THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE OCTOBER 24TH DROP DAY AT 6PM.
LIMITED TO ONE PER PERSON.

Yann Tiersen’s Lagniappe Session is a special limited edition 12” of 3 tracks recorded for the Los Angeles-based audio journal, Aquarium Drunkard. Originally created to support Yann’s most recent album, Portrait, where he re-recorded a number of tracks from throughout his career, these tracks all fit the mood of that recording and Yann’s most recent tours. Pieces that could be described as minimalist are uprooted and placed into entirely different realms, as Tiersen tackles a 16+ minute Steve Reich piece, a classic Françoise Hardy chanson, and a tune by country gospel musician E.C. Ball. In the hands of Tiersen all become transformed.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Gilles Peterson has been given the keys to Warnerís impressive Jazz back-catalogue and hand-selected Yusef Lateefís legendary Detroit Latitude 42∞ 30' Longitude 83∞ for Arc Records next release. This is the first time the album has been reissued on vinyl since its originally came out in 1969. The album is Lateefís nostalgic love-letter to his hometown and one of the rawest works in his catalogue but the record looks forward as well as back. The compositions are laced with the seeds of 70s Jazz Funk that would come to dominate the following decade. Arc Records have given this overlooked piece in Lateefís oeuvre a bespoke reissue treatment. The audio has been remastered in mono from the original tapes by legendary engineer Bernie Grundman - best known for personally mastering industry landmarks such as Michael Jacksonís ìThrillerî, Princeís ìPurple Rainî and Dr. Dreís ìThe Chronicî among many others. The artwork, printed on heavy-weight card, is faithful to the original down to the 1960ís-style tip on sleeve and features the original sleeve notes alongside updated liner notes. The record itself is pressed on 180-gram black vinyl. The release is physical only and limited to just 2000 copies.

TRACK LISTING

1 Bishop School
2 Livingston Playground
3 Eastern Market
4 Belle Isle
5 Russell And Eliot
6 Raymond Winchester
7 Woodward Avenue
8 That Lucky Old Sun

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 24TH).

Limited Edition Orange 7”, exclusive to Record Store Day. Featuring Elton John. B-side features Yard Act’s cover of Tiny Dancer

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Yumi Zouma release a special one off coloured vinyl (colour in colour red), a cover version album of Oasis seminal album (What's the Story) Morning Glory reimagined by Yumi Zouma - first time pressed on vinyl for retail. On bands own imprint.

TRACK LISTING

1. Hello
2. Roll With It
3. Wonderwall
4. Don't Look Back In Anger
5. Hey Now!
6. 6
7. Some Might Say
8. Cast No Shadow
9. She's Electric
10. Morning Glory
11. 11
12. Champagne Supernova

The Kyoto-based musician Yusaku Arai is known for his production work in the avant-garde scenes of Japanese hip-hop and R&B. On this solo album, though, he offers more lengthy, piano-centric meditations that use the techniques of musique concrète, and the ambient swirls you'll hear from Huerco S and the West Mineral / Motion Ward axis.

Arai’s compositions on the A-side emerged out of a reflection on the corporeal and interwoven relationship between his own body and things he encountered in the world - the ocean, a flower petal, a plastic sheet, a hand. His intent is to represent a process in which colors gently well up in inside of an object, pass through its entirety - and eventually permeate into the body itself. The B-side consists mostly of a long composition, which is about an unavoidable surplus that crops up in communication, whether of gestures or of language. This narrative work describes humans as beings torn between enthusiasm and emptiness.

The album’s artwork is by photographer Azusa Yamaguchi and designer Hejiro Yagi. Mastering by Sean McCann of Recital. An 18x24 inch poster is included.

The next official reissue from Isle Of Jura 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 have appeared on Isle Of Jura. 

STAFF COMMENTS

Matt says: A stonkingly good crowd pleasing reggae - disco cover that'll have everyone unified under its summery sway. Chaka Khan ina rub-a-dub stylee!

TRACK LISTING

Aint Nobody Original 12 Mix
Checking Out The Way I Feel
Aint Nobody Jura Soundsystem Edit
Aint Nobody Jura Soundsystem Dub

Sought-after eponymous Indonesian album by the Yanti Bersaudara (which means the Yanti sisters: Yani, Tina & Lin Hardjakusumah), released in 1971 and reissued for the first time. It is a very spiritual and magical Sunda album with haunting vibes based on a unique, creative and strong Sundanese cultural heritage.

Active only for less than a decade (from the 1960s until the early 1970s), the three sisters originally from Bandung (West Java) sang traditional Sundanese songs with beautiful voices & harmonies, creating a trippy oriental exotic psychedelic sound.

TRACK LISTING

Hariring Kuring
Sabilulungan
Tekad Pahlawan
Badminton
Leungiteun
Rarakitan
Bandung
Sapunjere Pegat Simpaj
Lembur Kuring
Bulan Dagoan
Gumbira
Yanti

‘Black Classical Music’ is a 19-track record taking listeners through a looking glass into the exalted artist’s past and present whilst exploring themes of home and family. The album draws influence from his musical heroes Miles Davis & Rahsaan Roland Kirk and Yussef’s extensive travel around the globe that has deepened his study of rhythm.

Honourable features on “Black Classical Music” - Chronixx, Jamilah Barry, Tom Misch, Shabaka Hutchings, Miles James, Sheila Maurice Grey, Nathaniel Cross, Theon Cross and the Chineke! Orchestra, plus Venna, Rocco Palladino, Charlie Stacey & Elijah Fox

STAFF COMMENTS

Barry says: Oooof, this is an absolute wealth of rich groove and the seamless pulling together of myriad influences from drummer and renowned London jazzer, Yussef Dayes. Filled with collaborative talent, 'Black Classical Music' manages to draw from a wealth of sound worlds without breaking step. Afrobeat, soul funk and jazz fans take note.

TRACK LISTING

A1. Black Classical Music Ft. Venna & Charlie Stacey
A2. Afro Cubanism
A3. Raisins Under The Sun Ft. Shabaka Hutchings
A4. Rust Ft. Tom Misch
A5. Turquoise Galaxy

B1. The Light Ft. Bahia Dayes
B2. Pon Di Plaza Ft. Chronixx
B3. Magnolia Symphony
B4. Early Dayes
B5. Chasing The Drum

C1. Birds Of Paradise
C2. Gelato
C3. Marching Band Ft. Masego
C4. Crystal Palace Park Ft. Elijah Fox
C5. Presidential Ft. Jahaan Sweet

D1. Jukebox
D2. Woman's Touch Ft. Jamilah Barry
D3. Tioga Pass Ft. Rocco Palladino
D4. Cowrie Charms Ft. Leon Thomas & Barbara Hicks 

Yussef Dayes releases LIVE AT JOSHUA TREE, the sound recording from a naturalistic video shot in Joshua Tree, California in collaboration with Soulection. Featuring Venna on sax, Rocco Palladino on bass, Alexander Bourt on percussion and Elijah Fox on keys, the vinyl release of this stellar session includes the exclusive vinyl-only track ‘For My Ladies’.

TRACK LISTING

A1. Raisins Under The Sun (Desert Version)
A2. For My Ladies (Feat. Elijah Fox)
A3. Odyssey
A4. Golden Hour (Feat. Rocco Palladino)
A5. Mystics (Feat. Venna)
A6. Rhythms Of Xango (feat. Alexander Bourt)

Having stepped up to the plate for Will & Ink’s first release in five years with the Cullen EP, Yaleesa Hall follows up with another trademark, brain boggling EP of twisted dancefloor delights.

Forever pushing the envelope, Hall hits with three dynamic cuts that flow from rapid fire, synth heavy techno to glitching, low-end electro and atmospheric electronica.

