MAGIC MIX

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Various Artists

The Library Archive, Vol. 1

    The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

    Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

    Ranging from heavy big band brass (Whack, Slap & Blow, Kaye Okay) to evocative thriller soundtrack (Midnight Heist, Wiretap, The Needlenose) via introspective ethereal soundscapes (Nuclear Wind, Siren's Sea) these 11 tracks faithfully recreate the feel of the Library music catalogues of the 60s and 70s.

    FORMAT INFORMATION

    Ltd LP Info: 180 gram heavyweight vinyl.

    Floating Points

    Nuits Sonores / Nectarines - Repress

    The unstoppable Sam Shepherd returns to his Eglo imprint with another game changing dancefloor odyssey which stands head and shoulders above his competition. "Nuits Sonores" was originally bounced down live during Floating Points' performance at the festival of the same name, at the precise moment Sam and the army of dancers transcended this plane of being and entered a new era of consciousness. Shepherd tops a trademark syncopated rhythm with fragile sine waves and chattering sequences, which he builds up into a crystalline tower of interlocking synthesis at the four minute mark, before ripping it apart to leave a classic jazzy FP groove. Another outstanding compostition which has promped the following comments on youtube; "This when Four Tet played it at fabric last month almost made me die of bliss overload.", "Hashtag AstraL travel amirite" and "Floaty P reaching demi-god status". On the flip, our favourite classically trained future jazz genius drops another space age hit of hybrid deep house, set to an 11/4 swing naturally! Pinging synths and Rahel’s sweet vocals float around a bruk rhythm while a subby bassline keeps the track grounded. Lest you think Sam’s gone soft on us, he delivers some gritty rave stabs and menacing synth tones as he hits us with a couple of heavy duty drops. Unreal!

    Fat Freddy’s Drop

    Special Edition Part 1 - Deluxe Edition

      New Zealand juggernaut Fat Freddy’s Drop return with a new deluxe edition of their recent ‘Special Edition Part 1’ album.

      Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and ‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.

      Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live shows.

      ‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2.

      The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in 2005.

      FORMAT INFORMATION

      2xDeluxe LP Info: This version was previously exclusive to New Zealand, and comes on black vinyl, with a die-cut gatefold sleeve, with full colour printed inner sleeves, and spot UV on front and back covers and spine.

      Philip Corner

      Chord/Gong (With Carles Santos)

        New York, 1978, kindred composers Philip Corner and Carles Santos meet at the Bösendorfer piano of Charlemagne Palestine to record four-hand piano versions of Corner’s pieces “Chord” and “Gong!”. The result is a long-flowing distillation of the source of the two composers’ affinity: avant-garde practice of austere artistic devotion at play with perfect imperfections of the uncontainable human spirit.

        A small cassette edition appeared in the late 1980’s and is now presented in a new digital restoration by Stephan Mathieu, alongside a limited edition of 300 vinyl records cut by Lupo.

        Various Artists

        Various Artists Various Channels Vol. 1: NYC

          Various Channels is a new series within the Darker Than Wax catalogue - a selector-led compilation series that pushes diversity in sound while also encapsulating a common connection of what brings people together. For the first volume, it’s all about location. Deeply inspired by the new wave of creative energy in New York City, the label is proud to present ‘Various Channels Vol. 1 : NYC’ - a compilation highlighting key artists at the forefront of NYC’s blooming music ecosystem, curated by selector Marco Weibel. While Darker Than Wax was born in Singapore, our satellite (or second) home is NYC.

          A key figure behind Darker Than Wax since its early days, Marco moved to NYC in 2014, and has continued to establish a humble presence for the label through his tireless work as a DJ, Curator, Promoter & Radio Host. Within 6 years, Marco has seen New York’s underground grow through artists’ continual efforts to push the envelope and blur the lines between sounds. Thanks in part to uncompromising venues and community spaces such as The Lot Radio in Brooklyn (where Marco is running our weekly radio show alongside label peer Mawkus), a fresh crop of producers and DJs are elevating the music of NYC.

          This compilation serves as a snapshot of this moment in time, spotlighting select artists making waves - including Jitwam, James Tillman, Toribio, Ensemble Entendu, David Marston and Tristan Arp. This project is also personal to Marco’s experience of digging deep into the city and connecting with kindred spirits, the selections reflecting the creative energy of his close musical family, who traverse eclectic sound spectrums from R&B/Soul, Balearic Grooves, House, Broken Beat and beyond.

          John Carpenter

          Skeleton

            Legendary composer/director John Carpenter has returned with his first nonsoundtrack music since 2016’s Lost Themes II. Collaborating again with son Cody Carpenter and godson Daniel Davies, his bandmates and co-composers for the David Gordon Green-directed Halloween films, Carpenter is sharing the propulsive new single “Skeleton” and its B-side, the haunting “Unclean Spirit.”

            The sessions for these songs saw the trio shifting their focus from scoring for the screen and engaging a totally different creative muscle. Instead of being guided by what was happening in the world of Halloween, they were free to work toward other ends.

            “It was refreshing to be able to write music that didn’t have to fit to any sort of locked image,” John said. “We also had a specific focus and direction we wanted to follow when working on Halloween, both in terms of mindset and instruments, and being able to return to working without that narrow focus was refreshing. Although working on Halloween didn’t specifically influence any of these new compositions, there is always a honing of craft that must take place when working on a film like Halloween, and our improved skills definitely helped us in writing these songs.”

            Working together to score a major Hollywood production only deepened the collaborative chemistry between the three composers. That comfort level paid dividends, as the songs developed largely in the room where they were recorded. “Like the majority of the songs that we write, both ‘Skeleton’ and ‘Unclean Spirit’ mainly started with an improvised riff, which was then expanded and built upon to create the full song,” John explained. “Like the previous Lost Themes album, we each handled duties of writing and recording, with all three of us contributing ideas and parts.”

            Earl White Jr

            Very Special Girl / Never Fall In Love Again

              Re-issue of an extremely now rare 45 from 1977 that sells for £1,000 if you can find an original copy. The release is one of only two releases for the Cygnet label recorded at Malaco Studios. Earl composed both sides, "Very Special Girl" originally the B side, but switched around here as it became better known for its spins on modern soul room dancefloors.

              Willi J & Co. / Rare Function

              Boogie With Your Baby / Disco Function

                Two rare and mystery-shrouded party-in-the-house sides from 1976.

                Willi J Coe’s Cleethorpes anthem ‘Boogie With Your Baby’ was a no-hit wonder that goes for around £100 if you can find a copy on the original shortlived Ki Ki label.

                Produced by Willie J Key and arranged by Bob Holmes (Joe Tex / Freddie North / Slim Harpo) it’s a slice of funky party disco. A proper floorshaker. V Rare Function’s ‘Disco Function’ was originally on Soul Unlimited in 1976 and fetches around £50 a copy these days.

                Sampled by Luke Vibert in more recent times, it’s a brass-stabbed party anthem with a nod to Kool And The Gang when they were funky.

                Alex Izenberg

                Caravan Château

                  Following a four-year silence, enigmatic LAoutsider Alex Izenberg presents his sophomore album ‘Caravan Château’ via Weird World / Domino.

                  Recorded largely at Tropico Beauty with Greg Hartunian (Young Jesus) and Derek Korat, and with the help of a handful of collaborators including Chris Taylor (Grizzly Bear), Jonathan Rado (Foxygen, Whitney, Lemon Twigs), Ari Balouzian (Tobias Jesso Jr) and others, Izenberg creates songs that are easy to adore but hard to define. Izenberg’s sharp songs are the bait that first brings you into ‘Caravan Château’ but that deliberate ambiguity is what brings you back repeatedly, hoping to tease out the riddles of being inside these stunning tunes.

                  FORMAT INFORMATION

                  LP includes MP3 Download Code.

                  Roger Eno & Brian Eno

                  Luminous

                    Following its release in March, the Eno brothers’ debut Deutsche Grammophon album, Mixing Colours, caught the imagination of critics and listeners alike with its eighteen meditations on the slow, shifting nature of sound and time. Mixing Colours Expanded, set for full digital release on 17 July 2020, adds six new pieces along with “Pewter”, previously issued only as a bonus track in Japan.

                    Again the evocative titles are colour-based – “Moss”, “Violet”, “Manganese”, “Vermilion”, “Marble”, “Pewter” and “Malachite”. And again, the pared-down beauty and meditative qualities of these new miniatures mean that every hearing is rewarded with fresh discoveries. “Manganese” will lead as a digital single on 1 July, acting as a perfect introduction to the Enos’ latest work.

                    A 12" EP – Luminous – containing all seven new tracks will be released on 14 August. As with the album, the artist Dom Theobald has supplied the original cover artwork, and to support smaller retailers as they reopen with the easing of lockdown measures, a special version of the EP on sun yellow vinyl and with a different version of the cover artwork will also be available. Following this, a deluxe 2CD edition of the complete Mixing Colours Expanded will be released internationally on 23 October.

                    “As the world collapses, it’s hard to imagine a better way to self-soothe than immersing yourself in Mixing Colours,” observed The Times (London) in its five-star review. The recording was described as “a balm for these anxious times” by the Observer (London) and by NPR as a “steadying sound in the age of social distancing, soothing and transfixing at the same time”.
                    Since the end of March, Mixing Colours has received over 10 million streams and inspired many music lovers to contribute to an inspiring online video project launched by Roger and Brian on www.mixing-colours.com. There have been almost 1800 submissions of quiet scenes inspired by the album and these videos have taken on a greater sense of poignancy for being filmed in a lockdown world. On 1 July, coinciding with the release of “Manganese”, the website will be updated to introduce a selection of these very special pieces.
                    “We were overwhelmed by both the quality and quantity of films we received,” note the brothers. “There’s so much creativity and originality! One of the pleasures of looking at these pieces of work is noticing how each film draws out something different from the music it accompanies.”


                    FORMAT INFORMATION

                    Coloured LP Info: Exclusive yellow vinyl edition.

                    Bear's Den + Paul Frith

                    Fragments

                      Bear's Den are beloved by their fans for the way their songs have woven themselves into the fabric of some of the most bittersweet chapters of their lives. Last April the band released their 3rd album ‘So that you might hear me’ which debuted at no. 13 in the UK charts, no. 4 in Belgium, and top 40 in Germany.

                      Fragments is a collaboration album between Bear's Den and award winning composer Paul Frith, stemming from some live shows in 2018. Fragments sees Paul Frith rework and arrange a number of songs from the Bear’s Den catalogue with an orchestra; from adding orchestral flourishes to the originals to completely pulling apart and reimagining tracks - hence “Fragments”. 


                      FORMAT INFORMATION

                      Coloured LP Info: White block-coloured vinyl.

                      Linda “Babe” Majika

                      Don't Treat Me So Bad - Vinyl Reissue

                        Linda “Babe” Majika’s insanely brilliant Don’t Treat Me So Bad is a tight six tracks of blistering electro-flavoured bubblegum and synth-drizzled solar-powered machine-funk. It has become increasingly hard to find, with copies currently moving for over £200. But this is definitely a case of eye-watering price equalling heart-thumping quality.

                        Once of the Hot Soul Singers, Don’t Treat Me So Bad was Linda’s debut LP as a solo artist. It was produced by Ace Mbuyisa of boogie-funk maestros Freeway and was originally released on Umkhonto Records in South Africa in 1988.

                        The enormous “Let’s Make A Deal” is probably the best known track here, and it’s definitely the best one if you ask us. Linda’s vocals drip with attitude over warm, breezy synths and an urgent, edgy electro beat to create a timeless club-ready bomb that sounds as fresh as ever. But the rest of the album is far from filler.

                        Opening track “Kunzima (Tabalaza Mjita)” instantly brings the sunshine vibes, strutting out the gate with that unmistakable South African steppers groove. It’s a deceptively simple song, with multiple instrumental elements arriving and taking leave with admirable restraint.

                        “It’s Our Home” is a powerful showcase for Linda’s vocals, enhanced by some life-affirming call and response backing vocals throughout. In fact they’re a joyous presence on the whole album. The insistent pipes and swirling, bubbling synths of title track “Don’t Treat Me So Bad” follow. A spacious proto-piano house banger that closes out the first side in phenomenal fashion.

                        Arriving as track two on the second side, “Unga B’Omthemba Umuntu” has the unenviable task of following the huge “Let’s Make A Deal”. It does the job with class, bringing the tempo down to a mid-paced tropical bounce with lilting harmonies and welcome traces of hi-life guitar. Wonderful stuff. “Playboy” is is another unbeatable head-nod groover rounds out the set wonderfully. That bassline high in the mix is to die for, and the chorus will make any dancefloor smile.

                        As ever, Simon Francis on mastering duties elevates this release, adding heft and elegance in all the right places with his customary deft touch. The memorable cover art, in which Linda appears straight out of the 1950s with her polka dot skirt and butter-wouldn't-melt pose, has been faithfully restored. But don’t let the innocent styling fool you - Don’t Treat Me So Bad is the work of one badass woman who can hold her own, and then some.


                        FORMAT INFORMATION

                        LP Info: 2020 re-issue, 140g vinyl, remastered from the original tapes.

                        Fuzzy Duck

                        Fuzzy Duck- Vinyl Reissue

                          A memorable name with an outstanding cover, Fuzzy Duck is a classic slice of underground London art rock and melodic psychedelia. Originally released on MAM in 1971, it’s truly a musical force of infectious riffs and fiery solos, sharp tempo changes, a tight rhythm section and heavy, Hammond-drenched grooves. With echoes of Spencer Davis Group, early Grand Funk and Vanilla Fudge, it comes on like a heavier Soft Machine or Caravan. No wonder Fuzzy Duck’s cult appeal has endured.

                          The album features Mick Hawksworth (Five Day Week Straw People, Andromeda) on bass, acoustic 12-string, electric cello and some of the vocal duties, and also Roy “Daze” Sharland (Crazy World of Arthur Brown, Spice) on organ and electric piano. Accompanying those two were Paul Francis on drums and percussion, and Grahame White on guitars and the rest of the vocals.

                          Originally released in an edition of 500, Fuzzy Duck became legendary all over the world through a holy trinity of scarcity, personnel and its sheer brilliance.

                          The album kicks off with a heavy, bass-fuelled, Hammond rocker titled “Time Will Be Your Doctor”. This is pure hard-edged blues rock, brilliantly played. Its drum break intro was sampled by DJ Premier for Gang Starr’s “Mostly Tha Voice” on 1994’s legendary Hard To Earn. And we can hear its personality all over Harvey and Thomas Bullock’s Map Of Africa.

                          Rollicking highlight “Mrs. Prout” follows. At nearly 7 minutes long, it incorporates more psych-leaning guitar and drawn-out keyboards à la Ray Manzarek with the band effortlessly switching from jazzy rhythm section to a progressive one. That magnificent instrumental jam that starts half-way and continues through to the end is a true wonder.

                          “Just Look Around You” is propulsive folk-rock with a soaring, proto power-pop chorus, backed by frenetic organ and heavy bass high in the rich, intoxicating mix. Back comes the heavy, strung-out psych to both close out side one with “Afternoon Out” and kick off side two with “More Than I Am”. Both tracks are improvisational winners that stylistically nod to the late sixties and “More Than I Am”’s guitar hook, catchy organ and memorable chorus would’ve surely made it a great single.

                          “Country Boy” quenches the thirst for rhythm and melody, only the lyrics and vibe are wonderfully creepy. The sudden cut of the groove and the drop into a more sinister tempo will make you stumble, before the band pick up speed and toss you back again into the opening jam, this time with a badass organ to ride you home. The final, fully fleshed out track is the majestic “In Our Time”, which oscillates between endless organ-driven boogie and heavenly, genuinely moving vocals. Just stunning.

                          Infamous instrumental cut “A Word from Big D” rounds out the album. Yes, that’s the band jamming with duck quack sound effects accompanying the music. “Ducking vocals” as the sleeve says. You know, just in case the whole “duck” theme had passed you by. It’s an appropriate closer for what sounds like an album that must have been *a lot* of fun to record. It’s definitely fun to listen to.

                          Mastered by Be With’s chief sound duck Simon Francis and cut with glee by the veteran Pete Norman, this reissue of Fuzzy Duck’s one-and-only LP sounds as mighty as it should. That unforgettable sleeve artwork has been carefully restored and the records pressed by the wonderful Record Industry in the Netherlands. Essential.


                          FORMAT INFORMATION

                          LP Info: 2020 re-issue, 140g vinyl, remastered from the original analogue tapes.

                          Bob

                          You Can Stop That For A Start

                            The album is accompanied by a selection of some of the band’s favourite demo recordings made between 1988 and 1994.

