was created by celebrated children’s author and illustrator Clare Beaton.

                                                            Produced by Yorkston and David Wrench, The Route to the Harmonium is James’ first solo record since 2014’s Cellardyke Recording and Wassailing Society (CRAWS) and follows the two collaborative albums he made as one third of Yorkston/Thorne/Khan as well as the release of his debut novel Three Craws in 2016.

                                                            The album was almost entirely recorded by James himself, in the small Scottish fishing village of Cellardyke, where he lives. Yorkston’s studio is a ramshackle old loft space, originally used to repair fisherman’s nets, and now stuffed full the antique instruments James has collected throughout his life as a musician. Having created hours of recordings, James called up his old collaborator David Wrench - the mixer and producer who has worked with the likes of Caribou, Four Tet, Frank Ocean, FKA Twigs and David Byrne - and someone who has worked on James’ albums since 2003 – to help make sense of the sessions.

                                                            The Route to the Harmonium (or, ‘the search for peace’) is intensely personal; it’s the sound of home, of undisturbed craftmanship. Listen closely and you can imagine him putting it together. Overlaying vocal and guitar tracks, adding further with Dulcitones, harmoniums and autoharps, with nyckelharpa, the distinctive Swedish stringed instrument given to him by a friend. And friends and family, past and present swim all over his songs. Remembering them, and those you’ve shared life with, those who leave and those who remain, is the strongest thread running through these affecting, extraordinary songs. This is Yorkston’s world and could be nowhere else in music.

                                                            James adds: “I guess, as a musician and writer, I find myself reacting to what goes on around. So, this album is about life, the life that carries on around me. There’s family, place, and the being away from family that the life of a touring musician brings… But there’s also reference to friends departed – the hows, the whys – When a friend jumps ship it’s always a haymaker to the gut, you know? And this album is about them, but it’s more about us, us who are left behind...”

                                                            STAFF COMMENTS

                                                            Barry says: Tender ballads and brittle songmaship on this stunning outing from the great James Yorkston. Reminiscent of some of the country-folk offerings from Constellation / Alien8 recordings in the early 90's, Yorkston manages to convey a heartbreaking morose air whilst keeping the melodicism intact. A beautifully written collection, as expected.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Heavyweight green vinyl, includes poster too.

                                                            Coloured LP includes MP3 Download Code.

                                                            LP Info: Heavyweight black vinyl, includes poster too.

                                                            LP includes MP3 Download Code.

                                                            Otomo Yoshihide's New Jazz Ensemble

                                                            Dreams

                                                            The first release outside Japan to feature two of Japan's quirkiest underground stars. From the high fragile sonorities of Togawa Jun to the velvet, sultry tones of Phew, "Dreams" runs the gamut from moody love songs, driving grooves to screaming noise. Otomo's exciting Jazz Ensemble and creative arrangements perfectly set up the diverse vocal stylings of these two legendary divas out of the Tokyo indies scene.

                                                            Otomo Yoshihide

                                                            Flutter

                                                            Otomo Yoshihide's latest band brings together some of the best free jazz players in Japan today with noise musicians Sachiko M and the legendary Akita Masami of Merzbow. Beautiful arrangments, exciting solos and a kickass rhythm section make this one of Otomo's most exciting and powerful projects.

                                                            Despite his status as a key figure in the history of Japanese ambient music, Hiroshi Yoshimura remains tragically under-known outside of his home country. Empire of Signs, a new imprint co-helmed by Maxwell August Croy and Spencer Doran, seeks to rememdy this with a much needed reissue of Yoshimura’s debut 'Music for Nine Post Cards'. Available for the first time outside Japan, this new reissue comes in collaboration with Hiroshi’s widow Yoko Yoshimura, with more reissues of Hiroshi’s works to follow in the future.

                                                            Working initially as a conceptual artist, the musical side of Yoshimura’s artistic practice came to prominence in the post-Fluxus scene of late 1970s Tokyo alongside Akio Suzuki and Takehisa Kosugi, taking many subsequent turns within Japan’s bubble economy afterward. His sound works took on many forms – commissioned fashion runway scores, soundtracking perfume, soundscapes for pre-fab houses, train station sound design – all existing not as side work but as logical extensions of his philosophy of sound. His work strived for serenity as an ideal, and this approach can be felt strongly on 'Music for Nine Post Cards.'
                                                            Home recorded on a minimal setup of keyboard and Fender Rhodes, 'Music for Nine Post Cards' was Yoshimura’s first concrete collection of music, initially a demo recording given to the Hara Museum of Contemporary Art to be played within the building’s architecture. This was not background music in the prior Japanese “BGM” sense of the word, but “environmental music”, the literal translation of the Japanese term kankyō ongaku [環境音楽] given to Brian Eno’s “ambient” music when it arrived in late 70’s Japan.
                                                            Yoshimura, along with his musical co-traveler Satoshi Ashikawa, searched for a new dialog between sound and space: music not as an external absolute, but as something that interlocks with a physical environment and shifts the listener’s experience within it. Erik Satie’s furniture music, R. Murray Schafer’s concept of the soundscape and Eno’s ambience all greatly informed their work, but the specific form of tranquil stasis presented on releases like 'Nine Post Cards' is still difficult to place within a specific tradition, remaining elusive and idiosyncratic despite the economy of its construction. This record offers the perfect introduction to Hiroshi’s unique and beautiful worldview: it’s one that can be listened to – and lived in – endlessly.