TRACK LISTING

A1. Newman
B1. Shanks
B2. Williams

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”.

TRACK LISTING

Side A:
1.U
2.Cs

Side B:
1.I
2.Sr

A command across genres has distinguished Yasushi Ide’s work as a DJ and producer since emerging from the multiscene spawning big bang that was Tokyo’s highly influential club milieu of the 1980s. His productions draw variously from hip-hop, dub, house, punk, jazz dance, exotica and electronic music - and at their most expressive, synthesize sensibilities within a single track. The respect Ide’s earned is well evident in the impressive roll call of collaborators he’s accrued over the years - Masters At Work, Tom Verlaine, Don Letts, James Chance, DJ Krush, Pharaoh Sanders, U-ROY, and Bongo Herman, just to name a legendary few.

Now available for worldwide distribution from Love Injection Records in both digital and 7-inch 45 vinyl formats, the Yasushi Ide “A Place In the Sun (Kaoru Inoue Remix)” is paired with the equally gorgeous “A Place In the Sun (Dub).” On the former, Inoue’s treatment largely strips away the track’s beats, anchoring it to a subtle percussion pulse that emphasizes the composition’s irresistible melodic qualities. The latter finds Yoko Ota at the controls restoring and pushing reverb-soaked drums to the forefront of the mix, accentuating Ide’s affection for the sound system aesthetic while exercising just the right amount of spacial arrangement flourishes to inject some brawn amidst the beauty.

These serendipitously rediscovered renditions of a back catalog deep cut are just the latest examples of Yasushi Ide’s artistic reach. In addition to recording such acclaimed albums as 2020’s Cosmic Suite and its 2022 sequel (for which Love Injection has remixed a track), his work has spanned music supervision of some 200+ compilations for major labels, artist management, his Grand Gallery shop/gallery proprietorship, and books showcasing the depth of his archival sensibilities, including vintage t-shirt and ephemera curation. Perhaps most inspiring, however, is that Ide is still winning new appreciators and collaborators in unexpected ways four decades into a revered career that continues to evolve and expand.

TRACK LISTING

1. A Place In The Sun (Kaoru Inoue Remix 45 Edit)
2. A Place In The Sun (Dub) 

Despite productions appearing here and there since 2015, Yuzo Iwata has kept a relatively low output. Contributing tracks to compilations and releasing singles under aliases Fabio Lazaro and Almost East, Iwata is also affiliated with Junki Inoue's recent SAISEI label, editing pioneering early Japanese techno from the likes of Suzukiski and COLOGNe for rerelease.
After 'Acid House' appeared on the Butter Sessions Come Together 12" in 2020, the label now play host to Yuzo Iwata's first ever full length. The 10 tracks span a wide variety of tempos and show a consistent approach to unusual sound design first evidenced in Iwata's RA Mix of the Day for Clubberia (100% originals recorded circa 2017).

Kaizu unfolds with dense environmental ambient textures before 'Neverland' takes us into broken dancehall rhythms and acid-tinged dub. 'Funclub' is reminiscent of Japanese video game soundtracks and 80s fusion whilst further into Side A the balearic energy continues to captivate, closing with the beautiful 'Heroes Show Up Late'. This short piece is built around a looping vocal sample and shuffling drum work that all come together perfectly. There's even a trace of Brazilian MPB influence at play with the vocal/synth interplay. It's Iwata's knack for percussion that is most evident across the album however, with Side B opening cut 'Gamelion' taking an Indonesian inspired approach to modern techno. It runs in a similar vein to Komodo Kolektif's work and might be the dancefloor highlight of the whole LP. 'Sundance' follows with more Japanese motifs, recalling Haruomi Hosono's F.O.E project. Another strong rhythmic workout suited to the floor. The environmental ambient textures return with the closing piece 'Time 2 L', strings, bird calls and droning synthesiser winding down the proceedings. Letting us know it's time 2 leave?

TRACK LISTING

1. Crux
2. Neverland
3. Fun Club
4. Humid Gathering
5. Shadow Of The Rock
6. Heroes Show Up Late
7. Gamelion
8. Sundance
9. Ancient Tape
10. Time 2 L

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.

TRACK LISTING

A1. Black Focus
A2. Strings Of Light
A3. Remembrance
B1. Yo Chavez
B2. Ayla
B3. O.G.
B4. Lowrider
B5. Mansur's Message
B6. WingTai Drums
B7. Joint 17

Cowboy Bebop (Soundtrack from the Netflix Original Series) is now available on vinyl! Yoko Kanno and the band SEATBELTS, the artists behind the music in the original anime series of Cowboy Bebop, have returned to bring their signature dynamic, jazzy sound to the Netflix live-action show. The resulting compositions are characters themselves - constant companions to the crew of the Bebop and brimming with just as much personality.

COWBOY BEBOP is an action-packed space Western about three bounty hunters, aka “cowboys,” all trying to outrun the past. Long on style and perpetually short on cash, bounty hunters Spike, Jet and Faye trawl the solar system looking for jobs. As the crew of the Bebop, they make up a ragtag team that chases down the galaxy's most dangerous criminals. They'll save the world... For the right price!

This release is a treat for Bebop fans in an additional way - it features over twenty new tracks only available on vinyl! This wide release is pressed on red marble vinyl discs in a gatefold jacket with printed inner sleeves. 

TRACK LISTING

A1. A Day In The Bebop*
A2. Kickin' Colt
A3. A Hole To The Universe*
A4. What Planet Is This??*
A5. Twilight*
A6. Weekend Ana*
A7. Julia's Song
A8. The Adventures Of Losers
B1. Rouge*
B2. Sleuthing Two*
B3. Suit And Tie*
B4. Funky Stuff
B5. Faye's Sky Fall*
B6. Time*
B7. IKA Pod*
B8. Net Rush
B9. Headphone*
B10. Ein*
B11. Waltz In High Socks
B12. Beans Be
C1. TANK!
C2. Cat Attack Part 1
C3. Dedicated To Sergio*
C4. Woodcock
C5. Rooftop Kung Fu
C6. Milky Cheat
C7. My Bean At 5*
C8. Blood Brothers
D1. Sad End Fad*
D2. Muddy Road*
D3. Lord Of The Empty
D4. Sushi Truck*
D5. Into Noir*
D6. The End Of Friendship*
D7. The Fate Of Three
D8. Earthland Entrance*
D9. El Rey Bar*
D10. Hello To Ya Blues*

*Vinyl Exclusive Track 

A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno. The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard. Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa's band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan. ‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and interview with Yasuhiro Kohno by Tony Higgins.

TRACK LISTING

1. Song Of Island
2. Time For Peace
3. Love For Sale
4. Mr Nilson
5. Village Festival

Born and raised in Manor Park, East London, she relocated to Nottingham whilst working for a children's charity and initially only considered making music as a way of having fun with friends. However, a chance encounter lead to her earning a place on Future Bubblers - Gilles Peterson's development programme devoted to discovering and nurturing fresh UK talent - and enthused by the experience, Lacey recorded some songs in her living room, then in 2017 self-released her debut EP, 'Black Moon'. The more polished 'When The Sun Dips 90 Degrees' EP followed in 2018, and then 'Morning Matters' EP in 2020 – the EP's title track has clocked up over 14 million plays on Spotify and also saw Yazmin make her COLORS debut performing 'On Your Own'.

TRACK LISTING

Flylo Tweet
Bad Company
Late Night People
Fools Gold
Where Did You Go?
Sign & Signal
From A Lover
Eye To Eye
Pieces
Pass It Back
Tomorrows Child
Match In My Pocket
Legacy
Sea Glass

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.