                            The long awaited and eagerly anticipated new album by BOB captures the band at their peak and includes some of their best material ever committed to vinyl and CD. A 12-track vinyl record is available in coloured and black vinyl and includes digital download of all 28 tracks contained on the double CD version. ‘You Can Stop That For A Start’ is an exclusive album of previously unheard material written and recorded by BOB over a five day period in 1992. The almost legendary archive of unreleased professional and demo recordings by BOB is a rich one, and this release showcases some of the band’s best work.

                            All the recordings in the set have been newly mixed by songwriters Simon Armstrong and Richard Blackborow, and come packaged in artwork conceived by the band and accompanied by period images and new sleeve notes. 

                            Potted BOB History:
                            BOB’s initial line-up was Richard Blackborow (vocals, keyboards, guitar), Simon Armstrong (guitar, vocals).
                            Jem Morris (bass guitar), joined the duo in 1986 and, augmented with a drum machine, they recorded the band’s first release, a flexi disc, released in 1986 on their own House Of Teeth label, and containing three short songs: “Prune (Your Tree)”, “Groove” and “Brian Wilson’s Bed”. The band gave a copy to John Peel in a fortuitous encounter in the Rough Trade record shop, and he played it many times.
                            The drum machine was replaced by drummer Gary Connors in 1987, and this line-up recorded 1987’s What a Performance single and the first of three John Peel sessions. The band were now able to take to the UK’s motorway network in their newly acquired ‘vintage’ Transit van, and begin a series of tours that eventually saw them play hundreds of gigs the length of the country and beyond.

                            Early in 1988, Gary Connors was replaced by former Jamie Wednesday drummer Dean Leggett, and the band recorded their second single, Kirsty, a session for BBC Radio One’s Simon Mayo, and their second John Peel session. Both singles received heavy play by John Peel. The two singles were brought together with the earlier flexi disc as the compilation LP Swag Sack, which was their final release on the Sombrero label. All later records were on their own House Of Teeth label.

                            In 1989, the band released a single Convenience, which charted well in the NME and Melody Maker indie charts and, more importantly, reached no.31 in John Peel’s Festive Fifty at the end of the year. This was followed by a limited edition/fan club release containing three songs: “Esmerelda Brooklyn”, “I Don’t Know” and “Sink”. After their third and final John Peel session, Morris was replaced by ex-Caretaker Race bassist Stephen ‘Henry’ Hersom, and this final line-up recorded the Stride Up EP in 1990, an LP Leave The Straight Life Behind, the single Tired in 1991, and one last 12”, the Nothing For Something EP in 1992.
                            BOB became one of the victims of the demise of Rough Trade’s distribution arm, which limited sales of the album and forced the band to tour for an extended period to recoup the album’s costs. A feeling of disillusionment with the ‘business’ side of the music caused a drop in morale, and despite having produced a large body of unreleased work, they disbanded early in 1995.

                            In February 2014, “Leave the Straight Life Behind” was re-released by British independent label 3 Loop Music as a 2CD expanded edition which included the remastered album plus a bonus CD of all the John Peel and BBC sessions, as well as extra tracks.

                            In 2015, “The Singles and EPs” was released by 3 Loop Music as a 2CD compilation of remastered tracks from Swag Sack and all vinyl Sombrero and House of Teeth releases.

                            In 2019, the band announced six final concerts in England and Germany featuring Blackborow, Armstrong, and Leggett with newly recruited old friend Arthur Tapp on bass. A limited edition 7” of Convenience with an unreleased B-side from 1992 was released on Optic Nerve. The single reached number 18 on the official UK vinyl sales chart.

                            BOB on the new album You Can Stop That For A Start:
                            “The tracks that make up You Can Stop That For A Start were recorded over a five day period in our final years, as the hectic touring schedule that had kept us financially viable began to tail off. What funds the band could glean from occasional publishing deals were spent on studio time, with the hope of creating work that would eventually attract more substantial financial investment. As this never materialised, the songs have largely remained unheard since the early nineties. 


                            FORMAT INFORMATION

                            Coloured LP Info: Indies only white vinyl lp (200 copies) includes MP3 download of all 28 tracks on the double CD & poster.

                            Martin Rude & Jakob Skøtt Duo

                            The Discipline Of Assent

                              Martin Rude (Sun River) & Jakob Skøtt (Causa Sui) team up for a genre-defying record that was recorded during an exceptional session on March 3rd 2020. Martin brought his Double Bass, Acoustic & Baritone guitar into the studio of Causa Sui, where Jakob's drums were already miked & prepped by soundwiz Jonas Munk, freshly tuned from the new Causa Sui recordings. The music they played ranges from sprawled out pre-fusion electric jazz to psychedelic folk ragas. After the sessions, the hours of free floating music was edited & dubbed by Jakob Skøtt into shorter cohesive segments, but maintaining the improvised vibe of these first takes.

                              It is a record that pays homage to the great innovators of jazz: Miles & Trane (or perhaps more fittingly their peak-drummers: Tony Williams, Jack DeJohnette & Elvin Jones), as well as Mingus at his fiercest or Sun Ra at his most exotic. Not merely a tribute, the album doubles down with guitar pickings ala John Fahey & Sandy Bull, as well as sparse layers of oddly-tempered mallet percussion and synthesizers. But perhaps the closest reference isn't something of a certain place in time, but rather a free flowing ethos of stoic proportions: letting happen what it may, turning the accidents and mistakes along the way into something vital. 

                              FORMAT INFORMATION

                              Ltd LP includes MP3 Download Code.

                              Grey Hairs

                              Halloween (Live At JT Soar)

                                “Halloween” is a recording of a Grey Hairs live gig on October 31st 2019 at JT Soar in Nottingham. Gringo Records are releasing it on purple vinyl. It is limited to 300 copies and that’s it: no re-press, no deluxe edition. Grey Hairs guitarist Chris Summerlin takes up the story: “When the idea of recording a live album was put forward, our film-maker friend David Lilley suggested he film a song too. He wanted to experiment with using as many cameras and vantage points as possible and that’s exactly what he did here – cameras on heads, cameras on guitars, cameras on cameras. We hope you like it as much as we do.

                                People occasionally tell us we’re a “good live band”. I’ve never been sure – some bands we’ve been in have always been fairly predictable in their quality, always able to do a good show but this one is different and elusive somehow. You just can’t tell how something is going to go, even when you’re in the middle of it. So, in the name of balance and trust, before I tell you to buy this live record, I’m going to first tell you about the 3 worst Grey Hairs gigs to date, in no particular order.

                                Which brings me neatly back to plugging this record to you. We’ve resisted the temptation to do a live album because we always felt this unpredictability was both our secret strength and our clear weakness. We could never guarantee any live record would capture us at our best and maybe putting us under the microscope would just be upsetting. I’m pleased we were convinced otherwise, the record captures the good and the bad of what we do perfectly, maybe even more so than the studio albums. We really hope you like it. Maybe we *are* a “good live band” after all?”

                                FORMAT INFORMATION

                                Coloured LP Info: Purple vinyl, limited to 330 copies. This is strictly for Indie stores only.

                                Video Age

                                Pleasure Line

                                  RIYL: David Bowie, Prince, Paul McCartney. Restlessness is the first step towards pleasure. We make comfort out of discomfort, pleasure out of pain. That journey isn’t always a straight line, but at least we’re going somewhere real. “I had to move, Lord I couldn’t be still” is the unsettled way that Video Age’s new album and title track, Pleasure Line, begins. But as the song unfolds, it uplifts us into a romantic space of possibility and love. Just as “love” is both a noun and a verb, Pleasure Line is both a road to be traveled and the act of crossing that road.

                                  Video Age’s first two albums were about loneliness and discovering oneself, but Pleasure Line takes on a whole new attitude, considering songwriting partners Ross Farbe and Ray Micarelli are both getting married this year (just a few weeks apart from each other, too). But these songs aren’t expressions of one-dimensional puppy love—this is euphoria with depth, ecstasy with complications. Video Age’s third album, due out from Winspear on August 7, 2020, pairs neon-bright 80s pop melodies with a vast range of influences (including Janet Jackson, David Bowie, and Paul McCartney) to create an optimistic sound all their own. The influences vary song to song, but they’re all tinted with the same rosy hue. These are catchy, memorable songs that radiate big “glass-half full” energy. Pleasure Line is a salve that protects against cynicism—listening to this album, you can’t help but feel the world around you is full of romantic potential. 

                                  FORMAT INFORMATION

                                  Coloured LP Info: Purple Royalty Vinyl exclusive to indie stores only.

                                  Jaye Jayle

                                  Prisyn

                                    Prisyn features guest appearance by Emma Ruth Rundle. Evan Patterson has always been a wanderer and an explorer. It’s evident in the constant evolution of his music since his earliest days as a guitarist in left-of-center bands, but it’s best exemplified by the constant creative shifts within the fever-dream blues of Jaye Jayle. On the newest Jaye Jayle album, “Prisyn” Patterson takes his boldest leap into unknown territories, capturing immediate moments in his ever-shifting surroundings with the most basic tool at his disposal: the GarageBand app on an iPhone. Instead of his usual backing band, he paired up with Ben Chisholm (White Horse, Revelator, Chelsea Wolfe) as collaborator and producer to create an electronic album completely unlike anything else from Jaye Jayle and an ambitious step from 2018’s remarkable No Trail and Other Unholy Paths LP.

                                    The LP began with a request from couture designer Ashley Rose, when she proposed that Evan Patterson team up with Sargent House label mates Chelsea Wolfe and Ben Chisholm to create a soundtrack for one of her upcoming fashion shows. Patterson was in the early stages of a massive eleven-week stretch of touring and used his downtime in the van to flesh out ideas on his phone. “I sent a track to Ben and he sent it back the next day with additional instrumentation, sounds, and effects,” Patterson recalls. “It was wild. He suggested we make a whole record that way.” By the end of tour, Patterson and Chisholm had an LP’s worth of songs waiting for vocal treatments. “I printed out all these poems, stories, and journal entries I’d made on my phone over the course of the year and went into the studio with my friend Warren (Christopher Gray). We’d find things that rhythmically worked, and that’s how all the lyrics and singing happened. It was all gut instinct, improvisational,” Patterson recalls.

                                    “The vocal approach isn’t meant to be full of hooks and melody. The music is framed almost as a film score for my life. Instead of David Attenborough or William S. Burroughs as a narrator, I used this opportunity to narrate visuals from my reality,” he continues. The record's title “Prisyn” is a play on the idea of a synthetic prison, and alludes to Patterson’s desire for artistic freedom and the album’s conflicted use of addictive technologies. But in the time of the pandemic, he also views it as an example of overcoming adversity in desperate times; this is a record that could have been made under the jail-like confines of quarantine, with Patterson and Chisholm having never been in the same room at the same time. Patterson comments, “These songs have a totally different energy, and that’s the exciting thing about making art. Things have to progress. I don’t want to draw the same picture for the rest of my life. Maybe that keeps you from being a master at it, but being a master isn’t the key to art. It’s having that constant expression, the constant outlet, the constant change." 

                                    FORMAT INFORMATION

                                    Ltd LP Info: Vinyl Single LP printed on silver board stock + download card.

                                    Devendra Banhart

                                    Vast Ovoid

                                      Devendra Banhart releases a four-song EP, Vast Ovoid, as a limited-edition 12” coloured vinyl 45. The EP features ‘Let’s See’, as well as Helado Negro’s remix of ‘Love Song’, and is a follow-up to Banhart’s latest studio album, Ma, which was released to critical acclaim in September 2019.

                                      "Banhart’s singular world remains as intoxicating as ever, as if all human life is here." – Q.

                                      FORMAT INFORMATION

                                      Ltd 12" Info: White 140 gram Vinyl.

                                      Thurston Moore

                                      By The Fire

                                        This is Thurston Moore’s seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka ‘Wobbly’ (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth’s Steve Shelley, as well as Jem Doulton, alternating on drums. ‘Hashish’ is the first single from the album to be released and is described by Moore as “an ode to the narcotic of love in our shared responsibility to each other during isolation." The song includes a video with footage from The Thurston Moore Group’s tour in early 2020 in Europe, as well as footage of Thurston quarantined in his home during the past few months “with respect to the sacred healing truth of nature.”

                                        Prior to isolation during the COVID pandemic, Thurston worked in recording studios in North London until the third week of March 2020 to complete this album for release on September 5, 2020. While the musicians may not immediately tour, Thurston was adamant to release BY THE FIRE in 2020, and with Daydream Library, has released this quote: ​BY THE FIRE is music in flames.

                                        2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler's "music is the healing force of the universe", this recording offers songs as flames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. BY THE FIRE is a gathering, a party of peace—songs in the heat of the moment.

                                        Some of the songs feature all of the musicians whist a few are solo guitar and vocals. Thurston is working on the final cover and sleeve art with London-based artist Radieux Radio who also scribed lyrics for a few of the tracks. BY THE FIRE will come out on The Daydream Library Series record label which was founded in 2018 especially to release London Afro-punk feminist trio Big Joanie’s debut album ‘Sistahs’.

                                        FORMAT INFORMATION

                                        2xColoured LP Info: Indies exclusive transparent orange vinyl.

                                        2xLP Info: 180 gram audiophile black vinyl.

                                        Belle And Sebastian

                                        Push Barman To Open Old Wounds

                                          A chronological  collection of all 25 songs from Belle and Sebastian’s seven Jeepster EP and single releases compiled on an album for the first time. The inner sleeve features the original artwork from the individual EP releases. The sleeve image will aim to explain the origins of the album’s title.

                                          The songs included here date back to the early days of the band’s career in 1997 when they released 3 four track EPs ("Dog On Wheels", "Lazy Line Painter Jane" and "3..6..9 Seconds of Light") to bridge the time between the release of their albums If You’re Feeling Sinister (1996) and The Boy With The Arab Strap (1998). Also included is their most successful single "Legal Man". The set concludes with the band’s last Jeepster single release "I’m Waking up To Us".

                                          None of these songs, which are virtually all remastered for this collection, have ever featured on Belle & Sebastian’s albums and, as individual catalogue singles become increasingly difficult to track down.

                                          FORMAT INFORMATION

                                          3xColoured LP Info: Clear vinyl edition.

                                          2xLtd CD Info: The limited double CD comes in a hardback casebound CD sleeve with a deluxe booklet.

                                          Willie J Healey

                                          Twin Heavy

                                            This Willie record is an especially happy moment for us, as it marks our first wholly independent release, and we couldn’t be more proud to present it to you here.

                                            Willie made one of the great debut bedroom records in ‘People And Their Dogs’, which we were huge fans of and felt very lucky in the wake of that to get a chance to work him, firstly on the follow EP ‘666 Kill’, and latterly on this album. It's a real privilege/responsibility to have our label associated with Willie's music and to put it out into the world, but something we’ve taken to with real fervour.

                                            Twin Heavy was recorded in a couple of wildly productive weeks at Echo Zoo Studios in Eastbourne with producer Loren Humphries (Florence And The Machine, Last Shadow Puppets, Arctic Monkeys, Tame Impala).

                                            It was a hard collection to land on because Willie has a habit of writing a new song every week, almost always an evolution and improvement on the last. It’s not a bad problem to have but something as a label you have to be mindful of when contextualising a piece of his work. We eventually settled on a selection and the band recorded straight to tape. The life and simultaneous naivety and nous captured in this have really made us feel like we’re sitting on a special little secret ever since we first heard it.

                                            Willie spent his teens with his ambitions set on a life as an amateur boxer but an introduction to the music of Neil Young set him on an accidental path of discovering he had a very natural ease with melody. As he told us, it suddenly felt like a better alternative than being punched in the head every day. We’ve been really excited to see him grow over the last few months into an artist really capable of voicing his leftfield eccentricities alongside his very natural classic song writing.

                                            This final collection of songs feels to us like all the very best stuff from this last year of writing and recording...and, in our opinions and set against the chaos, a total relief to be in the company of.

                                            Thank you for all your support up until now and we hope you love this as much as we do.

                                            Mark E Smith

                                            The Post Nearly Man

                                              The Post Nearly Man is the debut solo album by Mark E. Smith, legendary bandleader of the Fall.

                                              Recorded in part at Pete Waterman’s studio, the album was first released in 1998 and is a mix of spoken word, sound collage, and samples of Fall music resulting in one Smith’s most experimental releases.

                                              The complete album is now released on vinyl for the very first time, pressed on 140g clear vinyl. This reissue also features new and exclusive artwork by the original cover artist and Fall collaborator, Pascal le Gras.