                                                            STAFF COMMENTS

                                                            Patrick says: Consider yourself fortunate. Unless you were a) extremely lucky, or b) had a healthy lottery win, an original copy of this Japanese ambient gem would have been way out of reach. Lucky for us then, that new imprint Empire Of Sign have reached out to Hiroshi's widow and laid the path for a whole host of reissues, beginning with this beauty. A landmark on its 1982 release, the beauty of 'Music For Nine Postcards' stands almost unmatched after 35 years.

                                                            FORMAT INFORMATION

                                                            LP Info: Vinyl repress!
                                                            Full reproduction of the original LP jacket and original liner notes in both Japanese and English.

                                                            You Said Strange

                                                            Fuzz Club Session

                                                              French outfit You Said Strange are the latest to join the Fuzz Club Session ranks alongside the likes of A Place To Bury Strangers, The Myrrors, Night Beats, Heaters, The Entrance Band, Holy Wave, Heaters and many more. When last in the UK in support of their debut LP, Salvation Prayer, the four-piece took to London’s Lovebuzz Studios to lay down a live session comprising four tracks of warm, jangly psychedelic bliss taken from their aforementioned debut. The resulting session will be released on vinyl and digital via Fuzz Club. Emerging out of Giverny, Normandy, You Said Strange became a mainstay of the European underground long before they headed over to Portland to record their highly-anticipated debut album with Peter Holmstrom of The Dandy Warhols - whom the band set out on tour with back in 2015, solidifying a friendship that would see Holmstrom take on production duties for another band for the very first time.

                                                              Dining on an influence of The Velvet Underground, The Brian Jonestown Massacre and Ride – though delivered with their own insatiable, forward-looking French charm – You Said Strange carve out an intoxicating, heady sound of shimmering guitars and reverb cloaked vocals that’s just as potent when drifting into full-blown fuzz-overloads as it is when dealing in jubilant, earworm melodies that’ll get stuck in your head for hours. The live recording of the session sees both of those sides shine brighter than ever, making it undeniably clear why the band has spent the last several years bringing their sublime live show to countless venues and psych festivals across Europe and beyond. 

                                                              Available on 180g vinyl. You Said Strange come from the north-western region of Normandy in France, although if it was up to them they’d come from the States, somewhere between Texas and Cali. They’ve been growing their own Norman-spiced-up definition of psychedelia for a few years now, making their way on a historically busy road. Having just signed to Fuzz Club, You Said Strange are gearing up for the release of their debut full length, Salvation Prayer.

                                                              The album was recorded in Portland, USA with Peter Holmström of The Dandy Warhols after both bands toured together back in 2015. Salvation Prayer is a condensation of heady riffs, haunting melodies and bright rhythms, half-way between 90s shoegaze and 60s psychedelia. The album touches on the theme of belief, the kind that affects even the most Cartesian spirit; may it be superficial, spiritual, superstitious, religious or moral. This very-human interpretation of reality is meant to help those who seek to free themselves, dream or flee, and that’s what the band is all about. 

                                                              You Say Party

                                                              You Say Party

                                                              After an extended absence, You Say Party has returned with their most thoughtful record to date. Recorded over the previous four years, this album represents themes of introspection, loss and uncertainty. The decision to step back, and to see what happens when you give something space, permitted the songs to evolve over a long stretch of time. This allowed for the emergence of an immersive album that builds a dream-like space, song by song.

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

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

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

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

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

                                                              You're Smiling Now But We'll All Turn Into Demons

                                                              Contact High

                                                                Cardinal Fuzz are proud to present You're Smiling Now But We'll All Turn Into Demons - Contact High Double LP.

                                                                "For so long we at Cardinal Fuzz have wanted to bring you this release on good old vinyl (2 of them were needed). Originally released via Function Records in 2009 on CD we at Cardinal Fuzz waited and waited for this to come out on vinyl. Eventually we had to start a record label with the sole intention of doing justice to this gloriously fuzzy heavy psych/garage monster.