TRACK LISTING

1.  90 Degrees
2.  Something My Heart Trusts
3.  Burn & Rise
4.  Heaven
5.  Body Needs Healing 

Debut LP from fast rising Israeli pianist and producer Yoni Mayraz. "Dybbuk Tse!" combines jazz with the sound of 90’s New York hip hop. Yoni simultaneously interweaves unique Middle Eastern melodies, sophisticated structures and sounds, with beautifully crafted solos played by some of the scenes promising young talents. Fans of Alfa Mist should check!

TRACK LISTING

1. Landed
2. Pawnshop
3. The Master Wore A White Robe
4. Palms
5. Dybbuk Tse!
6. 1999
7. As We Entered Jericho
8. International Plots
9. Painkillers
10. South Star
11. The Biggest Fear

Following her hugely successful run as curator of London’s Meltdown Festival, this album continues an astonishing bout of creativity for Ono, who is celebrating her 80th birthday with major museum retrospectives around the world, her 10th #1 hit on the Billboard Dance charts, a sequel to her instruction book Grapefruit, winning "Digital Genius" MTV O Award, and spearheading the activist effort against fracking in her home state of New York. A career retrospective book will be published by Genesis in Autumn followed by reissues of her '60s-80s albums in 2014.

“My new album comes at a very special time for me. The energy I have right now, and the desire to continue to make as much great work as I can, is really moving me forward all the time. This album is the culmination of a lot of ideas I’ve been having over the last few years and I feel proud to release it at such an exciting time of my life."

Take Me To The Land Of Hell was recorded in New York and produced by Yoko, Sean Lennon and Yuka Honda. Yoko Ono Plastic Ono Band includes members of Cornelius and Cibo Matto, plus – special guests for this album – tUnEyArDs, ?uestlove, Lenny Kravitz, Nels Cline and Andrew Wyatt. The album includes remixes by Mike D & Adrock and Keigo "Cornelius" Oyamada.

Following twenty albums over 50 years, Yoko Ono's Warzone is strikingly different from any record she has made previously, but it is also strikingly different from any album that anyone is making...

Yoko revisits and reimagines 13 songs from her past work, spanning 1970-2009, the lyrics and messages still pertinent—perhaps even more pertinent—in 2018. "The world is so messed up. Things are very difficult for everybody. It's a warzone that we are living in..." says Ono. "I like to create things in a new way. Every day things change."

The recordings and arrangements on Warzone are very stripped down, with a particular emphasis on Yoko's voice and lyrics. Here in this minimalist landscape the content of her message rings clear and unencumbered; sometimes somber warnings, sometimes uplifting encouragement, but her wisdom and fortitude are unflinchingly strong, her power having intensified with time and life experience. She ends the ominous questions of "Now Or Never" (1971) with one of her most famous and inspiring lines: "[a] Dream you dream alone is only a dream, but dream we dream together is reality."

Warzone further builds the legacy of an artist unparalleled in her unique and singular vision. At 85 years young, Ono is already plotting her next album... It is not too late to change the world. We need Yoko now more than ever.

TRACK LISTING

1 Warzone
2 Hell In Paradise
3 Now Or Never
4 Where Do We Go From Here
5 Woman Power
6 It?s Gonna Rain
7 Why
8 Children Power
9 I Love All Of Me
10 Teddy Bear
11 I?m Alive
12 I Love You Earth
13 Imagine 

What we have here is a New York City avant garde convergence at its finest. The idea of a meeting between Yoko Ono, Kim Gordon and Thurston Moore is so perfect, so obvious, the only shock is that it didn’t happen earlier. Recorded last year at Manhattan’s Sear Sound, the album features lead vocals by Yoko, with backing vocals and guitars by Kim and Thurston. It’s a wild collision of song-form, poetics, free-rock and classic glossolalic ecstasy. Yoko has not allowed herself to sound this raw since the earliest recordings of the Plastic Ono Band. There’s a remarkably empathic and comfortable quality to the sound. The three communicate as though they’d been playing together forever.

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. 

TRACK LISTING

1: Walking On Thin Ice
2: Forgive Me My Love
3: Mrs. Lennon
4: Give Me Something
5: She Gets Down On Her Knees
6: Dogtown
7: Wouldnit
8: Move On Fast
9: Soul Got Out Of The Box
10: Approxmately Infinite Universe
11: Yes, I'm Your Angel
12: Warrior Woman
13: Coffin Car
14: I Have A Woman Inside My Soul
15: Catman
16: No Bed For Beatle John
17: Hell In Paradise 

Debut from genre-defying producer, Yosa Peit. Laurie Anderson meets Bjork; Prince overlapped with Arthur Russell and the hum of Blue Velvet, with jarred and splintered ambient production reminiscent of Aphex Twin. ‘Phyton’ gets a special expanded edition via Fire Records, featuring unreleased tracks; ‘Tyrann’, a live version of the haunting album track ‘Serpentine’ and end of the night lament, ‘Rise’.

‘Phyton’ is a conundrum with its own humour and beauty amid the electronica soundtracking; it’s a record that’s defied genre categories when first released on Tax Free Records two years ago. Yosa’s ascension from singer to producer is now complete.

“In my head I was making a movie,” Yosa told No Wave magazine, “I dreamed up a Coen Brothers’ movie scene for a few tracks.” The result is a haunting, provocative sound; a soundscape where songs merge and splinter, a trip that’s never predictable.

"The production is super fresh" Holly Herndon.

“Warped lo-fi meets glitchy electronica and pop” The Vinyl Factory.

TRACK LISTING

A1 Precious Lies
A2 Serpentine
A3 Anthy
A4 Curls
A5 Leaf I
B1 Serious People Chuckle
B2 Elephant
B3 Leaf II
B4 Lin
B5 New Stars
B6 Palm Tree Antenna
B7 Tyrann

Download Extras:
1. Serpentine (Live Bonus)
2. Rise (Bonus)

1982 album from Japan's visionary saxophonist Yasuaki Shimizu, the man behind Mariah 'Utakata Ho Hibi'. Through its 8 suite-like tracks, Kakashi transports the listener into Yasuaki's colourful sound-world, a fusion of outre jazz, new wave, ambient, and dub practices. Another high water mark in the 80s Japanese underground which has gathered cult status in recent years, and considered to be a highlight of Yasuaki's solo career.

Following the release of his widely regarded solo classic Kakashi, from 1982, and the otherworldly Utakata No Hibi, by Mariah in 1983, he went into the studio the following year with frequent collaborators, producer Aki Ikuta and Morio Watanabe (bassist of Mariah), to record a mystifying collection of experimental dance music.

Utilizing cutting-edge technology and studio trickery, Kiren showcases Shimizu's trademark playfulness, marrying richly layered production techniques to off-kilter, sometimes traditional sounding rhythms and melodies. Unreleased until now, Kiren represents an important period of Shimizu's artistic expression, an artist at his peak, while successfully exploring the intersections of fusion, synthpop, new wave, and jazz.

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.

TRACK LISTING

Bo Mambo
Taki Rari
Gopher
Chicken Talk
Goomba Boomba
Malambo #1
Five Bottles Mambo
Indian Carnival
Cha Cha Gitano
Jungla
Carnavalito Boliviano Mambo And More

Wewantsounds is delighted to announce the release of Yukihiro Takahashi's debut solo album 'Saravah!'. One of the key Japanese albums of the 70s, it was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Yukihiro 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 is 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. Newly remastered by renowned engineer Mitsuo Koike, the LP features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes), a 4-page insert and a new Introduction by Benjamin Barouh (Saravah Records).