                                              The Fall

                                              The Twenty-Seven Points: Live 92-95 (Live)

                                                The Twenty Seven Points is an album of live recordings made by the Fall between 1991 and 1995. Often seen by fans as one of the only ‘proper’ Fall albums, the recordings capture the chaotic atmosphere of the band’s live shows (complete with onstage mishaps and walk offs).

                                                Featuring performances of songs from across the Fall’s back catalogue including ‘Big New Prinz ’, ‘Lost in Music’ and ‘Mr Pharmacist’.

                                                Back on vinyl for the first time in nearly 25 years, this new edition is pressed on two 140g clear vinyl and housed

                                                The Fall

                                                Middle Class Revolt - 140g Clear Vinyl

                                                  After the success of 1993’s The Infotainment Scan, the Fall returned to the studio to record Middle Class Revolt. Whilst it didn’t reach the same commercial heights, the album includes some of the Fall’s post popular tracks. Highlights include ‘Hey! Student’, ‘15 Ways’ and ‘Behind The Counter’ as well as covers of ‘War’ and ‘Shut Up!’

                                                  Back on vinyl for the first time in over 25 years, this new edition is pressed on 140g clear vinyl and housed in a printed inner sleeve featuring new designs by original cover artist Pascal Le Gras.

                                                  The Fall

                                                  The Infotainment Scan - 140g Clear Vinyl

                                                    The Infotainment Scan was first released in 1993 on Permanent Records and became the Fall’s highest charting album when it entered the UK Albums Chart at #9. The album is considered the Fall’s most accessible album and stands as a high point in their vast and varied catalogue.

                                                    Highlights include a cover of Sister Sledge’s ‘Lost in Music’, ‘Paranoia Man in Cheap Sh *t Room’ and ‘Glam Racket’

                                                    Back on vinyl for the first time in nearly three decades, this new edition is pressed on 140g clear vinyl and housed in a printed inner sleeve featuring new designs by original cover artist Pascal Le Gras.

                                                    Nick Lowe

                                                    Lay It On Me

                                                      Nick Lowe strikes again with a brand new EP, Lay It On Me, where he is once again joined by his gang of masked musicians, Los Straitjackets.

                                                      The limited edition EP features two new originals from Nick, “Lay It On Me Baby” and “Don’t Be Nice to Me,” plus a cover of Dorsey Burnette’s “Here Comes That Feeling” (made famous by Brenda Lee).

                                                      Nick’s wordplay and razor-sharp lyrics shine bright with the twang-friendly tones of Los Straitjackets behind him. On Side B of the EP is the first track that Nick has produced in over two decades that wasn’t one of his own performances: Los Straitjackets turning Shocking Blue/Bananarama’s “Venus” into a surf rock staple.

                                                      Alfie Templeman

                                                      Happiness In Liquid Form EP

                                                        17 year-old Alfie Templeman first burst onto the scene in late 2018 with the release of his debut EP “Like An Animal” via Chess Club Records. Immediately drawing praise from tastemakers at national press and radio alike and gathering huge momentum resulting in a BBC Radio 1 Introducing playlist and a place in annual ones to watch polls everywhere from NME to British Vogue.

                                                        21st June 2019 marked the release of his second EP, “Sunday Morning Cereal”, of which first single “Stop Thinking (About Me)” won the hearts of BBC Radio 1’s Annie Mac and Jack Saunders - who made the single his ‘Tune of the Week’ in April - and Radio X who added the track to their Evening playlist in May. With the same EP, Templeman also revealed the video for ‘Stop Thinking (About Me)’ - filmed on iPhone and part of Apple’s new #shotoniphone worldwide campaign, for which he was handpicked from a global shortlist of emerging artists. The video has now amassed over 2.3 million views.

                                                        Alfie’s online fanbase has been growing at an exponential pace since his first post in 2019 year and has now reached over 92,000 followers on Instagram. In November 2019 he released his third collection of music, “Don’t Go Wasting Time EP” which has received constant spins on BBC Radio 1, BBC 6 Music and Radio X, along with new international plays on Alt Nation, KCRW, and Triple J. 

                                                        FORMAT INFORMATION

                                                        Ltd 10" Info: Limited edition splatter coloured vinyl.

                                                        Tadao Sawai & Kazue Sawai & Hozan Yamamoto & Sadanori Nakamu

                                                        Jazz Rock

                                                          They say you can’t judge a book by its cover, and going by ‘Jazz Rock’, nor a record by its title.

                                                          Though entering into jazz territory and featuring some distorted guitar, ‘Jazz Rock’ is more a beautiful marriage of funky breakbeat drumming and spiritual jazz instrumentation, combined with traditional Min’y 333; music performed on the koto and shakuhachi.

                                                          Originally released in 1973, the record sounds simultaneously vintage and contemporary. It is akin to something Madlib might dream up whilst lost in Japan collaborating with Min’y 333; players at a recording session. The record features some amazing shakuhachi (bamboo flute) playing by Hozan Yamamoto, which gives the music a haunting, dreamlike atmosphere. You can almost visualise the long grass blowing in the wind, and hear the bamboo rustling in the distance on a long hot summer’s day. Takeshi Inomata, Tadao Sawai and Kazue Sawai anchor the session.

                                                          Takeshi’s exceptionally funky-drum work will almost certainly get some producers dusting off and firing up their MPC’s. Whilst Kazue and Tadao work their magic on the koto (a traditional string instrument).

                                                          Though certainly not an ambient record, ‘Jazz-Rock’ has the same meditative, other-worldly quality that invites you to sit back, listen and be transported somewhere else. Unfortunately, until now the ‘Jazz Rock’ album is a scarcity that commanded a high price-tag only for the most hardened of record collectors. So it is pleasure to make it accessible to all, and we hope you dig this lost, obscure future classic as much as we do.

                                                          Nicolas Bougaïeff

                                                          The Upward Spiral

                                                            The Upward Spiral is Nicolas Bougaïeff’s debut fulllength album release on Mute, following the release of three EPs on the seminal electronic label’s techno offshoot, NovaMute.

                                                            The new album explores elements of acid, techno and tempo modulation through a compositional lens, drawing on the Canadian-born, Berlin-based artist’s love for avant-garde forms and longstanding relationship with the electronic music community.

                                                            Bougaïeff hails from diverse musical background, having studied in a conservatoire setting whilst foraying into anti-authoritarian rave culture. He is also a respected lecturer, regularly teaching masterclasses in composition and speaking at global events such as Mutek and Ableton Loop.
                                                            Following the completion of his PhD on minimal techno at the University of Huddersfield, Bougaïeff designed the controllers for Richie Hawtin’s Plastikman Live tour, and co-founded Liine, the company behind the landmark music app Lemur used by astronaut Alexander Gerst on the International Space Station in a live jam with Kraftwerk.

                                                            Howling

                                                            Colure

                                                              RY X and Frank Wiedemann reunite as Howling to present ‘Colure’ the sophomore full-length record from their joint musical enterprise, released via Counter Records.

                                                              RY X, solo alternative artist and member of The Acid, and Frank, one half of Âme, bring fans a bigger, sharper follow-up to their debut, ‘Sacred Ground.’

                                                              On ‘Colure’, the Berlin-based Wiedemann and Los Angeles-based RY X conjure transcendent creations out of their contrasting musical backgrounds and environments. The album is assuredly dualistic: electronic and acoustic sounds sit comfortably side-byside, and big melodic hooks are laced into hypnotic club productions.

                                                              RY X rose to underground-folk fame with breakthrough hit ‘Berlin’ and followed up with solo albums ‘Dawn’ and 2019’s ‘Unfurl’. His band, The Acid - a project with producers Adam Freeland and Steve Nalepa created a multimedia film, “the bomb” in 2017.

                                                              Wiedemann is royalty of the 4/4 scene as one half of Âme with Kristian Beyer and head honcho of Berlin label Innervisions he co-owns with Dixon & Kristian.

                                                              Howling took their collaboration out on the road with a mesmerising live show playing a string of sold out shows and festivals in the UK and across the world including Melt! Festival, Lovebox, Lowlands, Pukkelpop, Electronic Beats Festival, Sacred Ground Festival and more and played live at Innervisions showcase at The Royal Albert Hall (+ Live Stream) in September 2018.

                                                              Recommended if you like Atoms For Peace, Âme, Dixon, RY X, Tale of Us, Mano le Tough, The Acid.

                                                              Quinn Christopherson

                                                              Raedeen / Erase Me

                                                                Alaskan singer-songwriter Quinn Christopherson announces his signing to Play It Again Sam with this limited pressing of his two singles so far released, Raedeen and Erase Me, released exclusively for Love Record Stores.

                                                                Born and raised in Anchorage, Alaska, Quinn is Athabaskan through his mother and Iñupiat through his father. He grew up with his mother's Athabaskan family. and his maternal grandmother was a storyteller from Tazlina, Alaska who later moved to Anchorage.

                                                                Quinn broke out in 2019, winning NPR's coveted Tiny Desk Contest with his entry "Erase Me," a song exploring his experience coming out as a transgender man.

                                                                FORMAT INFORMATION

                                                                Ltd 10" Info: Handstamped 10” vinyl.

                                                                Washed Out

                                                                Purple Noon

                                                                  Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date.

                                                                  Life of Leisure, Washed Out’s 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013’s Paracosm was Greene’s take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone’s Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision.

                                                                  For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there’s a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region’s distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon’s title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in “Too Late”; a passionate love affair in “Paralyzed”; disintegration of a relationship in “Time to Walk Away”; a reunion with a lost love in “Game of Chance.” Purple Noon adds a layer of emotional intensity to the escapism of Washed Out’s oeuvre, taking the music to dazzling new heights.

                                                                  A Certain Ratio

                                                                  ACR Loco - Signed Art Card Edition

                                                                    All formats come with a limited edition signed art card, 1 of 2 designs, packed randomly with orders of the new album ACR Loco.

                                                                    Signed by Jez Kerr, Martin Moscrop and Donald Johnson as well as designer Trevor Johnson.


                                                                    Back with their first new album in 12 years, a confident and revitalised ACR jumped back into the studio following their most successful tour in over 20 years.

                                                                    ACR Loco feels like an accumulation of ACR's DNA from point zero in 1977 through to 2020 and sounds like a band who have effortlessly perfected their craft. An album to dance to, cry to, fall in love to and most importantly, to party to.

                                                                    ACR Loco by the core ACR members Jez Kerr, Martin Moscrop and Donald Johnson, are joined by long term partners Tony Quigley, Denise Johnson and Matt Steele, plus special guests Sink Ya Teeth’s Maria Uzor and Gemma Cullingford, Factory Floor’s Gabe Gurnsey and Manchester luminaries Mike Joyce and Eric Random.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Limited edition coloured vinyl. First pressing available on 1 of 4 colours: White, Blue, Red, Turquoise. Each colour is of varying rarity and will be randomly packed with no external cue as to which colour is available within the package.
                                                                    White Vinyl – very rare (300 copies pressed)
                                                                    Blue Vinyl – quite rare (600 copies pressed)
                                                                    Red Vinyl – fairly rare (900 copies pressed)
                                                                    Turquoise Vinyl – rare (1200 copies pressed)
                                                                    Foil blocked sleeve designed by Trevor Johnson + inner sleeve and bo

                                                                    Darkstar

                                                                    Civic Jams - Remixes (Feat. John Talabot, Loraine, Parris And Horsepower)

                                                                      Le Ren

                                                                      Morning & Melancholia

                                                                        Le Ren’s close-to-the-bone, heartbreak folk songs seem, at first, to tap into a shared musical memory. A melody swirls forward and you’re just sure it’s known to the back of your mind; was it in from a movie you saw, some classic mid-60s setpiece? Maybe it’s something you heard as a kid, in the backseat of your mom’s Cutlass, or the shotgun seat of your own. But before you can zero in through the fog, your heart is torn apart by her voice — rich, direct and mellifluous — steering you through these slowburn tunes about real-life loss.

                                                                        “Discussing songwriting feels the same as when someone asks about your tattoo,” says Lauren Spear, 26, the sole voice and songwriter behind Montreal’s Le Ren. “You’re putting it out there, showing it in public right on your arm. Then, when someone asks you ‘Hey, what’s that tattoo mean?,’ you’re shocked to have to explain it, as it is a choice that feels essential for a particular moment.”

                                                                        Two years ago, Spear’s ex-boyfriend was killed in a car accident. Since then, she has been struggling with the immeasurable weight of being the sole keeper of their shared memories and in response, translated a sliver of that experience into music. Her EP, Morning & Melancholia, is a mediation on mourning, memory and how to live with the ellipses you’re forever left with in the wake of loss.

                                                                        The way Le Ren is able to look tragedy directly in its eyes and never let her voice so much as quiver is owed to a few things. Raised on rural Bowen Island, British Columbia, the isolated lifestyle allows for a certain independent dedication to craft that is evident in her performances. Spear has studied folk and bluegrass going back to her early teens, partaking in workshops and festivals all over North America. You can hear in her acumen the gorgeous folk formalism of Canadian heroes Kate and Anna McGerrigle. But it’s not all rigor and acuity that makes Le Ren’s music so stunning. She was also raised on The Holy Trinity of songwriters John Prine, Neil Young and Bob Dylan, and their curious, deadpan and cosmic approach to life’s most brutal swipes also feed Le Ren’s sensibilities. Her lyrical couplets are as simply put as they are devastating. “So here we are at the end of all things // I guess I learned too late // that love can’t be the only reason to stay,” she sings on the closer “Love Can’t Be the Only Reason To Stay”. It’s gut wrenching, but sure-footed. And you can almost hear the slight smile on one side of her mouth as she sings, the knowing smile of someone who knows real pain, knows there’s surely more to come, but who also knows it doesn’t erase life’s humorous, enduring beauty.

                                                                        Beverly Glenn-Copeland

                                                                        Transmissions: The Music Of Beverly Glenn-Copeland

                                                                          Throughout a fifty year recording career, legendary singer, composer and transgender activist Beverly Glenn-Copeland's music has defied categorisation and genre, its only consistency being the extraordinary fusion of vision, technology, spirituality and place.

                                                                          Now in his mid-70’s, Glenn-Copeland was born into a musical family and studied the classical piano repertoire from ‘cradlehood,’ listening to his father playing the piano four to five hours a day. He moved from his home-town of Philadelphia to study classical music at McGill University, Montreal in 1961 (focussing on the European song repertoire) before he suddenly felt called to write music that would weave influences from the myriad musical cultures he had come to love.

                                                                          Newly signed to Transgressive, this career spanning collection of songs includes three previously unreleased tracks; ‘River Dreams’, written last year and released with the album announcement, the live versions of ‘Deep River’+ ‘Colour Of Anyhow’, in addition to studio tracks from his acclaimed masterpiece Keyboard Fantasies + more.

                                                                          FORMAT INFORMATION

                                                                          Ltd LP Info: LP format is pressed on heavyweight black vinyl and is housed inside a beautiful gatefold sleeve with spot gloss to the cover. Includes a bonus 7” (also black vinyl), and code to download all tracks, including those that are on the CD + digital formats (‘A Little Talk’ and ‘Erzili’)

                                                                          Sufjan Stevens

                                                                          The Ascension

                                                                            Sufjan returns with the long awaited follow up to Carrie & Lowell.

                                                                            FORMAT INFORMATION

                                                                            2xColoured LP Info: Limited edition clear vinyl.

                                                                            Tim Burgess

                                                                            Oh No I Love You - Silver Vinyl Edition

                                                                              ‘Oh No I Love You’ originally released in 2012 gets a Limited edition repress of 500 copies on SILVER LP, in support of Love Record Stores event– Supporting Indie retail. This additional limited colour run is due to large demand for the initial Clear Green repress which has sold out.

                                                                              “The root of this album goes right back to a Kurt Wagner show in Manchester. It was the quietest yet the most powerful live performance I had ever seen and afterwards I carried Kurt's guitar to the car for him. I took the chance to ask him if he would ever consider writing a song with me. "Sure Tim, you write the music and I'll write the words". That one song turned into an album and almost ten year's after we first talked about it, the album is ready and it's called Oh No I Love You
                                                                              Kurt gave me the number of producer Mark Nevers in Nashville. He said Mark's studio, The Beech House was the perfect place to record. We got together members of Lambchop, Clem Snide, My Morning Jacket. We used strings, brass and a gospel choir. Chris Scruggs, grandson of the legendary Earl Scruggs came and played on a couple of songs and lo fi legend R Stevie Moore stopped by and we recorded a track in one take. Further contributions came from Factory Floor’s Gabe Gurnsey and Nik Colk Void and string arrangements from head High Llama Sean O'Hagan”. - Tim Burgess

                                                                              Tim Burgess is the official ambassador for Love Record Stores event on 20th June 2020


                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Silver vinyl edition, 500 copies only.