                                                                Over 4 sides of vinyl The Demons bring forth big grooves and dreamy vocals with wah wah, tremolo and fuzz all over the place -sounding something like Blue Cheer, Black Sabbath and Mudhoney stuck in a revolving door. Sides C and D are given over to one track on each side both of which are psychedelic dirges that channel Hawkwind at their most strung out collapsing into a blizzard of wah wah and fuzz choas. In 2009 nobody really cared - we hope five years later you do. 350 Pressing Double LP The name comes from a late night TV programme about Japanese women wrestlers".

                                                                Young Aviators

                                                                Self Help

                                                                  The label that brought you the first releases from Biffy Clyro, Belle and Sebastian, Snow Patrol, The Pastels, King Creosote and Teenage Fanclub are proud to announce the debut album from Young Aviators. Electric Honey, the in-house record label at Stow College, has long been associated with quality acts across various genres and now presents Self Help - the first full-length from the young Glasgow based, Irish garage-pop trio Young Aviators. Known for their hugely catchy fuzzed-out riffs, massive melodies and tongue-in-cheek observations, their debut is a sonic rush that recalls the best of guitar pop from throughout the ages. With nods to the classics from The Kings and Zombies, the joyous punk of Buzzcocks and The Undertones, filtered through a garage-rock lens, the debut album from Young Aviators never loses sight of the melodies. Despite the energy and brightness present throughout the record, Self Help deals with issues that are affecting thousands of Britain’s young people, with sardonic songs about failure, rejection and stagnation, through to the uncertain future many are facing. The songs on their debut album Self Help are written from the heart and born out of the post-graduate experience of debt and poverty. Young Aviators recorded Self Help in Chem19 studios in Glasgow in early 2013, with producer Jamie Savage (whose brother and studio owner Paul Savage formed The Delgados and established the influential Chemikal Underground label).

                                                                  A lost ambient cosmic gem from Liquid Liquid founding member Dennis Young gets a long-overdue vinyl reissue! Young, the percussionist and marimba player in the seminal New York art-wave group, recorded a series of cassette-only releases in the '80s after Liquid Liquid disbanded. A couple of these were picked up at the time for Korean release, which is where Daehan Electronics, a South Korea-based label dedicated to tracing the history of electronic music in the land of the morning calm, comes in.

                                                                  "Quest" was one of these albums, part of a biorithmically-aligned New Age series, each album meant to be heard on specific days of the week. DE has worked with Young to remaster the album for this new release, bringing out the full warmth of the analog synthesizers used to create it. It is the first in a series of projected collaborations with Young, which will delve deeply into both the scarce cassette issues and other, unreleased material newly discovered on tapes. Liner notes outline the history of the record and include Young's own look back at the making of Quest.

                                                                  Written & Produced by Dennis Young.


                                                                  Like a wildflower of positive energy spreading its seed through song, Bergen collective Young Dreams are coming for the head and the heart. An album of stirring, symphonic wonder, Between Places is Young Dreams’ first cultivation of a rich patch of sonic earth, to be released in February 2013.

                                                                  Young Dreams is at the core, Matias Tellez - composer, raconteur, dreamer; and Rune Vanderskog – vocalist, harmoniser, eternal optimist. Around these two orbits a team of skilled merry men - Matias’ brother Pablo Tellez – bass guitar and boundless enthusiasm; Marius Erster Bergesen – drums and guns; Njål Strøm Paulsberg – electronic nerdery and fashion; and Chris Holm – guitarist, vocalist, and father.

                                                                  Beyond this core though, which originally began as all great rock’n’roll stories do, through frequenting the same bar (Bergen dive Vamoose in this case), the Young Dreams act swells to as many as the budget will allow, with a clutch of close friends contributing lyrics, vocals and instrumentation both in the studio and on the road. In a way it’s a very modular act (no pun intended), with each member having at least one other project, and often more than one member playing in another members other projects, and so on and so forth.

                                                                  The genesis for this project though occurred in 2009, when Tellez decided to go about building a studio, where “ instead of spending our money renting studios we would spend the money on building one and give people without much money the opportunity to record their songs without having to get broke. We bought some equipment with the little money we had left and Erlend Øye (K.O.C/TWBA) donated a mixer and a computer”. With likeminded dreamers regularly stopping by to use the studio, Tellez made the decision to move beyond his up-until-then mostly solo work, and make use of the people that surrounded him to bring his ambitious pop prophecies to life.

                                                                  I asked Rune if he wanted to sing on a new track I had been working on called "Young 1", later known as "Flight 376". I asked one of the bar owners, a Welsh guy called David, if he wanted to help me out on the lyrics so David, Rune and I sat down and wrote the words. We recorded the vocals and the word got around and people got to hear it. More people got keen on contributing so when I had laid down the music tracks people came by the studio to record their vocal parts. Gradually the foundations of Young Dreams were laid, and the result is Between Places - a vast, deep dive into symphonic pop, borrowing from classical composition as much as classic 60’s pop as much as textural electronic experimentation. Dense, darting arrangements are utilized to convey the most plaintive, honest of emotions, and on the contrary, sparse simplistic melodies carry the weighty feelings of young love and uncertain futures. Overall it’s a joyous uplifting celebration of youthful song, and at the same time as grandiose as debut records tend to get.