TRACK LISTING

1. Volare (Nel Blu Dipinto Di Blu
2. Saravah!
3. C'est Si Bon
4. La Rosa
5. Mood Indigo
6. Elastic Dummy
7. Sunset
8. Back Street Midnight Queen
9. Present

Tokyo based Yuto Takei's latest work is an assortment of numbers that represents fairly well his versatility as a music maker. His capability of painting afterglow soundscapes with a cinematic approach is counterpoised by an almost obsessive interest in percussive experiments. The sparse presence of subtle natural field recordings together with vast open sonic spaces is recurrently sustained by repetitive semi-artificial and frantic cosmic repetitions. Comes with a riso-printed insert, handstamped innersleeve, and a label sticker.

STAFF COMMENTS

Matt says: A gloriously unique sonic environment to get immersed in. Yuto Takei's world is full of ripping arps, expansive pads a ethnic percussion; all smothered in a cosmic echo that'll have your chakras aligned in no time at all.

TRACK LISTING

Tinu
Water Index 92
Usual Nikko
Ev22
From Outer 273
Balabadur

‘∞’ (Infinity) is the follow up to 2011’s ‘Skyline’, which was described by Mojo as “life affirming”, by Clash as a “remarkable musical talent” and in Drowned in Sound’s 8 star review as “euphoric”.

Conceived in Iceland, where work began on the album, and in Ushant Island, Brittany. The album was produced by Yann Tiersen and mixed by Gareth Jones with Yann Tiersen and Daniel Miller.

For this album Tiersen has worked with native language speakers to include tracks sung and spoken in Breton (‘Ar Maen Bihan’), Faroese (‘Grønjørd’) and Icelandic (‘Steinn’). ‘Ar Maen Bihan’ is a story written by Emilie Quinquis in the Breton language, and was then translated by Amiina to Icelandic to create the track ‘Steinn’. Elsewhere on the album Aidan Moffat (Arab Strap) and Ólavur Jákupsson (a member of Tiersen’s live band) both contributed tracks on the same theme - stones - Moffat’s in English and Jákupsson’s in Faroese.

Hailing from Brittany, Yann Tiersen is one of the most revered artists of his generation, with a reputation first established by his studio albums (which included 1997’s ‘Cascade Street’, 1998’s ‘The Lighthouse’ and 2005’s ‘Les Retrouvailles’). The early albums were combined and used for the ‘Amelie’ soundtrack (2001), earning him global recognition. Recent Mute albums ‘Dust Lane’ (2010) and ‘Skyline’ (2011) has seen his prominence build, along with projects such as the recent live score to the Fantômas series which he curated at the Théâtre de Châtelet with guests Tim Hecker, James Blackshaw, Loney Dear and Amiina.

Ten tracks. Ten locations. Ten field recordings. One piano.

Eusa, the brand new album from Yann Tiersen comprises 10 new solo piano pieces, each relating to a specific location on the island of Ushant off the coast of Brittany (‘Eusa’ in Breton), where Tiersen lives.

The album, recorded in Studio 1 at Abbey Road features Yann on piano accompanied by field recordings from the exact spot referred to in the piece of music. Between each piece we hear the sounds of the island, and Tiersen’s improvisations that are all titled ‘Hent’. Hent translates from Breton to English as Path – Tiersen is leading the listener across the landscape to the new location.

Eusa is the album fans have been waiting for and sees Yann return to the piano and the music the world fell in love with on the soundtrack to Jean-Pierre Jeunot’s 2001 movie Amélie.

"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.

Yann Tiersen presents his brand new album ‘11 5 18 2 5 18’ via Mute. Reprogrammed, resampled and reimagined, ‘11 5 18 2 5 18’ is a collection of 9 tracks that serve as a translation of Tiersen’s live show, taking songs from his 2021 release ‘Kerber’ plus additional tracks from his catalogue, completely restructured to present a brand new album.

"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.

TRACK LISTING

Tempelhof
Koad (Wood)
Erc’h (Anow)
Usal Road
Pell (Far)
Bloavezhioù (Years)
Heol (Sun)
Gwennilied (Swallows)
Aon (Fear)
Prad (Meadow)
Beure Kentañ (First Morning)

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. 

TRACK LISTING

1/ J'y Suis Jamais Allé
2/ Rue Des Cascades
3/ Pas Si Simple
4/ Comptine D'été N°2
5/ Comptine D'été N°3
6/ Déjà Loin
7/ La Chambre
8/ Mouvement Introductif
9/ La Muette
10/ Noami
11/ Soir De Fête
12/ Le Vieux En Veut Encore
13/ Toujours Là
14/ C'était Ici
15/ Prière N°2
16/ Comptine N°1
17/ La Fenêtre
18/ Prière N°3
19/ La Pièce Vide
20/ La Vie Quotidienne

‘Kerber’, the new album from Yann Tiersen, is a beautifully textured, highly immersive and thoughtfully constructed piano based album fused with electronic music. Piercing piano keys merge with swirling soundscapes, as Tiersen explores the possibilities of infinite smallness. The album was created and recorded at The Eskal, the studio he built on Ushant (the island where he lives), and ‘Kerber’ is named after a chapel in a small village on the island while each track sonically maps the landscape that surrounds Tiersen’s home. 

TRACK LISTING

1 Kerlann
2 Ar Maner Kozh
3 Kerdrall
4 Ker Yegu
5 Ker Al Loch
6 Kerber
7 Poull Bojer

Yann Tiersen presents the final piece of the Kerber project, Kerber Complete; a CD box set including a brand new Solo Piano version of Kerber, the original album, Kerber Remixes with bonus material, and Tiersen’s live translation of Kerber, 11 5 18 2 5 18.

Kerber was initially released in 2021 and was very much a new chapter in the Breton artist’s work. Although there is piano at the core, the album was the most overtly electronic material he had presented to date. It was recorded in The Eskal, the studio he built on Ushant where he lives, and was named after a Chapel in a small village on the island. This was followed up by Kerber Remixes (a 12” of remixes from Terence Fixmer, Beatrice Dillon, Laurel Halo, Iku Sakan and remix competition winners) and 11 5 18 2 5 18 (a record of reprogrammed, resampled and reimagined tracks from Kerber and additional tracks from his catalogue that serves as the perfect insight into Tiersen’s live interpretation of the original album).

This CD box set exhibits the full evolution of the Kerber story, moving from its origins of stripped back piano into its electronic resolution, 11 5 18 2 5 18. It also see Kerber Remixes available for the first time on CD, featuring a new Terence Fixmer remix of ‘Ker al Loch’, a variety of Yann Tiersen’s remixes of tracks by NEU!, Keeley Forsyth, Michael Price, and Simon Fisher Turner and Edmund de Waal, as well as a brand new song titled ‘Nivlenn’. 

TRACK LISTING

CD1 Kerber (Solo Piano)
1 Kerlann (Solo Piano)
2 Ar Maner Kozh (Solo Piano)
3 Kerdrall (Solo Piano)
4 Ker Yegu (Solo Piano)
5 Ker Al Loch (Solo Piano)
6 Kerber (Solo Piano)
7 Poull Bojer (Solo Piano)

CD2 Kerber
1 Kerlann
2 Ar Maner Kozh
3 Kerdrall
4 Ker Yegu
5 Ker Al Loch
6 Kerber
7 Poull Bojer

CD3 Kerber Remixes
1 Nivlenn
2 Ker Al Loch (Terence Fixmer Remix 2, Edit)
3 Lieber Honig (Yann Tiersen Remix)
4 Ker Al Loch (Beatrice Dillon Remix)
5 Ker Al Loch (Sote Remix)
6 Wash (Yann Tiersen Remix)
7 Kerlann (Laurel Halo Remix)
8 Ker Yegu (Iku Sakan Remix)
9 The Anatomy Of Clouds (Yann Tiersen Remix)
10 A Quiet Corner In Time (Yann Tiersen Remix)

CD4 11 5 18 2 5 18
1 11 5 18 2 5 18
2 11 5 18. 1 12. 12 15 3 8
3 1 18. 13 1 14 5 18. 11 15 26 8
4 16 1 12 5 19 20 9 14 5
5 3 8 1 16 20 5 18. 14 9 14 5 20 5 5 14
6 11 5 18 12 1 14 14
7 11 5 18. 25 5 7 21
8 16 15 21 12 12. 2 15 10 5 18
9 13 1 18 25 (6 5 1 20. 17 21 9 14 17 21 9 19)

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.