                                                                              Caribou

                                                                              Never Come Back / Sister (Floating Points Remixes)

                                                                                Three is the magic number! Following recent remixes by Morgan Geist and Four Tet for Caribou’s single NEVER COME BACK, Sam Shepherd completes the holy trinity. Sam outdid himself adding a dash of motor city oil to NCB and throwing in an extra remix for Caribou’s ’Suddenly’ album opener ‘Sister'.

                                                                                FORMAT INFORMATION

                                                                                Ltd 12" Info: Black 140g vinyl in heavyweight grey carton sleeves. One time pressing, limited to 800 units for UK.

                                                                                Caribou

                                                                                Never Come Back (Four Tet & Morgan Geist Remixes)

                                                                                  About the Remixes:
                                                                                  Four Tet Remix: This is what it sounds like when the universe spontaneously synchronises. We give you the new Four Tet remix of Caribou’s latest single "Never Come Back” Kieran took the track and warped and bent it into a playfully hypnotic late night wormhole that lures you in with it’s repetitive claps, snares and synths. It will never let you go.

                                                                                  Morgan Geist Remix: Morgan is one of the architects of modern electronic dance music and electronic pop as we know it today, whether it was as a part of influential duo Metro Area and the label Environ, as the mastermind behind chart-topping project Storm Queen or his numerous remixes, Morgan left an undeniable mark. His rework of Caribou's excellent single "Never Come Back" pays respect to the early 90ies transatlantic house phenomenon that stretched from New York to London US to Europe.


                                                                                  FORMAT INFORMATION

                                                                                  Ltd 12" Info: Black 140g vinyl in heavyweight grey carton sleeves. One time pressing, limited to 800 units for UK.

                                                                                  This Is The Kit

                                                                                  Off Off On

                                                                                    Pre-order the record and be in with a chance of winning a test pressing and lyric sheet handwritten by Kate herself.
                                                                                    (
                                                                                    this is a no purchase necessary offer).

                                                                                    Since 2008’s debut album Krülle Bol, This Is The Kit (lead by Kate Stables) have unpicked emotional knots and woven remarkable stories, but even by their high standards, Off Off On is a beautifully clear distillation of Stables’ song-writing gifts.

                                                                                    By the end of 2018, the band had finished touring their last album, the talismanic Moonshine Freeze – leading to Kate’s Ivor Novello nomination, but when it came to Stables’ natural impulse to start the next record, her efforts were diverted by an invitation to join The National on the road for multiple tours and TV appearances – a continuation of the role she took on their album I Am Easy To Find. “It was so brilliant when I was writing to be away from my songs and the responsibility of being in charge of a band or a project – I think it really helped my writing and my getting through whatever I needed to get through.”

                                                                                    Richly illuminating and acutely sensitive to the pulses and currents of life, Off Off On shows This Is The Kit overflowing with ideas. In difficult times, it’s a record that feels like a lifeline, moving against the tide, standing against the storm. Keep going.

                                                                                    FORMAT INFORMATION

                                                                                    Coloured LP Info: Indies exclusive red vinyl.

                                                                                    Surprise Chef

                                                                                    All News Is Good News

                                                                                      There is something simultaneously both brand-new and retro about ‘All News Is Good News’ - the debut album from Melbourne’s instrumental soul group Surprise Chef.

                                                                                      It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity. There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of ‘All News Is Good News’ was released on the band’s own ‘College Of Knowledge’ imprint in November 2019.

                                                                                      It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process. We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo.

                                                                                      The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way”.

                                                                                      The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone’s fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

                                                                                      Art Blakey & The Jazz Messengers

                                                                                      Just Coolin'

                                                                                        Blue Note Records release Just Coolin’, a never-before-released studio album by Art Blakey & The Jazz Messengers that was recorded on March 8, 1959 in Rudy Van Gelder's living room studio in Hackensack, New Jersey. The session featured a short-lived line-up of The Jazz Messengers with drummer Art Blakey, trumpeter Lee Morgan, tenor saxophonist Hank Mobley, pianist Bobby Timmons, and bassist Jymie Merritt. The album features two previously unissued compositions including Timmons’ tune “Quick Trick,” which is available today to stream or download. Just Coolin’ can be preordered in several formats: CD, digital download, and an all-analog 180g vinyl pressing that was mastered by Kevin Gray.

                                                                                        The session for Just Coolin’ finds The Jazz Messengers’ saxophone chair in transition. The band had last recorded in October 1958 when they cemented their place in jazz history with the classic album Moanin’ featuring Benny Golson on tenor saxophone. By July 1959, Blakey had recruited tenor saxophonist Wayne Shorter who would remain a fixture of the band until 1964.

                                                                                        The interim saw the return of Mobley, who was a charter member of The Jazz Messengers when the band first formed in 1954 and appeared on their debut recording The Jazz Messengers At The Café Bohemia in 1955. Mobley also filled an important role as the band’s resident composer. In fact, three of the six tracks on Just Coolin’ were written by Mobley: “Hipsippy Blues,” “M&M,” and “Just Coolin’.”

                                                                                        However, five weeks after the studio session Blue Note founder and producer Alfred Lion decided to record the band again at the legendary club Birdland in New York City on April 15, 1959, capturing an assured live recording that included four of the six titles that had been recorded in March. The Birdland sessions ended up superseding the studio date when Lion instead released the two-volume live album Art Blakey & The Jazz Messengers At The Jazz Corner Of The World later that year.

                                                                                        “In 2020, it’s great to find more Morgan, Mobley and Timmons in their prime,” writes Bob Blumenthal in the liner notes for Just Coolin’. “The music had clearly settled in during the month that separated studio and live versions, but the fire of these six tracks has an appeal of its own.”

                                                                                        Now, 61 years later jazz fans all over the world will have the chance to listen for themselves.

                                                                                        Various Artists

                                                                                        Slip-disc - Dishoom's London Bombay Grooves - Repress

                                                                                          From rocking Bombay to swinging London: what a terrific trip! in the 60s, young Indians and young Brits struck up an unlikely relationship that resulted in some truly amazing music.

                                                                                          For this generation, culture was currency. hip young Indians rocked up in London. ‘Beat’ bands in Bombay belted out versions of the latest rock’n’roll hits. Indian musicians dreamt of making it big in the West, while British bands were eager to explore mystic, exotic India. Despite their very different upbringings, both Eastern and Western youth revelled in their opposing cultures. 'Slip-disc - Dishoom's London Bombay Grooves' is the sound of this cross-Continental youth revolution and a long-distance love affair.

                                                                                          Includes Gems like Ananda Shankar's 'Jumpin Jack Flash', Bill Ravi Harris & The Prophets' 'Cissy Strutt' and BD Davis & The Red Orchidstra's 'Get Carter'.

                                                                                          Peter Broderick & Friends

                                                                                          Play More Arthur Russell

                                                                                            This is a short live record made up of Arthur Russell covers which were not included on the first album of of Arthur covers. Recorded throughout various performances in the UK (and one track in Ireland) with a wonderful band of Scots.

                                                                                            Big thanks to the crowd at The Blue Arrow (Glasgow) in early 2019 . . . it was the energy of these fine folks that inspired this record. The room was on fire while we performed 'Go Bang!' . . . such an explosively fun moment -- and luckily it as recorded -- I thought it deserved to go on a record!

                                                                                            Peter Broderick

                                                                                            One Hear Now

                                                                                              This is one 35-minute piece in 11 parts, commissioned to accompany a series of murals by the brilliant Brian O'Doherty. The original art exhibition was called One Here Now: The Ogham Cycle, so I decided to call my piece ONE HEAR NOW.

                                                                                              This music was composed in a very systematic way, by turning the murals into a score, assigning different notes to different colors, different instruments to different shapes, etc. It was written so that it could be performed solo with the help of a loop pedal, but for this recorded version there were no loops used. All parts were performed fully through. There's also no artificial reverb on this recording. A microphone was placed in the middle of the gallery with the paintings, and the instruments were recorded at varying distances from the mic, allowing the natural reverberation of the room to be captured.

                                                                                              Daniel Avery

                                                                                              Love + Light

                                                                                                Love + Light arrives unexpectedly, following Avery’s recent collaborations with Alessandro Cortini on the critically acclaimed Illusion of Time LP (“a record that suggests Godspeed You! Black Emperor in drone mode, reimagining Music For Airports as if the runways were covered in gravel and air traffic control was on strike,” said Loud & Quiet, while Q hailed it “lush mood music to get lost in”) and alongside Roman Flügel under the alias of Noun. Avery’s previous solo album Song For Alpha was released in 2018 to similar acclaim.

                                                                                                Avery shares, “This record has been a real positive force of energy in my life, to the point where it almost formed itself in front of me. In that same spirit, I wanted to share it with you now, as soon as it was finished. As I started to collect the pieces together, it was apparent that the album would be split into two distinct halves but halves that were inexorably tied together. One could not have existed without the other. Music has always been a source of personal strength for me yet I remain fascinated by the power it can possess of its own volition. Releasing the record in this way, just a couple of weeks after the final note had fallen, felt like a decision made by an outside force yet one I agreed with entirely. Stay safe, friends and I’ll see you on the other side soon. DA xxx”

                                                                                                FORMAT INFORMATION

                                                                                                Coloured LP Info: Milky Clear Vinyl.
                                                                                                Heavyweight 180g.

                                                                                                2xCD Info: Initial CD format contains “Falling Light” bonus CD.

                                                                                                The Flaming Lips

                                                                                                American Head

                                                                                                  Multiple GRAMMY Award®-winning American Legends The Flaming Lips are pleased to announce the release of their 21st studio album, AMERICAN HEAD set for release on September 11th via Bella Union. The album is comprised of thirteen new cinematic tracks, produced by longtime collaborator Dave Fridmann and The Lips. Among them, “God and the Policeman” featuring backing vocals from country superstar Kasey Musgraves. AMERICAN HEAD takes on a welcome temporal shift that occupies a similar space to that of THE SOFT BULLETIN or YOSHIMI BATTLES THE PINK ROBOTS and just may be their most beautiful and consistent work to date

                                                                                                  AMERICAN HEAD finds The Flaming Lips basking in more reflective lyrical places as Wayne Coyne explains in a longer form story titled “We’re An American Band.” Excerpt below:
                                                                                                  “The Flaming Lips are from Oklahoma. We never thought of ourselves as an AMERICAN band. I know growing up (when I was like 6 or 7 years old) in Oklahoma I was never influenced by, or was very aware of any musicians from Oklahoma. We mostly listened to the Beatles and my mother loved Tom Jones (this is in the 60’s)... it wasn’t till I was about 10 or 11 that my older brothers would know a few of the local musician dudes.

                                                                                                  So... for most of our musical life (as The Flaming Lips starting in 1983) we’ve kind of thought of ourselves as coming from ‘Earth’... not really caring WHERE we were actually from. So for the first time in our musical life we began to think of ourselves as ‘AN AMERICAN BAND’… telling ourselves that it would be our identity for our next creative adventure. We had become a 7-piece ensemble and were beginning to feel more and more of a kinship with groups that have a lot of members in them. We started to think of classic American bands like The Grateful Dead and Parliament-Funkadelic and how maybe we could embrace this new vibe.

                                                                                                  The music and songs that make up the AMERICAN HEAD album are based in a feeling. A feeling that, I think, can only be expressed through music and songs. We were, while creating it, trying to NOT hear it as sounds... but to feel it. Mother’s sacrifice, Father’s intensity, Brother’s insanity, Sister’s rebellion...I can’t quite put it into words.

                                                                                                  Something switches and others (your brothers and sisters and mother and father...your pets) start to become more important to you…in the beginning there is only you... and your desires are all that you can care about...but... something switches.. I think all of these songs are about this little switch.”




                                                                                                  FORMAT INFORMATION

                                                                                                  2xColoured LP Info: 2 x 180g Heavyweight Tri-Colour Vinyl.

                                                                                                  2xColoured LP includes MP3 Download Code.

                                                                                                  Rituals Of Mine

                                                                                                  HYPE NOSTALGIA

                                                                                                    If you could recreate a time before you experienced the most extreme grief of your life, would you do it? For Rituals of Mine’s Terra Lopez, she did just that. With her latest album HYPE NOSTALGIA – her first as a solo artist – Lopez wanted to create a soundscape from a pre-loss perspective, revealing how the darkness she experienced was just microcosms of her being.

                                                                                                    HYPE NOSTALGIA reckons with the emotional rollercoaster Lopez has been riding the past few years, and reimagines it. In 2015, Lopez lost her father to suicide and six months later her best friend passed away in a water accident. “Those two events within that six month-period, forever changed me, and I'm only now starting to feel like I've processed it after all these years,” Lopez says.

                                                                                                    The same week her father died, she went on tour, and the same week that her friend died, Lopez signed to a major label, immediately working on new music. She never slowed down and neither did her emotions. Lopez went from being a high-functioning depressed person to encountering the most crippling mental health experience of her life.

                                                                                                    Art had always been her outlet, but it was no longer a coping mechanism that worked. Trauma had taken away her voice, leaving Lopez unable to sing for a year. It wasn’t until 2018 when she decided to go to therapy and began taking medication for the first time that she could process the trauma she had experienced, not only in the recent years, but intergenerational trauma she discovered in eye movement desensitization and reprocessing (EMDR).

                                                                                                    Sure, there are heavy elements to the record: dark synths, future R&B undertones, propulsive bass and moody lyrics, but the softness of Lopez’s vocals elicits a quiet confidence. On the self-assured lead single “Come Around Me,” the most straightforward song Lopez has ever written, she confronts being taken advantage of as a gay woman of color in the music industry. “None of this fake shit when you come around me,” she sings breathlessly. Lopez enlists musician Kristina Esfandiari (King Woman, Nghtcrwlr), to tackle the same subject on the anthemic “Free Throw,” meditating on the fake support that comes from their male counterparts in the music industry. 


                                                                                                    FORMAT INFORMATION

                                                                                                    Coloured LP Info: Limited bone colour vinyl.

                                                                                                    Dent May

                                                                                                    Late Checkout

                                                                                                      “Full speed ahead now, no more looking back.” Dent May confidently croons on his fifth LP, Late Checkout. The un-nostalgic sentiment and sobering clarity of May’s latest body of work signifies the 35-year-old songwriter from Mississippi taking a reflective rest-stop on the winding road of his now decade-long career.

                                                                                                      After relocating to Los Angeles in 2015, touring his last record Across the Multiverse around the world, and building his own Honeymoon Suite Recording Studio with friends Pat Jones and Michael Rosen, May suddenly found himself with the chance to take his time making a record. Through the dozen thematically-linked tracks on Late Checkout, May grapples with the swinging emotions of our contemporary reality with a rare optimism and distinguished sound.

                                                                                                      Bearing the torch of classic American songwriters that have inspired him like Harry Nilsson, Carole King, and Randy Newman, May has gingerly cultivated his iPhone note scribbles and subconscious melodies into songs that could stand the test of time. Leaving the comfort of home-recording, May set out to elevate the production quality on Late Checkout while maintaining some intimacy through sparse arrangements. After writing and performing parts for a bulk of the instruments on the album, May filled out his orchestrations by inviting string players, a horn section, background vocalists, and a pair of auxiliary drummers to play on the album. Contrary to the instant gratification permitted by modern home-recording, May made a conscious decision to slow down and pay careful attention to his songwriting on this album. He began to savor the minutiae of his daily life spent wandering around LA, not getting invited to hang with friends, and waking up in hotel rooms after DJing weddings. May drew on these moments in his lyrics and began assembling ballads at his new studio, mimicking the bittersweet tone and consistent work ethic of Motown.

                                                                                                      “I’ve been collecting stationery from almost every hotel I’ve stayed at for the past ten years.” May reveals about the album’s opener “Hotel Stationary.” “I’ve always been drawn to the nature of hotels. I think it relates to this sense of always feeling out of place and my constant wanderlust.” On Late Checkout’s first single, “I Could Use A Miracle,” May sings about the desperation of feeling down-and-out against a lush and upbeat pop instrumental. The groovy “Easier Said Than Done” is decorated with bright keys and syncopated drums while May sings about coming to the end of his journey to find love. “Sea Salt & Caramel,” spilled out of May as a saccharine love song to his girlfriend, adding pure sweetness to balance the record’s melancholy pallet. From beginning to end, May bares his soul on each track across Late Checkout, offering a reluctant goodbye to his former selves, before wandering home.


                                                                                                      FORMAT INFORMATION

                                                                                                      Coloured LP Info: Limited Baby Blue LP, innersleeves with lyrics & digital download.