                                                                  “The vision was just to compose and record beautiful and honest music. It was kind of a reaction to all the superficial music with the wrong intentions being played around. It kind of hurt. It's like watching someone being beat and not doing anything about it, that’s just wrong. So I looked back at what I wanted to do when I was a kid, what other people wanted to do when they were kids.”

                                                                  Songs start in unexpected places, and end up even further off the beaten track. ‘Footprints’ is an invigorating splash of vocal harmony and percussive energy, while ‘Fog Of War’ is the heavenly first single, a burst of sweet strings driven by trance-like synthesizers. On ‘Wounded Hearts’ you find an attempt to literally capture the feeling of a dream in song form, as arranged in the style of Gil Evans’ work with Miles Davis in ‘Wounded Hearts Forever’. There’s a choral introduction based on Mozart’s requiem on ‘Through The Turnstiles’, and a “Steve Reich/John Williams-ish” orchestral house track in album centerpiece ‘The Girl That Taught Me How To Drink And Fight’. It could all very easily come across as overwrought, indie pretentiousness if it weren’t for the abundance of pure unfettered feeling at every trick and turn.

                                                                  “It's about documenting and capturing the sound of people trying the best they can. And that's maybe one of the most beautiful things in the world.”

                                                                  When it came time to mix, Matias’ brain was understandably fried, and so UK sound architect Gareth Jones (Grizzly Bear, Mogwai, Liars) took a trip to Bergen to put the beast to bed, bringing 20 odd years of mix experience with him, and finding sweet spots that until then only existed in Matias’ head.

                                                                  And so we have Between Places, the debut record from Young Dreams. For your enjoyment.

                                                                  FORMAT INFORMATION

                                                                  CD includes MP3 Download Code.

                                                                  This is known: Young Fathers are three young men from Edinburgh and Liberia and Nigeria, all at the same time. Their journey has taken them through various incarnations and styles but they are still only in their mid 20s. And... and this is important: they’ve chosen to kill the past - their own past, even - to make their own future.

                                                                  The what-what, the feeling: Following on from the acclaimed EPs 'TAPE ONE' and 'TAPE TWO', their debut album 'DEAD' comes as an intimate epic, thirty six minutes of…. what? What? You can call it hip hop or rap, but Alloysious, G and Kayus sing more than they chat. There's the suburbs and the cities of Grey Britain in there, but also Africa. There’s an obsession with the surface texture of sound, the psychedelicist’s love of noise.

                                                                  Equally, the deep, warm, maternal reassurance of bass. But the band also craft hook after hook, instant kid-melodies, piling them up on great reefs of backing vocals. Above all, what they insist on is that their music has to mean something, emotionally. If this is a wake, it’s a celebratory one, full of heart.

                                                                  Their album is released by renowned West Coast indie Anticon in their first ever collaboration with the UK’s own Big Dada. The first single from 'DEAD', 'LOW', has already been played on daytime Radio 1 by Fearne Cotton, where it belongs (of course).

                                                                  FORMAT INFORMATION

                                                                  LP includes MP3 Download Code.

                                                                  Young Fathers

                                                                  Tape One / Tape Two

                                                                  Big Dada reissue the critically acclaimed debut and sophomore albums by Young Fathers, ‘Tape One’ and ‘Tape Two’. Both albums have been remastered for this reissue and are presented together as double CD, double LP and double cassette packages. "Tape One" and "Tape Two" are compellingly unique - the band make the sort of uncompromisingly leftfield, forward thinking hip hop that has nothing to do with artiness and everything to do with brilliance, all with grain silo production and genuine pop hooks.
                                                                  "Tape One" was recorded within a week. It was first released in November 2011 as a limited edition cassette with individually spray-painted sleeves. "Tape Two" was recorded almost immediately afterwards, in January 2012. Eventually LA based label Anticon picked up both albums and gave them a limited release in the USA.  In 2014, "Tape Two" won the prestigious SAY Award (Scottish Album Of The Year) which brought a cash prize of £20,000.
                                                                  If you like Massive Attack, Shabazz Palaces and Kate Tempest, or forward thinking hip hop brilliance in general, then this one's for you. 

                                                                  STAFF COMMENTS

                                                                  Patrick says: Essential reissue of Young Father's first two albums for those of us (myself included) who were sleeping at the time. Gritty production, innovative lyricism and plenty of hooks make this a must have for any respectable hip hopper.


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