TRACK LISTING

A1 Introductory Movement (Feat. Stephen O’Malley)
A2 The Long Road
A3 Monochrome (Feat. Gruff Rhys)
A4 Chapter 19
B1 Rue Des Cascades
B2 The Old Man Still Wants It
B3 Gwennilied (Feat. Emilie Tiersen)
B4 Prad (Feat. Stephen O’Malley)
C1 Diouz An Noz (Feat. Emilie Tiersen&ÓlavurJákupsson)
C2 PorzGoret
C3 La Dispute
C4 Pell (Feat. Emilie Tiersen)
D1 Erc’h (Feat. ÓlavurJákupsson)
D2 The Wire (Sur Le Fil)
D3 The Waltz Of The Monsters
D4 Closer (Feat. Blonde Redhead)
E1 Naval
E2 The Jetty
E3 Koad (Feat. ÓlavurJákupsson)
E4 Prayer No.2
E5 Gronjord (Feat. ÓlavurJákupsson)
F1 Kala (Feat. ÓlavurJákupsson)
F2 Comptined’UnAutreÉté (L’Après-Midi)
F3 Tempelhof (Part 2)
F4 Thinking Like A Mountain (Feat. John Grant & Stephen O’Malley)
G1 Comptined’UnAutreÉté (L’Après-Midi) [Harpsichord Version]
H1 The Waltz Of The Monsters [Harpsichord Version]

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. 

TRACK LISTING

1/ Plus Au Sud
2/ Les Grandes Marées
3/ La Crise
4/ Tout Est Calme
5/ La Rupture
6/ La Relève
7/ La Pharmacie
8/ La Terrasse
9/ L'étal
10/ La Découverte

Symphonic music, library music, movie and TV soundtracks, advertisements, French variété, pop, disco, electronic, experimental or relaxation music, Yan Tregger (born Edouard Scotto di Suoccio) took up all genres, styles and formats through a career spanning from the end of the '50s to this day.

TRACK LISTING

1. Creative Blow
2. Gold Calf Dance
3. Zodiac
4. Pavillon Des Rêves
5. Shmastar
6. Passage Of The Red Sea
7. Deo Volente
8. Sun Adoration
9. Bubble Bubble
10. Across The Jourdan
11. Bloodnight
12. Slow Zoom
13. Chandigargh
14. The Crash

Yves Tumor’s highly anticipated follow-up to ‘Heaven To A Tortured Mind’. Produced by Noah Goldstein (Frank Ocean / Rosalía / FKA Twigs / Rihanna / My Beautiful Dark Twisted Fantasy).

STAFF COMMENTS

Barry says: Never one to go with expectations, Yves Tumor has moved from jagged electronics and woozy lo-fi hip-hop to a strikingly modern, wildly inventive mash-up of classic rock, soul and noise that's just on the right side of unfathomable. Their constant musical evolution is both baffling and thoroughly enjoyable.

TRACK LISTING

01. God Is A Circle
02. Lovely Sewer
03. Meteora Blues
04. Interlude
05. Parody
06. Heaven Surrounds Us Like A Hood
07. Operator
08. In Spite Of War
09. Echolalia
10. Fear Evil Like Fire
11. Purified By The Fire
12. Ebony Eye 

Super limited edition pressed on heavyweight 180g vinyl housed in a picture sleeve and clear plastic outer sleeve – never to be repressed. Only 175 units.

Tokyo-based DJ, producer and sound artist Yuu Udagawa inaugurates the freshly launched Cyphon Recordings with her debut EP, ‘Forever’.

Growing up on a cocktail of everything from rock, hip-hop and Latin jazz to techno and house, Yuu’s immersive musical output draws inspiration from this diverse pool of influences to create ‘uplifting and healing’ music for the mind and body. There’s an elegance and sophistication to her productions, which stems from her desire to make music guided by the Golden Mean philosophy of finding a middle ground between two extremes: excess and deficiency.

Active as a DJ since the millennium, which saw her playing at clubs, festivals and fashion shows across the country, she soon turned her attention to music production and has since self-released a handful of singles and contributed audio commissions for Sony Playstation3, museums, theatres and apparel brands. Yuu’s meditative pallet of sounds instantly grabbed Cyphon’s third ear which led to the tracks that make up ‘Forever’: a collection of analog slo-mo electronica and leftfield minimal house that strike a perfect balance between warmth and depth.

The release opens with the titular track: a deep, emotive electro cut punctuated by a twinkling synthline and blissful vocals. ‘Mojito’ continues the EP’s voyage into the deep, matching softly spoken word with jazz-tinged chords and meandering melodies, before ’Hug Close’ strips things back, guided by a crunchy minimal groove, warm, resolute keys and reflective synths.

The B-Side steers things on a soulful course. The dark, enveloping atmosphere of ‘Illuminated Night' is lifted by bright synth stabs and harmonic R&B-flavoured vocals. These influences continue on closer ‘Stay With Us’. Slowing down the pace, the track is a wash of shimmering funk-inspired chords and shuffling rhythms, laced once again with effortless, soaring vocal tones.

STAFF COMMENTS

Matt says: Luminous, futuristic R&B hybrids with the odd dip into propulsive house music. Japenese producer Yuu Udagawa knows what's up! An adventurous start to this new label.

TRACK LISTING

A1. Forever
A2. Mojito
A3. Hug Close
B1. Illuminated Night
B2. Stay With Us

Cuban artist, composer and trumpet player Yelfris Vald s once again joins forces with Jazz FM Resident Tim Garcia’s label M sica Macondo, inviting an impressive roster of producers to remix and reinterpret a selection of standout tracks from his 2019 debut LP ‘For The Ones.

Kicking off the record, Yoruba Records head honcho Osunlade is first to step up to the plate, delivering a deep and percussive take of ‘After Sly’. Next up, Quantic takes the recent single ‘Aceleyo A a’ into new and unexplored territories, utilising space bending arpeggios and astral synths alongside a heavily swung rhythm section to incredible effect. Manchester based Contours transforms Gnawa influenced ‘Maktub’ into a moment of peak time introspection with an icy, early Chicago house edge.

On the flip, Garcia opted for remixers who “capture that Broken/Bruk London feel”. Starting in fine form, K15 blends shimmering keys and a shuffling beat with the euphoric vocals and trumpet melodies of his bruk-infused take on just released second single ‘Ancestry’. Joining the proceedings, South London’s Maxwell Owin sharpens his amen chops on a twisting, abstract jungle soundscape version of ‘Worlds’ before IG Culture’s LCSM bring their unmistakable, brass-led syncopated stylings to the closing track ‘Full Moon’.

This vinyl only release is pressed in the greenest and most eco-friendly way possible, while 20% of its profits is going to the supply of instruments to music schools in Cuba.