                                                                                                      Prince

                                                                                                      Sign O- The Times - Remastered

                                                                                                        Overflowing with musical ideas and topical lyrics that sound just as relevant today as they did when they were initially released, Prince’s iconic double album Sign O’ The Times captured the artist in a period of complete reinvention. The final 16-track album included just some of the countless songs Prince recorded in the prolific period of 1985-1987, which saw the dissolution of his band The Revolution, the construction of his innovative recording complex, Paisley Park, and the creation (and ultimate abandonment) of the albums Dream Factory, Camille, and Crystal Ball.

                                                                                                        This September 25, The Prince Estate, in partnership with Warner Records/Rhino UK, will reissue Sign O’ The Times. This limited edition 2LP peach vinyl set and 2CD set will feature the classic album remastered for the very first time by Prince’s original mastering engineer Bernie Grundman.


                                                                                                        FORMAT INFORMATION

                                                                                                        2xColoured LP Info: 2xLP 180g Peach Coloured Vinyl on the initial run only.

                                                                                                        Prince

                                                                                                        Sign O' The Times - Deluxe Edition

                                                                                                          Overflowing with musical ideas and topical lyrics that sound just as relevant today as they did when they were initially released, Prince’s iconic double album Sign O’ The Times captured the artist in a period of complete reinvention. The final 16-track album included just some of the countless songs Prince recorded in the prolific period of 1985-1987, which saw the dissolution of his band The Revolution, the construction of his innovative recording complex, Paisley Park, and the creation (and ultimate abandonment) of the albums Dream Factory, Camille, and Crystal Ball.

                                                                                                          This September 25, The Prince Estate, in partnership with Warner Records/Rhino UK, will reissue Sign O’ The Times. This 3CD and 4LP Deluxe Editions will feature the classic album remastered for the very first time by Prince’s original mastering engineer Bernie Grundman, along with single mixes and edits released in the period the album was released.


                                                                                                          Prince

                                                                                                          Sign O' The Times - Super Deluxe Edition

                                                                                                            Overflowing with musical ideas and topical lyrics that sound just as relevant today as they did when they were initially released, Prince’s iconic double album Sign O’ The Times captured the artist in a period of complete reinvention. The final 16-track album included just some of the countless songs Prince recorded in the prolific period of 1985-1987, which saw the dissolution of his band The Revolution, the construction of his innovative recording complex, Paisley Park, and the creation (and ultimate abandonment) of the albums Dream Factory, Camille, and Crystal Ball.

                                                                                                            The Super Deluxe Edition will feature the classic album remastered for the very first time, 63 previously unreleased tracks, and a previously unreleased 2+ hour video concert performance from Prince’s legendary vault that illuminates his wide-ranging and prolific creativity in this era. Following the successful release of the 1999 Super Deluxe Edition in the fall of 2019, the Sign O’ The Times Super Deluxe Edition represents the deepest dive to date into Prince’s vault and includes a total of 92 audio tracks across thirteen LPs in the vinyl box set or 8 CD's in the CD box set.


                                                                                                            FORMAT INFORMATION

                                                                                                            LP Box Set Info: 13LP + DVD 180g Black Vinyl.

                                                                                                            FREE SHIPPING This item has FREE UK shipping!

                                                                                                            CD Box Set Info: 8CD + DVD.

                                                                                                            FREE SHIPPING This item has FREE UK shipping!

                                                                                                            Max Richter

                                                                                                            Voices

                                                                                                              Over a decade after its inception, ground-breaking composer Max Richter announces the release of VOICES – a major new recording project inspired by the Universal Declaration of Human Rights. In a time of dramatic global change, VOICES offers a musical message of hope. Max Richter invited people around the world to be part of the piece, crowd-sourcing readings of the Universal Declaration of Human Rights to be interwoven into the work, which features an ‘upside-down’ orchestra. He received hundreds of submissions in over 70 languages. These readings form the aural landscape that the music flows through: they are the VOICES of the title.

                                                                                                              Max Richter explains, “I like the idea of a piece of music as a place to think, and it is clear we all have some thinking to do at the moment. We live in a hugely challenging time and, looking around at the world we have made, it’s easy to feel hopeless or angry. But, just as the problems we face are of our own making, so their solutions are within our reach, and the Universal Declaration of Human Rights is something that offers us a way forward. Although it isn’t a perfect document, the declaration does represent an inspiring vision for the possibility of better and kinder world.”

                                                                                                              FORMAT INFORMATION

                                                                                                              2xLtd LP Info: 180g Black vinyl for high quality sound.

                                                                                                              Sigur Rós

                                                                                                              ( ) - Vinyl Reissue

                                                                                                                ( ) - Sigur Rós’s celebrated third album, and for many people - especially in US where it remains their biggest selling work - the most quintessentially “Sigur Rós” record of their career to date. It is the only album where Jónsi sings entirely in the wordless lyrics of Hopelandic. A desire to elide meaning and allow the listener to bring their own interpretation to the music, extends to the eight songs, all of which are nameless. The music is broadly divided into two halves, divided by a critical 36 seconds of silence. The first half of the album being lighter and more optimistic, and the second half bleaker and more melancholic, culminating in the thundering climax of Untitled #8, the closing song of every Sigur Rós show since the song was written in 2000.

                                                                                                                ( ) was recorded at the band’s own studio Sundlaugin, in Mosfellsbær outside Reykjavik, in 2002, co-produced by the band with Ken Thomas, who also helmed their break through second album, Agætis Byrjun. Completely out of print, the vinyl album now comes in its full Grammy-nominated artwork, including die-cut sleeve and spot UV varnish inner bags. 


                                                                                                                FORMAT INFORMATION

                                                                                                                2xLtd LP Info: 2 x vinyl double LP.
                                                                                                                2 x printed inner sleeves.

                                                                                                                Jónsi

                                                                                                                Go - Red Vinyl Reissue

                                                                                                                  Sigur Rós front man Jón Þór "Jónsi" Birgisson released his debut album ‘Go’ in 2010. Jónsi initially though he would be making a low-key, acoustic album until, as he says, "somewhere along the line, it just sort of exploded." that explosion resulted in sheer aural fireworks, not a straight ahead pop record, nor rock, folk, ambient or electronic, it encompasses all of these to create an expansive musical palette that’s been brought to life by Jónsi alongside a number of free-spirited collaborators including the Philip Glass protégé Nico Muhly and the percussive genius of Samuli Kosminen.

                                                                                                                  Met with great critical acclaim Go is out of print and will be repressed on exclusive transparent red vinyl and released on Sigur Rós own record label, Krunk.

                                                                                                                  FORMAT INFORMATION

                                                                                                                  Coloured LP Info: Exclusive transparent red vinyl

                                                                                                                  Jónsi

                                                                                                                  Shiver

                                                                                                                    Shiver is the exciting and beautiful second record from LA-based Icelandic musician Jónsi. Recorded in Berlin, Reykjavik, London and Suomenlinna and available exclusively on heavy weight vinyl for the indies.

                                                                                                                    Not too long ago Jónsi was traveling through London, where he met up with iconoclastic producer A.G. Cook, who he admired for his boundary-breaking work with the PC music collective. He had no expectation for the meeting, but the more they talked, the more he realized they might be perfect collaborators. “I’ve been doing this for 30 years,” Jónsi says. “I get tired of everything really easily. I always want things to be fun and exciting and fresh, and doing another album...I just wanted to have a different approach.”

                                                                                                                    Jónsi had made a career on sweeping music that plumbed the depths of the human experience and our connection to the natural world. Cook’s production exists at the opposite end of the spectrum: synthetic, sometimes abrasive, and often on the cutting edge of experimentalism. On paper, their collaboration is surprising, but Shiver is a beautiful record that pushes Jónsi’s otherworldly voice into startling new territories.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    2xIndies Exclusive LP Info: 2 x vinyl LP.
                                                                                                                    Heavyweight 180gm black vinyl indie exclusive.
                                                                                                                    Gatefold sleeve with spot varnish.
                                                                                                                    Limited to 500 copies for the UK.

                                                                                                                    2xLtd LP Info: 2 x vinyl LP.
                                                                                                                    Standard weight 140gm black vinyl indie exclusive.
                                                                                                                    Gatefold sleeve with spot varnish.

                                                                                                                    Profligate

                                                                                                                    Too Numb To Know

                                                                                                                      Too Numb to Know showcases Profligate continuing to shirk the heavy electronics of his early years for razor sharp pop. On 2018’s Somewhere Else, Noah Anthony delivered catchy nuggets while adding live instrumentations, reinvigorating his songwriting and sonic palette. This new song-driven approach gained praise from Resident Advisor, Pitchfork and The Wire, exposing Profligate to new listeners.

                                                                                                                      Anthony worked on Too Numb To Know while living on both coasts of the United States, but eventually completed the album in Cleveland, Ohio, where he currently resides. Anthony recorded demos in Philadelphia and in Los Angeles, which was a creatively-challenging, emotionally-depleting city for him - after losing the computer holding original recordings of TNTK to a thief, he took a friend’s suggestion and moved to Cleveland where he finished the album, and added contributions from allies like Matchess, Lazy Magnet, Gel Set, Missions, and others.

                                                                                                                      TNTK is about growth, reflection and change. Lead single “Hang Up” urges the artist’s younger self to trust his instincts during chaos. Its message pairs with bright keyboards, a pulsing beat, and soft, alluring vocals - on the chorus, he croons “Nothing you create but love penetrates.” It’s an urgent, driving pop song that fuses electronics with rock instrumentation like the best of Alternative radio. “A Little Rain” and “My Days” feature evocative melodic and textural beauty. The latter’s hopeful and assuring chorus is unexpected and welcome. Softer moments like these are interspersed throughout TNTK in between kinetic numbers like “No Clear Way” and “We Can Punish,” or “A Stranger” reminiscent of his noisier, beat-oriented years. This varied approach and attention to detail is garnish to an already tight song cycle

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Coloured LP Info: Indie Exclusive Colour LP (Dark Blue).

                                                                                                                      Ltd LP Info: Limited edition black vinyl.

                                                                                                                      Cut Copy

                                                                                                                      Freeze, Melt

                                                                                                                        Freeze, Melt, the sixth album from the Grammy-nominated Australian electronic/synth-pop band Cut Copy. Lead single 'Love Is All We Share' earned praise from Rolling Stone ["meditative and immersive"], Stereogum ["hypnotic"], Consequence Of Sound ["a fitting mood for the current state of the world"], Pitchfork, The Line Of Best Fit, and numerous other outlets. Their 2011 album Zonoscope won two ARIA Awards, earned a Grammy nomination for Best Dance/Electronica Album, and reached #2 on Billboard's Dance/Electronic Albums chart, #3 on Australia's ARIA Albums chart, and #8 on the UK's Independent Albums chart. Their most recent album Haiku From Zero [2017] earned praise from NPR ["their finest album in years"], Stereogum [“a rush of infectious grooves and melodies"], Exclaim! ["another strong effort by a band that continue to celebrate the power of dance music"], and DIY. If Haiku From Zero was the party, Freeze, Melt is the Sunday morning comedown. Released independently via their own label imprint, Cutters Records.

                                                                                                                        Marvin Gaye

                                                                                                                        Every Great Motown Hit - Vinyl Reissue

                                                                                                                          Reissue of a classic collection.

                                                                                                                          Fenne Lily

                                                                                                                          Breach

                                                                                                                            Isolation is nothing new for Fenne Lily – in fact, she’s written an album of songs all about it. “It’s kind of like writing a letter, and leaving it in a book that you know you’ll get out when you’re sad – like a message to yourself in the future,” she says, referring to BREACH, her Dead Oceans debut she wrote during a period of self-enforced isolation pre-COVID.

                                                                                                                            It’s an expansive, diaristic, frequently sardonic record that deals with the mess and the catharsis of entering your 20s and finding peace while being alone. “I think this record is proof that I can be emotionally stable, even if right now I feel a little bit up and down,” says Fenne. “There’s the ability to find clarity in that. It’s sobering, weirdly.”

                                                                                                                            Fenne was born in London and moved to Dorset as a toddler, where she grew up in the picturesque English countryside. She was a “free range kid,” as she calls it, after her parents took her out of school for a period at the age of seven. Over the following year, they taught her while the family travelled Europe in a live-in bus. Even after she returned to traditional school at 9, her home education never ended, extending to music. Her mother gifted Fenne with her old record collection, through which she discovered her love for T-Rex and the Velvet Underground and Nico. Soon after she fell for the strange genius of PJ Harvey and came to worship Nick Drake, Joni Mitchell, and the richly crafted worlds of Feist, which inspired Fenne to pick up a guitar. It’s that journey to find peace inside herself that underpins the whole of Fenne’s second album.

                                                                                                                            Its title, BREACH, occurred to Fenne after deep conversations with her mum about her birth, during which she was breech, or upside down in the womb. The slippery double-sidedness of the word – which, spelled with an “A”, means to “break through” – drew her in. “That feels like what I was doing in this record; I was breaking through a wall that I built for myself, keeping myself safe, and dealing with the downside of feeling lonely and alone. I realized that I am comfortable in myself, and I don’t need to fixate on relationships to make myself feel like I have something to talk about. I felt like I broke through a mental barrier in that respect.” Even though it also carries implications of awkwardness, rebellion, and breakage, it’s a widereaching word, representing new beginnings and birth.

                                                                                                                            FORMAT INFORMATION

                                                                                                                            Coloured LP Info: Indies Exclusive on Flame Orange Opaque vinyl.

                                                                                                                            L.A. Witch

                                                                                                                            Play With Fire

                                                                                                                              Where L.A. Witch's self-titled album oozed with vibe and atmosphere, with the whole mix draped in reverb, sonically placing the band in some distant realm, broadcast across some unknown chasm of time, Play With Fire comes crashing out of the gate with a bold, brash, in-your-face rocker “Fire Starter.” The authoritative opener is a deliberate mission statement.

                                                                                                                              “Play With Fire is a suggestion to make things happen,” says Sanchez. “Don’t fear mistakes or the future. Take a chance. Say and do what you really feel, even if nobody agrees with your ideas. These are feelings that have stopped me in the past. I want to inspire others to be freethinkers even if it causes a little burn.” And by that line of reasoning, “Fire Starter” becomes a call to action, an anthem against apathy. From there, the album segues into the similarly bodacious rocker “Motorcycle Boy” a feisty love song inspired by classic cinema outlaws like Mickey Rourke, Marlon Brando, and Steve McQueen. At track three, we hear L.A. Witch expand into new territories as “Dark Horse” unfurls a mixture of dustbowl folk, psychedelic breakdowns, and fire-and-brimstone organ lines. And from there, the band only gets more adventurous.

                                                                                                                              Play With Fire is a bold new journey that retains L.A. Witch’s siren-song mystique, nostalgic spirit, and contemporary cool. Despite the stylistic breadth of the record, there is a unifying timbre across the album’s nine tracks, as if the trio of young musicians is bound together as a collective of old souls tapping into the sounds of their previous youth.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Coloured LP Info: First LP pressing limited to 1,000 copies on translucent yellow vinyl, comes with double sided insert + DL coupon.

                                                                                                                              Hampshire & Foat

                                                                                                                              Galaxies Like Grains Of Sand - Reissue

                                                                                                                              Multi talented UK Jazz Pianist Greg Foat has teamed up with Mercury Award nominated "The Bees" member and multi instrumentalist Warren Hampshire to collaborate on a new LP drawing on their diverse musical influences. Classic British library music, 60s Italian soundtracks & lost Americana combined with touches of modern classical, minimalism, Jazz and Folk. Featuring many members of Greg and Warren's previous bands and one of the U.Ks finest Jazz drummers, Clark Tracy, the LP also features an Edinburgh orchestra and soloists hand picked and scored by the boys. Recorded all analogue onto 2" multitrack in Edinburgh, mixed down by Mattias Glavå at his studio in Gothenburg, Sweden then mastered and cut in Helsinki, Finland, it's truly a European affair. 


                                                                                                                              GRAMMY-nominated duo ODESZA and ground-breaking Sydney producer Golden Features have today announced a brand new project, BRONSON.

                                                                                                                              The three artists have joined forces to release their self-titled debut album on 17th July on Foreign Family Collective/Ninja Tune.

                                                                                                                              Today’s singles offer a taste of the range of sounds featured on the upcoming album. While ‘HEART ATTACK’ teams deep melodic electronica with lau.ra’s rich vocals, ‘VAULTS’ has a much darker sound fusing distorted basslines and edgier cinematic tones.

                                                                                                                              On the former, BRONSON says: “It was the first vocal track we worked on for the record. It was one of those ideas that came together really quickly and felt very natural while writing with lau.ra. Ultimately, it was a confluence between the two distinctive sounds of ODESZA and Golden Features. It served as a turning point in the writing process of the album and an inspiration for the other vocal tracks to come.”

                                                                                                                              While on ‘VAULTS’ they explain: “It was one of the earlier instrumentals we completed, and it acted as a cornerstone to the overall sound design and aesthetic of the album. The track really proved a departure from each artist's own respective styles and set a definitive change in direction for the BRONSON project. We knew we had something special here and it served as a guiding light for the rest of the record.”

                                                                                                                              BRONSON was formed when ODESZA members Harrison Mills and Clayton Knight met Golden Features’ Tom Stell at an Australian music festival in 2014. The trio shared a mutual admiration for their respective acts and stayed in touch by sharing music across time zones and continents through Dropbox files and FaceTime calls. Things culminated in 2018 when the three artists spent a week in the remote region of Berry, Australia, recording what would later become their debut BRONSON album.

                                                                                                                              As indicated by the two first singles, elements of light versus dark run throughout the 10-track album with the theme reflecting the light and dark inherent in human beings. The record combines both melodic vocal songs and moodier, deeper electronica with guest features from lau.ra (part of experimental rock band Ultraísta alongside Radiohead’s Nigel Godrich), acclaimed US R&B singer Gallant and British producer Totally Enormous Extinct Dinosaurs.

                                                                                                                              ODESZA and Golden Features have a combined streaming total which reaches the billions, and hold multiple gold and platinum singles and albums, respectively. Both acts have remixed and collaborated with an array of renowned artists including Sia, Charli XCX, Leon Bridges, Regina Spektor, Katy Perry among others. Both leaders in live shows, together they’ve reached millions of fans around the world on headline tours, with ODESZA selling out venues including London’s O2 Academy Brixton, Los Angeles’ Staples Center and New York’s Barclays Center, as well as headlining festivals such as Coachella, Bonnaroo, Austin City Limits, Outside Lands and Lollapalooza. 

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Indies Exclusive LP Info: Indies exclusive limited edition black & yellow LP.

                                                                                                                              Freeez & John Rocca

                                                                                                                              Southern Freeez / Variations On A Theeem

                                                                                                                                Beggars Arkive is excited to reissue the classic FREEEZ debut album SOUTHERN FREEEZ. The second LP contains seven brand new tracks from the band’s leader John Rocca.

                                                                                                                                Freeez were a legendary group from London, known as one of the UK’s main jazz-funk bands of the early 1980s…aka Brit funk. Led by John Rocca, Freeez consisted of various musicians, originally with Rocca and others including Andy Stennet (keyboards), Peter Maas (bass guitar) and Paul Morgan.

                                                                                                                                Their debut album Southern Freeez was released in 1981 and contains the hit song “Southern Freeez” which included guest vocals by Ingrid Mansfield Allman. John Rocca initially released the album it on his own Pink Rythm label before being signed to Beggars Banquet.

                                                                                                                                A few years later, they had even more hits. Their biggest, “IOU”, was a #1 club single and was written and produced by renowned producer Arthur Baker with lyric contributions and lead vocals by John Rocca and remixed by Jellybean Benitez and Baker. It was a hit in the US in addition to the UK and was used in the legendary breakdancing movie Beat Street. “Pop Goes My Love” was another hit. Rocca also had a hit as a solo artist in 1984 with “I Want It To Be Real”.

                                                                                                                                While they may not be a household name, if you know, you know. They have been sampled many times, by artists including Jamie xx, Coolio, Brandy, Madlib and more.

                                                                                                                                Nearly 40 years after the original release of Southern Freeez, after being contacted by Beggars Arkive about a reissue, John was inspired to go back to his roots. He pulled together some of the work that he had been experimenting with over the years and enlisted some musicians (including his nephews) to play on the tracks, saying that doing so “was a nice reflection of the past meeting the present”.

                                                                                                                                “"The melancholic suburban soul of ‘Southern Freeez’ never gets tired for me....an album that has remained at the top of my Brit Funk pile!" - GILLES PETERSON

                                                                                                                                Plants And Animals

                                                                                                                                The Jungle

                                                                                                                                  On the day Plants and Animals recorded the title track to their new album, it was one of those increasingly rare moments when everyone seemed to be watching the same thing at the same time. A judge was on trial. So they watched too, on somebody’s laptop in the front room of the building where the recording studio is. It was addictive and galling.

                                                                                                                                  When you walk into the studio itself, sound sucks down into nothing because the walls are carpeted and you’re reminded for a split second that a river of thoughts has been flowing through your mind your entire life. The din fades in again.

                                                                                                                                  They came to try and solve an old song that they had written for their last album but couldn’t get right. Warren punched a beat in on an 808. He picked up a bass, Nic picked up a guitar and they played the changes over it. Woody put down a motorik beat. Adèle Trottier-Rivard was with them that day. She sang and tried out different shakers running through Nic’s guitar pedals while he manipulated them in real time with his right hand while holding their baby in his left. Things fell into place. They wrote the words on the spot. The judge snaked his way in.

                                                                                                                                  Plants and Animals work on instinct. They’ve been playing together for 20 years, so they basically started as kids. They were a big part of the mid-’00s Montreal music renaissance, when you couldn’t walk through the neighbourhood at 4pm on a Tuesday without spilling your coffee on the fitted jeans of a who’s who. They ran around sweaty all night and blew bubbles from the roof over Parc Avenue when they finished their first album. They became known for a ferocious live show and still are. They have just finished their fifth album. They’re parents now, and have been so for long enough to move beyond euphoria into anxious realness and bigger love. The world is a different place than it used to be.

                                                                                                                                  “The Jungle” starts with electronic drums that sound like insects at night. A whole universe comes alive in the dark. It’s beautiful, complex and unsettling. Systematic and chaotic. All instinct, no plan. Voices taunt, “yeah yeah yeah.” This tangled time in which we find ourselves reflected back in shadows.

                                                                                                                                  Every song is such a landscape. The first one grinds to a halt and you become a kid looking out a car window at the moon, wondering how it’s still on your tail as you speed past a steady blur of trees. You watch a house go up in a yellow strobe that echoes the disco weirdness of Giorgio Moroder, Donna Summer and David Bowie. You get pummelled by a rhythm then set free by a sudden change of scenery—the wind stops, clarity returns. You’re under a streetlight in Queens, soft-focus, slow motion, falling in love. You speak French now too, in case you didn’t already. Bienvenue.

                                                                                                                                  These are personal experiences made in a volatile world, and they reflect that world right back at us, even by accident. “House on Fire,” came from Warren’s haunting feeling that a friend who was taking too many sleeping pills might forget to turn his stove off. It was written before Greta Thunberg made the expression a rallying cry.

                                                                                                                                  There’s one song Nic sings to his teenage son who was dealing with climate change anxiety and drifting into uncharted independence. The band carries it out slowly together into a sweet blue horizon. Warren wrote the words to another shortly after losing his father. It’s about the things we inherit not necessarily being the things we want. In a broader sense, that’s where a lot of people find themselves right now.

                                                                                                                                  The Nix

                                                                                                                                  Until Now All Is Well (Featuring Laetitia Sadier)

                                                                                                                                    Until Now, All Is Well is the latest track to be shared by The Nix, a loose collection of uniquely talented musicians corralled together by Nick McCarthy (ex Franz Ferdinand) and Seb Kellig around their Sausage Studio in east London.

                                                                                                                                    Based around the original composition ‘Warm Canto’ by Mal Waldron, the track features founding member of the avant-pop band Stereolab Laetitia Sadier.

                                                                                                                                    Out on Moshi Moshi Records, Seb of The Nix said about the making of the track:

                                                                                                                                    A night at Sausage Studios and nothing falls into place...we talk, we laugh, we mess about. But the 'record' button remains un-hit. Time is not on our side, we need inspiration, and we know where to find it: We saddle our bikes and ride into the mild London night. Down to Homerton, along the Canal, passing Springfield, we end up in Tottenham.

                                                                                                                                    The mighty Jah Shaka tears the place apart. Low ceilings, the place is filled with smoke and bass. One love, unity, another version....the mids, the tweeters - in perfect harmony. Familiar riddims, unknown dubs. Shaka on the wire.

                                                                                                                                    We get back to Sausage as the sun rises. Our senses are numb. We can't hear, don't want to see, how good it feels not to be guided by ears but by the heart. We close the curtains and plug in. A melody by Mal Waldron in one-ness with the song of the morning birds. We turn up the bass, let the Space Echo guide us, and hit record.

                                                                                                                                    No-one but Laetitia Sadier could capture the mood more perfectly, we feel. She is only a phone call away, comes to the studio a few days later, scribbles down lyrics and spoils us with her beautiful voice and mesmerising poetry.

                                                                                                                                    Wolfie from Munich fills the gaps with haunting sax lines, and the track is done.

                                                                                                                                    Thanks to Laetitia, Wolfie, Mal Waldron and Shaka we found what we were looking for. We salute them.

                                                                                                                                    The Lottery Winners

                                                                                                                                    Sounds Of Isolation

                                                                                                                                      The Lottery Winners return with Sounds Of Isolation. A new 11 track covers album that immortalises the lockdown exploits of one of the nation’s most active and innovative bands of the last 3 months.

                                                                                                                                      A quick follow up to their self-titled debut album, released in March, The Lottery Winners charted at #23 in the UK Albums Chart, as well as #3 in the Independent Albums Chart & #8 in the UK Vinyl Chart. Press support came from Dork, DIY, NME & CLASH, and the release was also lauded by Spotify, with the band featuring on New Music Friday UK, The Indie List, The Rock List and the fabled Walk Like A Badass playlist over the course of the campaign.

                                                                                                                                      The release of the album was supposed to coincide with the band’s biggest headline tour to date, culminating in a huge headline show at Manchester’s O2 Ritz. However, as with every artist in the last few months, those plans did not come into fruition.

                                                                                                                                      Sounds Of Isolation is the product of 3 months of hard work from a band who refused to let the global pandemic stifle the joy and celebration of their debut album. As originally showcased to their 20k strong Facebook following, the band launched LWTV, and kept their fans entertained with a series of quizzes, special guest features (including Rick Astley and Frank Turner), and of course their renowned isolation covers. Now bundled up onto vinyl and CD for the first and only time, Sounds Of Isolation is a gift to you from Leigh’s greatest entertainers, and will serve as a memento to how people came together and kept spirits high during a time of crisis.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      Coloured LP Info: Pink vinyl edition.

                                                                                                                                      GLOK

                                                                                                                                      Dissident Remixed

                                                                                                                                        Dissident , the debut album from RIDE’s Andy Bell, recording as his electronic alter ego GLOK, was released last year to widespread acclaim. On Dissident Remixed , album no 7 on Bytes, lil’ sister of Ransom Note Records, members of the extended Ransom Note family and fans of GLOK and RIDE have come together to reimagine the source material in a rich smorgasbord of styles. Andrew Weatherall (RIP), Richard Sen, Maps, Jay Glass Dubs, C.A.R., Timothy Clerkin, Franz Kirmann, Minotaur Shock and the man himself all step up to lend their talents to the project and the results are stunning.

                                                                                                                                        Richard Sen kicks things off with his swaggering remix of the album’s title track, distilling the 20-minute John Carpenter-meets-Krautrock original into seven-minutes of psychedelic disco-dub, with Andy’s John Squire-esque guitar licks to the fore. Add an Ian Brown vocal and this is what the Third Coming of the Stone Roses should have sounded like.

                                                                                                                                        Andy’s contribution is a game changer, as the widescreen ambient techno throb of ‘Pulsing’ is revamped over 15 hypnotic and glorious minutes. Imagine Mr Fingers at 33rpm, augmented by plaintive piano lines and dissonant atmospherics. This is the slo-mo acid-house/shoegaze hybrid you didn't know you needed. Timothy Clerkin’s remix of ‘Projected Sounds’ is the perfect foil for Andy’s epic excursion. The Insult to Injury head honcho takes the propulsive Neu! meets Steve Reich original and sloooooows it right down, with squelchy acid lines, chanted vocals and trippy effects. It’s ‘Voodoo Ray’ for the shoegaze generation.

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        Coloured LP Info: Splatter coloured vinyl.

                                                                                                                                        Zombi

                                                                                                                                        2020

                                                                                                                                          Relapse Records proudly presents ZOMBI's new album, 2020. Their first new album in 5 years, 2020 showcases the songwriting prowess that has pushed the duo of Steve Moore (synthesizers, guitars, bass) and A.E. Paterra (drums) to evolve throughout their storied, 20 year career. ZOMBI has strived to build upon and expand their sound with every release. Now more than ever, the band stays true to their ethos. From the pulse-pounding, dramatic opener "Breakthrough & Conquer", to the melodic bass whirls found in "XYZT", 2020 proves to be ZOMBI's most riff-intensive album. At first a soundtrack of driving musical euphoria, 2020 takes a sharp turn into uncharted waters - "Earthscraper" is reminiscent of a space where sounds of sludge and doomlike-riff crushers dominate the soundscapes. Synthwave and neon crescendos are furloughed in favor of Blue Oyster Cult inspired progressive epics. A truly therapeutic loop of immersive instrumental rock, 2020 might just be ZOMBI's most ambitious album yet.

                                                                                                                                          Stornoway

                                                                                                                                          The Farewell Show Live At New Theatre, Oxford

                                                                                                                                            Ten years on from their silver selling album Beachcombers Windowsill , Stornoway today announce the release of their live album The Farewell Show a recording of their final joyous gig at New Theatre, Oxford in March 2017.

                                                                                                                                            Zara McFarlane

                                                                                                                                            Songs Of An Unknown Tongue

                                                                                                                                              Brownswood are delighted to present Zara McFarlane’s, Songs of an Unknown Tongue a masterful work that underlines her continuous growth as an artist. Zara’s fourth studio album pushes the boundaries of jazz adjacent music via an exploration into the folk and spiritual traditions of her ancestral motherland, Jamaica. The album is a rumination on the piecing together of black heritage, where painful and proud histories are uncovered and connected to the present.

                                                                                                                                              Partnering with cult South London based producers Kwake Bass and Wu-lu, Zara has created a futuristic sound palate, electronically recreating the pulsing, hypnotic rhythms Kumina and Nyabinghi – and the music played at African rooted rituals like the emancipation celebration Bruckins Party, and the lively death rites of Dinki Minki and Gerreh. These richly patterned electronic rhythms are balanced throughout by McFarlane’s distinctive, clear vocal tones, and vivid song writing.

                                                                                                                                              Zara’s critically acclaimed third studio album ‘Arise’ met with universal critical praise, and was supported by an impressive live tour performing at festivals such as Love Supreme, Field Day and SXSW. Zara is the winner of multiple awards including a Mobo, 2 Jazz FM Vocalist of the Year Award (2018 & 2015), an Urban Music Award, and Session of the Year at Worldwide Awards. Drawing respect from a wide range of artists, Zara has collaborated with Gregory Porter, Shabaka Hutchings, Moses Boyd and Louie Vega.

                                                                                                                                              These new sonic explorations signal an exciting direction of travel for this innovative founding member of the UK’s vibrant homegrown jazz scene.

                                                                                                                                              Siti Muharam

                                                                                                                                              Siti Of Unguja

                                                                                                                                                Siti of Unguja tells the story of pioneering women, of the ‘golden voice’ of Siti Muharam, heiress to the singular legacy of her great grandmother, the mother of taarab, Siti Binti Saad.

                                                                                                                                                On the Corner teases this first taste of a landmark recording that the label embarked upon two years ago on Zanzibar. Siti of Unguja has a transformative atmosphere, brimming with romance, passion and protest.

                                                                                                                                                Zanzibar is an Island archipelago that lies 6 degrees South of the equator and 30 miles off the East African coast out in the Indian Ocean. Known for its spices, traditional Dhow sailing boats and being a mercantile trading capital of Swahili culture.

                                                                                                                                                The modern history of Zanzibar can be animated through the life and legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing village of Fumba, on Unguja (Zanzibar’s largest island), she became the first Zanzibari recording artist and her recordings sold in tens of thousands across the swahili world.

                                                                                                                                                The tracks recorded for Siti of Unguja demonstrate Siti Binti Saad’s eclectic influence on Zanzibari taarab and her great granddaughter, Siti Muharam imbues the compositions with feeling. Siti Muharam’s golden voice carries the poetry and invects a timeless passion. It is Muharam’s deep humility and love that brings the spirit of these two women together.