“A very important new generation Cuban Artist” (Gilles Peterson) gets a set of brilliant new remixes from Quantic, K15, LCSM, Osunlade, Maxwell Owin, Contours. Features and Airplay on BBC (Tom Ravenscroft, Gilles Peterson), Jazz FM (The Blueprint, Musica Macondo, Tony Minvielle and many more), Worldwide FM Reviews in The Wire, DJ Mag, Mix Mag, Stamp The Wax, Clash

TRACK LISTING

After Sly (Osunlade / Yoruba Soul MIx)
Aceleyo A A (Quantic Remix) 
Maktub (Contours Remix)
Ancestry (K15 Remix)
Worlds (Maxwell Owin Trying Times Mix)
Full Moon (Likwid Continual Space Motion Remix)

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.

TRACK LISTING

Cherry Pie
Mermaidistic Personality Disorder
Seasoned Like A Chicken
Pretty Face

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

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

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

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

TRACK LISTING

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

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

TRACK LISTING

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

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.

TRACK LISTING

1 (Downtown) Dancing
2 Hey Hey
3 SCATTERHEAD
4 Loud Light
5 Blue On Blue
6 DEATH
7 Sad Money
8 California Dali
9 Stick It To The Station
10 Little Instant

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

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

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

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

STAFF COMMENTS

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

TRACK LISTING

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

Just over a year since their first single "Hungry Heart" was released – a period that saw their unpredictable gigs and electrifying clutch of studio recordings earn them a reputation as the most exciting and talked about new act in the UK – Yak have channelled their ferocious live experience into their debut album 'Alas Salvation'.

Recorded with Pulp's Steve Mackey, it's a wired and ambitious record that refuses to be pigeonholed. Yet beneath all the head-spinning chaos lies a beating heart of great melodicism and a hyperactively eclectic and inventive approach to making music.

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

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

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

Bongo Joe Records is pleased to announce the release of Yalla Miku's debut album. It is a new way of combining African, European, electronic, acoustic and electric music and cultures. The project was launched by Cyril Cyril duo, then joined by Simone Aubert and Vincent Bertholet from Hyperculte and three musicians with migrant backgrounds: the Moroccan Anouar Baouna, the Eritrean Samuel Ades and the Algerian Ali Bouchaki.

For its initiators, the idea was not to appropriate a non-European heritage and to interpret it in the company of musicians from these countries. They opted for a more radical approach: to propose a base of compositions on which the migrant musicians then worked with their instruments, which range from the derbouka to the guembri via the krar, the Eritrean lyre.

The album, nourished by these stage performances, was recorded in autumn 2021. The result is full of vibrations, unusual sounds and life experiences. Sung in Arabic, Tigrigna and French, the lyrics glide over throbbing rhythms, borrowing from gnawa, krautrock and electro trance. Their eponymous debut album sounds like a call to travel beyond the barriers of sound, a call to a horizon without a visa. 

TRACK LISTING

1. Premier Du Matin
2. Tapis Volant
3. Tortije
4. Hyper Tigre
5. Asmazate
6. Être Astre
7. Suiise

Yoshino Shigihara came into 2019 needing a change. The Japanese artist had been based in Bristol ever since co-founding the now defunct Maloya-infuenced raucous psychedelia collective Zun Zun Egui. She then blossomed on her own across an EP and two albums of more meditative but no less territorially transcendent records as Yama Warashi. As in her music, though, Yoshino has always had a sense of wanderlust and it was perhaps no surprise that she’d eventually want to move again – this time to London.

“Moving to London gave me the chance to work with more diverse musicians” Yoshino says. “And I wanted to be here too because of the high creative energy, the diversity of the music and art here and the people who live here.”

The first material to come out of her relocation is a bold advancement of her sound, her third album Crispy Moon. Recorded at the Total Refreshment Centre in London with Kristian Claig Robinson, with most of the mixing coming from Hannes Plattmeire and mastering by Zun Zun Egui guitarist Stephen Kerrison, there are new contributing members, including Cathy Lucas of Vanishing Twin (with whom Yama toured with in 2021), Aletta Verwoerd on drums and Mermaid Chunky’s Moina Walker on sax. Compared to the more lo-fi, homespun feel of early releases such as Moon Zero and Moon Egg, there’s larger brush strokes at play, a bigger sound and an understated but self-assured grandeur.

Much of the move to London and Yoshino’s experiences of being in the capital have made their way into the themes of the record. For Yoshino, though, while the lyrics are important, they’re also largely personal. The drive for her is to get across the universality of her music, to keep an open ear and absorb everything that she can before returning it back out into the world. Moving to London has only strengthened that for her, with new collaborators, fresh experiences and altered perspectives. Crispy Moon is the colourfully brilliant end result.

TRACK LISTING

Side A
1. Makkuroi Mizu
2. Dividual Individual
3. Saku Saku
4. Umi No Mon
Side B
1. Ha Ha No Uta
2. Makai No Keyaku
3. Dou Dou Meguri
4. Yuru Yuru

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

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

TRACK LISTING

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

NME SXSW REPORT: “THE COLLECTIVE WHO BLEW OUR MINDS – IMAGINE YOKO ONO FRONTING BLACK SABBATH. IMAGINE EACH MEMBER OF THE BAND DRESSED LIKE A MEMBER OF KISS, FACEPAINT AND ALL. IMAGINE THEM PLAYING THE DRIVING MOTORIK RHYTHMS OF NEU! OR CAN, BUT SPEEDING THEM UP UNTIL THE WHOLE CROWD IS POGOING LIKE THEY DO AT THE BEST PUNK SHOWS”

The rock opera generally references the ambitious and occasionally bloated concept albums of seasoned big name artists. Rarely is it used to conjure a Pynchon-worthy fusion of high and low culture or a blurring of the lines between theater and music. But in the case of Toronto/Montreal art partnership YAMANTAKA // SONIC TITAN, rock opera carries all the latter connotations of the nexus between tradition and irreverence, performance art and unbridled noise. The duality of fusing Old World classicism with New World innovation goes to the very core of the group-their name is a melding of the Buddhist "terminator of death" deity with a song title by seminal stoner doom band Sleep. They describe themselves as "Noh-wave", a nod to both classical Japanese drama and the nihilistic art-punk scene of a pre-Giuliani New York City.

The yin-and-yang philosophy permeates every facet of YAMANTAKA // SONIC TITAN. The project centers around Alaska B and Ruby Kato Attwood, two art students with a mutual love of opposing forces-heavy metal's brutish assault with Japanese manga's cartoonish appeal, Boredom's experimentalism with Chinese opera, lofty schemes and low budget endeavors. The duo started out by building instruments out of found objects-once again highlighting their paradoxical nature by turning trash into art and rendering structured beauty out of detritus. Their performances veered more towards theater, with Alaska and Ruby constructing elaborate stage settings out of cardboard pasted with industrial-sized Xeroxed designs and donning elaborate Kabuki-style costumes and make-up. Such unorthodox ventures could repel the rock crowd, but YAMANTAKA // SONIC TITAN's debut album YT//ST dispelled any concerns that Alaska and Ruby didn't know how to lay siege with their instruments. Anchored by Alaska's unrepentant drumming-a blend of Melvins drummer Dale Crover's signature stomp and Einsturzende Neubauten's proto-industrial thud-and Ruby's soaring soprano, YT//ST took the narrative arc and keyboard foundation of Genesis' rock opera The Lamb Lies Down On Broadway and injected the psychedelic doom of Boris' Pink.