                                                                                                                                                With Sam Jones at the controls, taarab’s conservative layers were opened up and given more than a little wiggle room. Under the direction of Matona, the recording of this album paid homage to Siti Binti Saad’s innovations by bringing back the percussive Kidumbak style of music that originated on the streets of Zanzibar. By stripping back the typically dense string section of taarab a space was created for Muharam’s beguiling timbre that is gilded with emotion.

                                                                                                                                                Asylums

                                                                                                                                                Genetic Cabaret

                                                                                                                                                  In the privacy of a world-class studio with legendary recording engineer and sound alchemist Steve Albini (In Utero by Nirvana, Rid Of Me by PJ Harvey, Surfa Rosa by Pixies; too many stone-cold legends to parenthesize), Asylums have recorded new album ‘Genetic Cabaret’, their genius follow up to 2018’s acclaimed ‘Alien Human Emotions’. Whilst recording, the band split their time between Chicago, whose big honest soul superseded the garish horrifying pantomime of Trump’s America, Norway and Germany, where Brexit shame was temporarily suppressed like a bad nightmare. The 4 pieces are now back on the floundering isle of chaos that is home, nails bloody from picking the real from the farce and bursting at the guts with tales of runaway adventures, magpie wisdom and furious hope. Asylums have big new things to say.

                                                                                                                                                  Originally described as “Blur if they were raised in Seattle or signed to Sub-Pop" or “the excitement you felt when you first heard Buzzcocks or Manics”, the development of Asylums has taken them into a brand new sonic space – a combination of anger and experimentalism, of whispered secrets and musical mood swings. For those that need a “for fans of...” reference - think Fontaines DC and METZ gene-spliced with The Flaming Lips and Spiritualised.

                                                                                                                                                  Moving on from the neon ride of the first album ‘Killer Brain Waves’ and the bold exploration that was ‘Alien Human Emotions’, ‘Genetic Cabaret’ is a seething tandem of beauty and ire. To theme it is to expect a riot to keep within the lines but look forward to political puzzling from protesting hearts, a pop-punk pop at the establishment, a demand for something else. This is a band of brothers who have realised they are not boys anymore. Gone are the days of kicking stones about their seaside town. Asylums have learned how to articulate their hearts and weaponise their conscience. The prelude to parenthood (vocalist/guitarist Luke Branch recently became a father for the first time) brings a new vital urgency to their work. These are the times to demand more, not just for yourself, but for the future.

                                                                                                                                                  “Genetic Cabaret was written during the most turbulent time I've ever experienced socially and politically in the UK,” says Luke Branch. “I'd stay up late every night binge-watching the news and political punditry and write songs all day. During writing and rehearsals, my wife fell pregnant and the huge emotional impact of that got me thinking about the world I was bringing our child into from a new perspective. I examined political history, human biology, generational divides and emerging technology in equal measure. The resulting album feels leaner musically, harder-edged and with anger and empathy in equal measure"

                                                                                                                                                  It’s been a huge 18 months for Asylums. As recent recipients of the prestigious and hard-to-score PRS Momentum Fund, their next leap forward seems gilded, greased, and good-to-go. Current single ‘Catalogue Kids’ finding a warm home at BBC 6 Music, Radio X and Kerrang! Radio, as well as playlist adds at Deezer and Spotify and nods from The Independent, Kerrang! and Louder Sound has only increased expectation and excitement for album number 3.

                                                                                                                                                  Asylums story is the blueprint not only to a DIY existence in music for 2020 but to an understanding that what others perceive to be weaknesses (mental health challenges, making guitar music in a climate of pop, the low financial return of recording and touring in the streaming era) are actually the strengths that keep band, and their following, going when many others have stopped. Asylums are the ground-stomping stallion of the stable that is Cool Thing Records, a creative collective of relentless DIY happen-makers based in Southend, a seaside town with an illustrious musical history of working-class trouble-makers and dreamers.

                                                                                                                                                  Plugging into the universal WTF, and still frothing with the fire that makes their live gigs feel like a javelin attack of lightning-bolt joy and rollicking effervescence, Asylums aren’t staring into the abyss, they’re lighting torches. They’re passing them around. They’re telling us to go with them; angry, curious, purposeful, hopeful.

                                                                                                                                                  PJ Harvey

                                                                                                                                                  4-Track Demos - Vinyl Reissue

                                                                                                                                                    Vinyl reissue of 1993 collection of demos written and recorded at Polly Harvey’s home in 1991-1992.

                                                                                                                                                    It includes eight demos of songs from the album, Rid of Me, released earlier in that year along with six demos of additional songs.

                                                                                                                                                    Reissue is faithful to the original package, with vinyl cutting by Jason Mitchell at Loud Mastering.

                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                    Ltd LP Info: 180 gram black vinyl.

                                                                                                                                                    Ltd LP includes MP3 Download Code.

                                                                                                                                                    PJ Harvey

                                                                                                                                                    Rid Of Me - Vinyl Reissue

                                                                                                                                                      Reissue on vinyl of the first PJ Harvey studio album in the Island Records catalogue, and her second studio album.

                                                                                                                                                      Produced by Steve Albini and originally released in May 1993, Rid Of Me features the singles ‘50ft Queenie’ and ‘Man-Size’. The album charted at number 3 in the UK.

                                                                                                                                                      Reissue is faithful to the original recording and package, cutting by Bob Weston at Chicago Mastering under the guidance of Steve Albini.

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      LP Info: 180 gram black vinyl.

                                                                                                                                                      LP includes MP3 Download Code.

                                                                                                                                                      Mummise Guns

                                                                                                                                                      Mummise Guns

                                                                                                                                                        "I don't remember now"

                                                                                                                                                        It's hard to say how Mummise Guns actually came to be a thing. What is certain is that Tracy Bellaries and Matt Ridout had shared a flat for a while and were often speaking about forming a group to have an outlet for some music that Tracy had written, but above and beyond that initial idea the rest is slightly hazy, or perhaps murky is the better word.

                                                                                                                                                        Also very much a fact rather than a fiction is that the name was cooked up at Supernormal Festival in 2016 when Pigs Pigs Pigs Pigs Pigs Pigs Pigs bassist Johnny Hedley uttered the phrase 'Look at these guns, Mummise Guns' when everyone was hanging around a tree swing (this sounds like we're making it up now, but honest it happened, we think). Tracy and Matt immediately adopted it despite protestations that it was a completely daft thing to do. Thus, the band Mummise Guns was born.

                                                                                                                                                        Where, why and how the rest of the group got involved is not 100% clear, but the initial lineup of Tracy, Matt, Adam, Cleaver and Al prepped three of Tracy's songs and three of Matt's into something solid enough to record by early 2017 and the band dropped into Wayne Adam's (Petbrick, Big Lad) Bear Bites Horse Studios in East London to track their debut self-titled LP Mummise Guns (Riot Season REPOSE094LP), with Al and Adam adding further recordings at Pigs Pigs Pigs Pigs Pigs Pigs Pigs guitarist Sam Grant's Blank Studios in Newcastle.

                                                                                                                                                        After that, it's safe to say things got busy. Pigs Pigs Pigs Pigs Pigs Pigs Pigs took over the airwaves with a series of incredible LP's on Rocket Recordings, Luminous Bodies wrote and recorded an absolute belter of a second album for Box Records, Casual Nun dropped a couple of full-length smashers and a split with Bruxa Maria on Box Records and Hominid Sounds, Ghold released a killer LP on Crypt of the Wizard, and Black Shape and Michael both dropped some classics on Hominid Sounds and Cracked Ankles respectively.

                                                                                                                                                        Yet, throughout all of this intense activity, the Mummise Guns LP lurked in the shadows like a malevolent beast just waiting for the right moment. That moment was early 2019 when everyone regrouped at Bear Bites Horse, including new addition Gordon Watson, for some final overdubs and mixing. And here it is, 2020, and the proof of all this hard graft is finally available to you.

                                                                                                                                                        So here are six tracks of noise-fuelled amphetamine that is perfect to drive all the right people from your house and attract all the wrong ones in.

                                                                                                                                                        Play LOUD.


                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        Ltd LP Info: Limited black vinyl LP housed in a gloss finished outer sleeve. Strictly limited to 300 copies.

                                                                                                                                                        Black Helium

                                                                                                                                                        The Wholly Other

                                                                                                                                                          Black Helium aim to deliver a lysergic heterogeneous sprawl on this, their second LP ‘The Wholly Other.’ From the blunt thunderous groove of ‘Hippie On A Slab’ to the narcotic tranquillity of ‘Teetering On The Edge’, via the hypnotic ascension of ‘Pink Bolt’. ‘The Wholly Other’ was recorded live over two loud, sweat drenched days in August 2019 by Wayne Adams at Bear Bites Horse Studio (Green Lung, 11PARANOIAS, Casual Nun), just before the band embarked on a UK tour with Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs.

                                                                                                                                                          Black Helium are a four-piece psychedelic rock group, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed out psychedelia.

                                                                                                                                                          Influences include, amongst many: Amon Duul II, Loop, Hawkwind, The Stooges, The Groundhogs, Spacemen 3 and Electric Wizard.


                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          Ltd LP Info: Limited black vinyl LP housed in a full colour outer sleeve with download code. Strictly limited to 400 copies.

                                                                                                                                                          Light In The Attic’s Japan Archival Series continues with Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music – what can collectively be described as kankyō ongaku, or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres.

                                                                                                                                                          In the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection.

                                                                                                                                                          Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard.


                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Patrick says: Now, while the Japanese ambient revival has been going on for some years (check out essential reissues on Palto Flats, WRWTFWW, 17853) Light In The Attic steal a march on their competitors with this sublime compilation of obscurities from the Land of the Rising Sun. Wonderfully packaged, presented and curated, "Kankyo Ongaku" is a fitting companion to "I Am The Center" and the "Microcosm", exploring the New Age and ambient sounds of 80s Japan. Minimal, relaxing and utterly beautiful, this music is almost heavenly.

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          2xDeluxe CD Info: Repress!
                                                                                                                                                          2xCD housed in a custom 7”x 7” hardbound book.

                                                                                                                                                          El Goodo

                                                                                                                                                          Zombie

                                                                                                                                                            An incomparable world of bug-eyed, harmony-rich folk-pop-psych-alt-country-rock lies in wait for intrepid listeners as the best Welsh band the world nearly forgot, El Goodo, return with only their fourth album in a 20-year career, Zombie. The first track to be revealed, The Grey Tower, teased via Strangetown Records on Mon 29 June 2020, is an expansive, five-minute trip through the 60s heat of Lauren Canyon and Haight-Ashbury via the picturesque Vale of Neath.

                                                                                                                                                            The result of a rapid-fire period of easy-come recording at the legendary Rockfield Studios in the company of experimental producer, Tim Lewis (aka Thighpaulsandra, a Julian Cope collaborator and former member of Spiritualized), El Goodo’s 13-track long player gathers loose ends from the band’s stop-start lifespan, as well as brand new songs exploring parenthood, losing parents and – tangentially – Spanish surrealist film.

                                                                                                                                                            Featuring over 20 musicians – including core members Pixy Jones (lead vocals/guitars/keys), Elliott Jones (drums), Jason Jones (vocals/guitars) and Andrew Cann (bass) – the album welcomes contributions from Sweet Baboo/Stephen Black (Clarinet, Bass Clarinet, Flute) and Welsh Music Prize-nominee, Eugene Capper (violin/slide guitar). The Grey Tower itself is assembled of 17 players, finessing the ride between bright, sun-dappled hippy pop and intense, squally fuzz with saxophone, harmonica, heavy strings and a Baldwin Electric Harpsichord.

                                                                                                                                                            Originally intending their collaboration with a dedicated producer to be a double-album, a new sense of purpose and direction instead guided them to a drum-tight clutch of tracks that just fits on two sides instead of four. As well as recording Zombie direct to tape, El Goodo dug around in Lewis’ rich archive of analogue equipment at his Aeriel studio in Carmarthenshire, including a rare Univox early synth used by Joe Meek in the recording of his 1962 game-changer Telstar (now used by the band on I Can’t Leave). The result of their journey is a rich tapestry of valve-powered sound, recalling the White Album, Scott Walker, The Troggs, Gene Clark, the Beach Boys and numerous other ‘golden-age’ sonic explorers.

                                                                                                                                                            Named after Lewis’ sadly-departed dog, Zombie – etched in the band’s memories and nasal passages as a vegetable-loving creature, with noxious after effects - the album’s title follows in El Goodo’s tradition of naming albums after animals, succeeding 2009’s Coyote and 2017’s, widely-acclaimed, By Order Of The Moose.

                                                                                                                                                            Forming in the late 90s, El Goodo (named after the Big Star song, Ballad Of El Goodo) emerged with intent as not only a support band for Super Furry Animals on their 2006 Love Kraft UK tour, but also as label mates as the Furries released the band’s self-titled debut on their Placid Casual label in 2005. Haphazardly piecing together records using faulty equipment in a crumbling village hall in their sleepy hometown of Resolven, the next 15 years has seen El Goodo blip contentedly on the radar as a gently persistent musical jewel cherished by knowing audiophiles. Their association with the Furries persists as Zombie is released on Cian Ciarán and Dafydd Ieuan’s Cardiff-based, Strangetown Records. 


                                                                                                                                                            Less Bells

                                                                                                                                                            Mourning Jewelry

                                                                                                                                                              The second offering by Julie Carpenter’s textural orchestral entity Less Bells takes its title from a storied strain of decorative objects worn in remembrance of lost loved ones: Mourning Jewelry.

                                                                                                                                                              The album shares a similar mood of devotional pageantry, stirring ornamental laments born from a need to “create beauty out of grief.” Utilising an amalgam of strings, synthesisers, and choirs, the pieces ascend and descend in grand, glimmering arcs, ebbing from passages of “baroque complexity” to expanses of haunting emptiness. Certain songs also skew more overtly western than ever before, deeply reverbed plucks of banjo refracted against glowing horizons of sunrise drone: Americana gone ambient.

                                                                                                                                                              Furthering the music’s mystic intentionality, the track titles comprise “the major arcana of a tarot deck from an alternate universe,” lorded over by the “Queen Of Crickets,” ruler of “The Gates,” “The Fault,” and “The Fang.” Even so, the record requires no psychic divination to glean its fragile majesty, its muted tumult of mirage and melody. The beauty it possesses is too blatant, and bountiful.


                                                                                                                                                              The Shaggs

                                                                                                                                                              Shaggs' Own Thing

                                                                                                                                                                When The Shaggs’ Philosophy Of The World came out in 1969, some people couldn’t or wouldn’t understand it. But many musicians, including Frank Zappa and Kurt Cobain, cited the Shaggs as a major influence. Heck, Zappa exclaimed they were “better than the Beatles!” NRBQ’s Terry Adams and Keith Spring were such fans, and after reissuing Philosophy in 1980 on their own Red Rooster label, Adams began work on a collection of recordings the Wiggin sisters had made in the years following their debut. The result was Shaggs’ Own Thing – a beguiling follow-up that reveals a more developed and mature sound while still retaining all of their homespun uniqueness.

                                                                                                                                                                “The songs were better and they were recorded better, so it naturally made a better album,” Dot Wiggin said shortly after the original release of Shaggs’ Own Thing in 1982. It’s a “natural, organic extension” of the utterly original sound that The Shaggs had created, intentionally or not, with Philosophy Of The World, as John DeAngelis writes in the new liner notes. While Dot Wiggins originals like “You’re Somethin’ Special To Me” and “My Cutie,” and covers of classic songs like “Yesterday Once More” reveal a maturity not displayed on the debut, the two versions of “Shaggs’ Own Thing” and the revisiting of “My Pal Foot Foot” show that The Shaggs lost none of their pure and honest charm over the years.

                                                                                                                                                                Remastered from the original tapes with liner notes by John DeAngelis, this reissue includes the bonus track “Love at First Sight,” first issued on the 1988 Red Rooster/Rounder Shaggs CD and appears on LP for the first time, plus three additional tracks on CD: “Sweet Maria” and “The Missouri Waltz,” first released by Light In The Attic as a limited-edition Record Store Day 45 in 2016, and the previously unreleased cover of the classic surf instrumental “Wipe Out.”


                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                Ltd LP Info: LP bonus track “Love At First Sight” first time on vinyl.

                                                                                                                                                                CD Info: CD includes 4 bonus tracks, 3 of which appear on the format for the first time.

                                                                                                                                                                The Hanging Stars

                                                                                                                                                                Fresh As A Sweet Sunday Morning / The Mountain

                                                                                                                                                                  Also recorded at Famous Times for a never-released Bert Jansch tribute album, Fresh as a Sweet Sunday Morning sees the band cover the opening track from Bert’s 1974 album L.A Turnaround – an album hailed at the time for combining Americana with a playful English wistfulness. The Hanging Stars imbue Jansch’s song with a mean energy and their own signature cosmic psychedelia. The song ends with Joe Harvey-Whyte’s pedal steel sounding closer to a sitar whilst droning and distorted guitars seem to almost collapse in on themselves during a coda that sounds like it cannot bear to stop itself.