With their sophomore effort UZU, Alaska and Ruby continue their exploration of cultural dualities. While YAMANTAKA // SONIC TITAN has always provided an outlet for the core duo's celebration of their Asian heritage, the inclusion of auxiliary musicians and artists into the fold has reinforced one of the most crucial defining dualities of the group: the merging of diasporic and indigenous perspectives. This meeting of East and West is perhaps most visible in UZU's lead single "One". As the first YAMANTAKA // SONIC TITAN song to extend the songwriting credits beyond the core duo, "One" incorporates the indigenous upbringings of the extended group by leading off with a traditional Iroquois song. The introductory chant is a social song calling all people together, and is performed by people of the Mohawk tribe. From there, the band kicks into a driving guitar line and a vocal hook as sweet as any J-pop hit. Metal riffing, free-jazz cacophony, and meditative Eastern percussion patterns accentuate the song. In the hands of lesser visionaries, this kind of cross-pollination would sound like a schizophrenic genre mash-up. But YAMANTAKA // SONIC TITAN's appropriations never sound forced. Rather, it sounds like a celebration of the cultural collision of Alaska and Ruby's upbringing. The hybridization is evident throughout UZU--you can hear it in the operatic piano-and-vocal opener "Atalanta" segueing into the dynamic prog of "Whalesong", the Eastern melodies seamlessly melding into the synth arpeggio and guitar dirge of "Windflower", the musical storytelling tradition of "Seasickness Pt. 1" juxtaposing with the Heart-like classic rock gallop of "Seasickness Pt. 2", and the closing choir passage of "Saturn's Return" descending into Merzbow-esque white noise.

Wewantsounds is delighted to continue its Akiko Yano reissue program with the reissue of her superb double album recorded with YMO at a time when she was part of the group's touring line up between 1979 and 1980. The album is pure Akiko Yano featuring her superb singing and piano playing, enhanced by touches of YMO's synth-pop sound (check her cult version of YMO's classic, "Tong-Poo"). It is the first time the album is released outside of Japan and the deluxe 2-LP set features the original artwork with gatefold sleeve and 4-page insert.

TRACK LISTING

1. Hitotsudake
2. Les Petit Bon Bon
3. Coloured Water
4. Zaikungtong Shonen
5. High Time
6. Dogs Awaiting…
7. Tong Poo
8. Aoi Sanmyaku
9. Genkotsuyama No Oniguirisama
10. Gokigen Wanisan
11. Mata Aone
12. Te Wa Tsutaeru - Tetsudaeru
13. Gohan Ga Dekitayo
14. You're The One

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

TRACK LISTING

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

Wewantsounds is pursuing its ambitious Akiko Yano reissue program with the release of "Japanese Girl", her landmark debut album from 1976. Backed by Little Feat with Lowell George and by the cream of Japanese musicians (including Haruomi Hosono), Japanese Girl is one of the most important Japanese albums of the 70s, mixing pop, rock, Japanese folk together with Little Feat's superb classic sound. This is the very first time the album is released internationally. The deluxe LP edition includes remastered sound, tip-on LP sleeve, download card plus the original 4-page insert with lyrics and full line-up!

TRACK LISTING

1. Sayonara
2. Kuma
3. Telephone Line
4. Tsugary Tour
5. Funamachi-Uta Pt. 2
6. Oinaru Shiino-ki
7. Hekoriputaa
8. Fuuta
9. Oka Wo Koete
10. Funamachi-Uta Pt. 1

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

TRACK LISTING

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

Meet Jonah Yano, the Toronto based singer, songwriter, whose journey into music began with recording music using his cellphone in 2016. Having played piano and guitar as a child, it wasn’t until Yano moved from Vancouver to Toronto in 2016 that he began putting his songs online, catching the eyes of Toronto’s thriving local music scene. Spending the next couple of years obsessively songwriting and practicing vocals, and learning technical skills, he collaborated with Toronto duo MONEYPHONE on the 2018 song “On Lock” which became an underground success. Shortly after, Yano released his first solo single “Rolex, the Ocean'' with producer Joseph L'etranger. Once he began writing his full EP, he was introduced to frequent collaborators BADBADNOTGOOD, who are featured on the EP’s title track, “nervous.”

Yano’s work has garnered praise in major music publications like The Fader, Billboard, Complex, and Exclaim and the attention of Virgil Abloh and Gilles Peterson along with millions of streams on Spotify and Apple Music. Most recently, Yano released a highly praised cover of the Majestic’s “Key to Love (Is Understanding)” also with BADBADNOTGOOD, finding himself in the natural position of writing the feature length album, 2020’s souvenir. Following a highly acclaimed 2019 which included the release of an EP nervous, collaborations with BADBADNOTGOOD, MONEYPHONE, and Nono; industry praise from The Fader, Billboard, High Snobiety, NME, KCRW and Exclaim — it’s not a stretch to say Jonah Yano’s highly anticipated debut feature album souvenir took a lifetime to make. Yano’s souvenir, mixes his soulful, genre blurring vocals with searing, personal lyrics. With collaborations from talents like BADBADNOTGOOD, Monsune and Jacques Greene, souvenir touches on themes of family separation, healing, and reconciling with the past.

With each track delving into Yano’s personal history, the album tells the story of his parents separation and absence of his father from his life through the perspective of each of his family members. Following the separation of his parents in 1998 in Hiroshima and subsequent move to Vancouver, Yano spent years with very little connection to his father beyond occasional calls and birthday presents. Having not seen each other in 15 years, Yano visited his father in Nagato in the fall of 2019 with the goal of making sense of their complicated relationship through music. Both being avid musicians, Yano then incorporated some of his father’s earlier recordings into his own, while making peace with their past. The result — the album’s final track, “shoes,” featuring his father Tatsuya Muraoka and written by him about a pair of shoes he purchased for Yano as a child. Most of the track was recorded live at some point in the 1990’s in Hiroshima, with Yano’s own vocals filling gaps between his father’s vocals. Recording the album in Tokyo’s Red Bull studios, a log cabin in Nagato, Toronto’s Studio 69, and his own home — the intensely personal album incorporates Yano’s unique sound with a deeply relatable concept, making it the natural follow-up to an already impressive catalogue.

TRACK LISTING

DISC 1
1. Poor Me
2. Anywhere
3. Delicate
4. Congratulations, You're In First Place
5. Monarch
6. Stones (tokyo)
7. Echo
8. Strawberry!
9. What I Can Do To Help
10. Shimonoseki Interlude
11. Shoes (feat. Tatsuya Muraoka)

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

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

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

TRACK LISTING

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

Love Record Stores Edition available instore from 10am on Saturday September 4th, any remaining copies will be available on online from 9pm on the same day.
Limited to one per person.

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

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

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

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

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

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

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

STAFF COMMENTS

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

TRACK LISTING

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

Since this was originally released, Yard Act have gone on to be one of 2022’s defining artists with the release of their debut album ‘The Overload’, and their rise has been as entertaining as it has been meteoric. And as well as touring the world and smashing sales records, they’ve still found time to continue Zen FC, releasing acclaimed 7”s from Baba Ali and Benefits.

Being the budding record industry moguls that they are, they couldn’t bear to see the Dark Days EP languishing out of print. So they commandeered a Danish pressing plant and rudely shoved their way to the front of the queue, picked a new colour (silver in honour of the Overload finishing second in the album charts) and rushed through a repress in time for the summer. And while they were at it, they sorted out a run on the format of the future, cassette.

So there you have it: while you’re thinking about putting ‘The Overload’ at the top of your albums of 2022, you can enjoy the EP of 2021 all over again.

TRACK LISTING

A1. Dark Days
A2. Peanuts
B1. Fixer Upper
B2. The Trapper's Pelts

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

TRACK LISTING

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

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

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

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

STAFF COMMENTS

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

TRACK LISTING

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

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

Speaking about ‘Dream Job’, Yard Act’s James Smith said: “‘Dream Job’ feels like an apt introduction to the themes explored on Where's My Utopia? - though not all encompassing. In part I was scrutinising and mocking myself for being a moaning ungrateful little brat, whilst also trying to address how the music industry is this rather uncontrollable beast that hurtles forward unthinkingly and every single person involved in it plays their part. Myself included, obviously. As with pretty much everything else going through my head last year, trying to find the right time to articulate the complexity of emotions I was feeling and the severity to which I was feeling them couldn't be found - or accommodated, so instead I tried to capture it in a pop song that lasts less than three minutes once the fog had cleared a bit. It’s good and bad. I'm still glad that everything that happened to me happened.”

What do you do when everything you’ve ever wanted suddenly lands in your lap, but the questions still keep on coming?

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

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

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

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

TRACK LISTING

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

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

Splatter coloured vinyl, limited to 400 copies.

Charly Records presents THE BEST OF THE YARDBIRDS.

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

TRACK LISTING

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

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.

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."

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

TRACK LISTING

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

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

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

TRACK LISTING

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

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

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

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

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

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

TRACK LISTING

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

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

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

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

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

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

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

TRACK LISTING

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

Joe Moore is full of surprises. Every new release his name is on, whether they are his own projects (The Yearning, The Perfect Kiss, Julie Et Joe) or other people's (Lia Pamina, Cristina Quesada and Maddie Mae), gives us incredible results. Lounge music, soul, girl groups, chamber pop, French pop from the 60s... Diverse styles pass through his hands like an unstoppable song-making machine.

What will the journey be this time? "Only When I'm Dancing", transports us to the golden age of disco music, when the dance floor was full of excitement, melancholy, elegance and majestic arrangements (something that Moore notably excels at).

This time, the change of sound comes with a change in singer. The angelic voice of Maddie Dobie makes way for the elegance of Luci Ashbourne. Her mature, velvety voice is perfect for these sensual songs, many of which are aimed directly at the dance floor. When Joe began working on this new album, he imagined Karen Carpenter singing along with the music of Benny and Björn.

"Never Gonna Let You Go" begins like a tribute to Barry White. "Love Has Taken Hold Of My Heart" has echoes of ABBA. Elsewhere we hear Pet Shop Boys, Bee Gees, Tina Charles and Isaac Hayes. A new album, a new surprise, a new pleasure.

TRACK LISTING

1.Never Gonna Let You Go
2.Don't Take Me To Heart
3.Only When I'm Dancing
4.Love Has Taken Hold Of My Heart
5.Lend Me Your Love
6.Come To Me
7.Take A Little Look
8.Song Or A Dance
9.Keep Me In Mind
10.Yearning For You

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.

'A cream-whipped dream of Fleetwood Mac, Tears For Fears and Thomas Mapfumo, all soaring, vocal harmonies, cascading synth parts and muffled tribal drums, with highlife guitars and a children's choir' - Time Out. Yeasayer's smashing debut album is a mesmerizing journey.

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

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

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

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

TRACK LISTING

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

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

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

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

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

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

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

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

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

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

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

• 180 gram audiophile vinyl
• Insert
• PVC protective sleeve

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

TRACK LISTING

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

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

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

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

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

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

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.

TRACK LISTING

A. Travels Nerves To Freedom
B. At Labyrinth Borne-Sun

Enter Yes Grasshopper, taking you on a trip into the unexplored depths of their collective mind, a place of daring rescue missions and uncanny swamp monsters, all imagined through the lens of a playful B-movie aesthetic.

Emerging from England's unforgiving northern coast, this dynamic duo present a wholly unique take on noise rock, with crushing riffs, white water rhythmic twists and barking intertwined vocals making way for heinously catchy hooks you'll find yourself whistling at the most unexpected of times. And with the lyrics spinning esoteric tales over such a compelling foundation, Yes Grasshopper won't let your undivided attention slip for a single second.

Their universe is one where both rage and joy jostle side-by-side, one moment buzzing with all the fury of a swarm of pissed-off hornets/mozzies, the next inviting the whole lot round for an unforgettable afterparty. Call it metal. Call it punk. Hell, call it hardcore-acid-math-crustcore if you want. What's so striking is that it doesn't deal in the usual palette of oppressive blacks and greys those genres invariably paint with, instead imagining a more kaleidoscopic and perhaps even welcoming landscape. And despite the heavy-as-heavy-can-be riffery and hammer-blow grooves, there is somehow an air of levity permeating the whole thing.

Giving the likes of Hella, Lightning Bolt and John (times two) a run for their money in the 'how much noise can two people make?' stakes, the respective halves of this newly established duo have been nourished on a diet of music's more extreme offerings, with the mischievous demons within intent on shredding hard. Live shows consist of the slicing of mustard and people losing their socks.

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.

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.

TRACK LISTING

1. Analog Wheel
2. The Echo Show
3. Warning Sensations
4. -
5. Logic Winds
6. Strange Call
7. --
8. Alba
9. ---
10. Dead Tired
11. Sparkling Sunbeam
12. Faded Spectrum
13. ----

Nat Ćmiel is a non-binary, London-based, Singaporean multi-disciplinary artist and cyborg entity. “Glitch Princess” opens a channel to the in-between spaces: error messages and broken computer code where soothing un-melodies rest comfortably among the jagged edges of feedback loops. Ćmiel’s experiences with sobriety resulted in a flood of emotions and “Glitch Princess” is an undiluted excerpt of this downpour. Video game scores, experimental shoegaze sounds, & ethereal whispers come together to build an underworld with the occasional erratic dance beat to guide users deeper into the fever dream. yeule invites us to transcend into a post-human world where expression is no longer bound by identity, but rather we are free to assemble ourselves along lines of affinity.

TRACK LISTING

01. My Name Is Nat Cmiel
02. Electric
03. Flowers Are Dead
04. Eyes
05. Perfect Blue
06. Don't Be So Hard On Your Own Beauty
07. Fragments
08. Too Dead Inside
09. Bites On My Neck
10. I <3 U
11. Friendly Machine
12. Mandy

For fans of - Grimes, Kero Kero Bonito, Coucou Chloe, Bjork, SOPHIE, and Perfume Genius.

“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." 

TRACK LISTING

01. Your Shadow
02. Poison Arrow
03. Eva
04. See You Space Cowboy
05. Pixel Affection
06. Nuclear War Post IV
07. Pocky Boy
08. Pretty Bones
09. Reverie
10. Blue Butterfuly
11. An Angel Held Me Like A Child
12. Veil Of Darkness

Multi-dimensional artist and producer yeule announces their new album softscars arriving 22nd September via Ninja Tune. The album represents a new direction for yeule as they explore softer textures and disembodied arrangements that feature their ethereal vocals front and centre. The project closely examines the anatomy of their long held emotional wounds for their most vulnerable work yet.

The announcement follows their previous single “sulky baby" and their critically-acclaimed 2022 album Glitch Princess, which received a 'Best New Music' stamp from Pitchfork. yeule is a multifaceted artist across music and visual art. The yeule project was fabricated by Ćmiel to act as a portal or rift which allows them to communicate their art to the outside world, while still being protected within their inner shell. yeule was constructed as a manifesto of Ćmiel’s own identity, where they have always had access to multiple avatars and the freedom to change or contort at will — solace through embodying mutable, chameleon-like multiplicities.

STAFF COMMENTS

Martin says: An unnervingly diverse selection of glitched-out electronics, roaring electro-punk and shimmering shoegaze atmospherics, ripped and scattered across the sound field. There are as many moments of tentative beauty as there are uncompromising walls of sound and pummelling syncopated electronics.

TRACK LISTING

Side A:
X W X
Sulky Baby
Softscars
4ui12
Ghosts
Dazies

Side B:
Fish In The Pool
Software Update
Inferno
Bloodbunny
Cyber Meat
Aphex Twin Flame