                                                                                                                                                                  The Mountain sees the band enter entirely different territory. Bookended by Sam Ferman’s angular bass line and Paulie Cobra’s relentless drumming, what comes between recalls both the darkest sounds of The Doors and the ethereal psychedelia of early Verve, with Luke Barlow’s flute puncturing a haze of distorted guitars.

                                                                                                                                                                  The Hanging Stars released their debut album Over the Silvery Lake in 2016, which received plaudits from broadsheets such as The Times, who described it as; "An album with enough of a hazy, sun-dappled charm to make the capital's dreariest weather bearable”, as well as The Guardian, who said; “Mersey-laced harmonies and just a whiff of the Gun Club.” They picked up a good amount of support at 6 Music and “The House on the Hill” scored a much-coveted 10/10 by John Robb on Steve Lamacq’s Roundtable.


                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                  Ltd 7" Info: 300 only.

                                                                                                                                                                  Billy Paul

                                                                                                                                                                  Let The Dollar Circulate / East

                                                                                                                                                                    Billy Paul’s “Let The Dollar Circulate” and “East” have never appeared on a legit 12" before. They do now.

                                                                                                                                                                    “Let The Dollar Circulate” is inextricably linked to one of J Dilla’s greatest ever deep productions, whilst the massive “East” has long been a big Harvey tune. Both make full use of the incredible MFSB, the regular group of crack musicians that acted as the house band for the Philadelphia International Sound label at Sigma Sound Studios.

                                                                                                                                                                    Causing glorious damage to discerning dance floors until this very day, Billy Paul's “Let The Dollar Circulate” was first released in 1975 on the album When Love Is New. It has the upbeat, dramatic proto-disco sound of classic Philadelphia soul. Taut, urgent verses of evergreen lyrics that preach the evils of capitalism and environmental destruction, to a thumping, menacing bassline. A gospel-infused chorus releases the tension in an explosion of strings and horns. Dynamite.

                                                                                                                                                                    A richly textured and enduring soul hit, “Let The Dollar Circulate” received a second wind when it was sampled by Dilla for Spacek’s 2005 underground gem “Dollar”.

                                                                                                                                                                    “East” is a fascinating, genre-blending track; a magical, widescreen soul-jazz masterpiece. Mystical and powerful, it’s a pulsating mini-epic with a potent spiritual dimension. “East” was written by Philly bassist and baritone Tyrone-William Brown and appears on 1971’s Going East LP. Lenny Pakula’s atmospheric arrangements are complex but deeply funky, perfectly suited to Paul’s fervent vocals. Gamble and Huff’s production is a brilliant demonstration of their balancing Paul's jazz roots with the funky soul of the day, and seeking to innovate and push musical boundaries.

                                                                                                                                                                    A first-person rumination on slavery, Paul’s thoughtful, deeply moving spoken word introduction unravels as the track reveals its secrets. Against the jazzy backdrop Paul’s delivery is heartfelt, welling up with emotion. Strings cascade and winds howl while the bass prowls along the arrangement. Stunning.

                                                                                                                                                                    Remastered to stunning effect, Be With is delighted to present this vital double-sider from the man ?uestlove called “one of the criminally unmentioned proprietors of socially conscious post-revolution ’60s civil rights music”.


                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                    Ltd 12" Info: 140g vinyl, first time on a 12", cut at 45rpm.

                                                                                                                                                                    Breakwater

                                                                                                                                                                    No Limit / Do It Till The Fluid Gets Hot

                                                                                                                                                                      Be With presents hen’s teeth extended cuts of two glorious Breakwater classics - “No Limit” and “Do It Till The Fluid Gets Hot”. These super-rare Arista promo-only 12" versions from 1978 have never been commercially available until now. Originals have regularly sold for upwards of £400 in the past 10–20 years so you know how vital this is.

                                                                                                                                                                      Breakwater’s futuristic boogie-funk glider “No Limit” is six and a half minutes of slickness on wax. It’s almost AOR. Like an infinite masterpiece, the chilled opening chords of the intro could go on forever - and they almost do - but when they give way to the power-funk groove, the track just slaps. It sounds so fresh today, over 40 years on, thanks to the smooth, smooth mixing of Jimmy Simpson. In no uncertain terms this is a monster, written by the great Grey and Hanks. That bassline, those keys, the horn section… all the ingredients are there. Ahead of its time by a good 3 or 4 years, some regard “No Limit” as the first 80s groove ever recorded in funk/soul history. A neat trick, given its year of production.

                                                                                                                                                                      On the flip, the six minute version of “Do It Till The Fluid Gets Hot” is an original Philly party jam. A showcase for Breakwater’s phenomenal intensity, this sounds like Parliament’s “Flashlight” on steroids. Acidic synths bleep and warp, blending with triumphant horns, in-the-pocket drums and bumping bass to conjure a truly deep funk groove. Laying deep in the cut, the salacious vocal delivery only adds to the brilliant sleaze.

                                                                                                                                                                      Breakwater had a sonic aesthetic beamed in from the future and these two tracks are just more proof of that. Remastered and cut loud for devastating dance floor dynamite, this vinyl reissue arrives just in time for all those (perhaps imagined) BBQ Boogie Throwdowns. This is a true modern soul double-sider, essential in every way.


                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                      Ltd 12" Info: 140g vinyl, extended versions, cut at 45rpm.

                                                                                                                                                                      TLC

                                                                                                                                                                      Creep / Waterfalls (2020 Reissue)

                                                                                                                                                                        TLC’s “Creep” and “Waterfalls” are both stone cold killers from the golden age of American R&B. Here they are again, back to back on a jukebox 7", just as they appeared back in 1996. Name a more iconic duo.

                                                                                                                                                                        As far as Be With is concerned, the mid-90s remains a high point for this supreme musical expression, and these two tunes from T-Boz, Left-Eye and Chilli sit pretty much at the summit. A pair of canonical guaranteed party starters if ever we heard them.

                                                                                                                                                                        The achingly cool funk of “Creep” was the lead single from TLC’s second album CrazySexyCool. Released in 1994 it was the R&B trio’s first worldwide smash, and hit number one on Billboard’s Hot 100. This is a sophisticated head-nod gem. A breezy horn refrain, speaker smashing beats and the Slick Rick samples blend sumptuously with the defiant lyrics to create an eternal sun-drenched classic.

                                                                                                                                                                        Written from inside the head of a woman who’s cheating on her shitbag boyfriend just to feel wanted, Dallas Austin penned the lyrics for “Creep” after talking with lead singer, T-Boz. “Unfortunately, that was one of my true stories,” T-Boz said in 2015. “You’re with a guy and he’s not showing you attention, so another guy comes along and you’re like, ‘Hey, if you were where you were supposed to be, he couldn’t be showing me attention right now!’”

                                                                                                                                                                        On the flip, “Waterfalls”, also off CrazySexyCool, was no mere follow-up single. This was TLC’s version of alternative music, a song with a strong message: “the idea that pursuing anything that’s self-destructive, that’s chasing a waterfall”. To the three of them, this meant “unprotected sex, being promiscuous, and hanging out in the wrong crowd”. The message hits home hard, now as much as ever, and it’s probably why “Waterfalls” remains their biggest track. But the mighty Organized Noize also deserve some credit. They produced “Waterfalls” after working with Outkast and Goodie Mob and brought along that same in-the-pocket funk, that soulful sound that was their signature.

                                                                                                                                                                        It’s maybe easy to forget now, 25 years on, but the track was regarded as groundbreaking when it was released in 1995. Musically, the future-retro sound appealed to deep heads across the board, turning TLC into the mainstream R&B group it was hip for the indie cognoscenti to reference, and those bracing lyrics moved them beyond “just a fun girl group”. From then on, TLC were seen as the real deal.

                                                                                                                                                                        Remastered for this vinyl reissue (that turntable crackle is pure, authentic 90s sampling), we’re delighted to present this essential double-sider as a dinked 7" perfect for every record bag.


                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                        Ltd 7" Info: 2020 re-issue, dinked jukebox 7".

                                                                                                                                                                        Suzie Stapleton

                                                                                                                                                                        We Are The Plague

                                                                                                                                                                          For Fans Of - PJ Harvey, Nick Cave, Chelsea Wolfe, Mark Lanegan, Elliot Smith, Thurston Moore, Patti Smith. Acclaimed alternative alchemist’s highly-anticipated debut LP. “Striking, black-shrouded songwriting” (Clash). A bold soundtrack to the apocalypse.

                                                                                                                                                                          “We Are The Plague” declares Suzie Stapleton over the anthemic, fuzzed-out bass that opens the acclaimed alternative alchemist’s extraordinary debut album. It is a rallying cry, the defiant call of a generation sold down the river and acutely aware of its own imminent demise. The album centres around Stapleton’s midnight vocal; raw, poetic lyrics; and expressive, unique guitar playing ranging from a light touch similar to Elliot Smith to effects-soaked riffs evoking Sonic Youth or Soundgarden. Backed by band feat members of The Stranglers and Jim Jones & The Righteous Mind, and mixed by Dan Cox (Thurston Moore/Laura Marling). “Suzie has toured with Mick Harvey and Mark Lanegan - it won't be long before they're opening for her.” 

                                                                                                                                                                          Eno / Wobble

                                                                                                                                                                          Spinner (Expanded Edition)

                                                                                                                                                                            Expanded editions of Wrong Way Up with John Cale, and Spinner with Jah Wobble, will be available on August 21. It is the first time either album has been available in a physical format for 15 years, and marks the 30th anniversary of the Eno/Cale album, and the 25th anniversary of the Eno/Wobble album.

                                                                                                                                                                            Spinner was another coming together with a musician who had carved out a hefty reputation as a solo musician after starting out playing in an iconic band, in this case former Public Image Limited bass player Jah Wobble. Starting life as the soundtrack to Derek Jarman’s Glitterbug, Eno passed stereo mixes of the film cues to Wobble who embellished and built upon them to construct the Spinner tracks, drafting in Jaki Liebezeit of Can to play drums on some tracks. The resulting fusion combines icy ambience with a kind of psychogeographical funk.


                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                            LP Info: Standard 3mm standard gloss printed outer sleeve with full colour printed inner and download card to access 2 bonus tracks.

                                                                                                                                                                            Deluxe CD Info: Casebound CD with 8 panel booklet - similar to the 2014 Eno solo album reissues on All Saints.

                                                                                                                                                                            CD Info: 4 panel digipak with 8 panel booklet.

                                                                                                                                                                            Eno / Cale

                                                                                                                                                                            Wrong Way Up (Expanded Edition)

                                                                                                                                                                              Expanded editions of Wrong Way Up with John Cale, and Spinner with Jah Wobble, will be available on August 21. It is the first time either album has been available in a physical format for 15 years, and marks the 30th anniversary of the Eno/Cale album, and the 25th anniversary of the Eno/Wobble album.

                                                                                                                                                                              Wrong Way Up marked the historic coming together of two icons of leftfield music. Having both started their careers as creative forces in seminal bands (Eno’s unique synthesizer treatments in Roxy Music and Cale’s viola and bass contributions to the Velvet Underground), they’ve appeared as guest musicians on each other’s records as far back as 1974, the year in which they also made a historic live album with Nico and Kevin Ayers at the Rainbow Theatre in London. They remained friends, and the year prior to Wrong Way Up, Eno produced Cale’s Words For The Dying album. This paved the way for the pair to write and record an album together, notably the first time Eno had delivered a collection of song-based recordings since Before And After Science in 1977. The resulting album is a triumph for both artists, containing the singles “Spinning Away” and “Been There Done That”. “Brian Eno and John Cale’s 1990 collaboration is an album of contention, contrasts, cycles, and pop songs so layered and euphoric it ranks among the best albums either artist has ever made.” - Pitchfork


                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              LP Info: Standard 3mm standard gloss printed outer sleeve with full colour printed inner and download card to access 2 bonus tracks.

                                                                                                                                                                              Deluxe CD Info: Casebound CD with 8 panel booklet - similar to the 2014 Eno solo album reissues on All Saints.

                                                                                                                                                                              CD Info: 4 panel digipak with 8 panel booklet.

                                                                                                                                                                              Bill Callahan

                                                                                                                                                                              Gold Record

                                                                                                                                                                                For his first record in….uh, well, just a little over a year (!), Bill Callahan’s given us his first Gold Record. They can’t all be gold, and they’re not all six years apart either — all good! You could probably call the album “Gold Records,” too: all the songs have a stand-alone feel, like singles, meant for you to have a deep encounter with all of a sudden, from the start of the song to the finish. And what do you got when you have a record full of singles — and let’s face it, hit singles, at that?

                                                                                                                                                                                That’s a Gold Record for you.

                                                                                                                                                                                From the top, it’s clear this is music with an affection for people, as Bill immediately slips easily and deeply into his characters. Among them: a limo driver, a watcher of television, a suitor, a man in a broken-down car, a reader of books, a Ry Cooder superfan, and in the closing number, a wanderer who “notices when people notice things”. The voices of the people, with their ups and downs, their loss and laughter. You can feel the love.

                                                                                                                                                                                For Bill, preparing to tour for Shepherd In a Sheepskin Vest meant considering being away from home for long stretches of time — maybe up to a year, who knew? Feeling his oats, Bill pulled out a few sketches from over the years and touched them up. Before he knew it, he was recording them, and in the shuffle, newer songs started popping up.

                                                                                                                                                                                It happened fast. Basics were recorded live with Matt Kinsey playing guitars, guitars, guitars and Jaime Zurverza holding it down “and then letting it go” on bass. Drums and horns were brought in for a couple songs. Spirits were high! Six out of the ten were done first take; overdubs, when needed, came equally quickly. Listening, one hears their intuitive cohesion coming together richly behind Bill’s titanic voice spread across the stereo spectrum: the gentle conversation of Bill and Matt’s guitars, the subtle percussion of the bass and drums, and odd appearances of trumpet, woodwind and synth, striking notes both decorous and discordant, sounding for all the world like the naturally occurring sound meant to accompany and express lives lived everywhere.

                                                                                                                                                                                These are in fact songs meant for other people to sing — but until they do, Bill’s got this. He’s got a secret on this one, and before we go, we don’t mind sharing it with you: he’s figured out how to perfectly place his voice in proximity to your ear. It’s based on the distance from your heart to your brain. Simple! Why don’t more people think like this?

                                                                                                                                                                                Bonny Light Horseman

                                                                                                                                                                                Green/Green

                                                                                                                                                                                  The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of those eternal connections that the trio of Bonny Light Horseman came together. From festival fields and a German art hub to a snowy upstate studio and everywhere in between, the astral folk outfit—comprised of Anaïs Mitchell, Eric D. Johnson (Fruit Bats, The Shins), and Josh Kaufman (The National, Bob Weir)—is mixing the ancient, mystical medium of traditional folk music with a contemporary, collective brush.

                                                                                                                                                                                  Their s/t debut is an elusive kind of sonic event: a bottled blend of lightning and synergy that will excite fans of multiple genres, eras, and ages. They follow that up with the Green/Green 7-inch, featuring two songs that didn’t quite fit on the album. Says Mitchell, “We recorded ‘Green Rocky Road’ and ‘Greenland Fishery’ for our LP, but ended up cutting them at the last minute to keep the record simpler (and higher quality for vinyl). We see the songs as a bit of a pair, they both feature Eric’s banjo playing and lean a little more ‘Americana.’ We’re glad they have a home on Green/Green and are grateful to be able to share music at a time when the world is hurting.”

                                                                                                                                                                                  Hoops

                                                                                                                                                                                  Halo

                                                                                                                                                                                    Hoops had to self-destruct in order survive.

                                                                                                                                                                                    These three friends from central Indiana, each one a distinctive singer, songwriter, and multi-instrumentalist, had reached a point where years of hard work and creativity were just starting to pay off. They were hailed as one of the most inventive young bands around, with comparisons to Guided by Voices, My Bloody Valentine, and the Radio Dept., and that’s exactly when they broke up the band.

                                                                                                                                                                                    With Hoops on the shelf, the three friends went back home and got on with their lives.

                                                                                                                                                                                    Freed from the weight of Hoops, they kept writing what they thought sounded like Hoops songs, demos of which they sent back and forth to each other. There was no pressure to make anything of them, though, and that revived some of the excitement they felt when they made their first cassettes.

                                                                                                                                                                                    Just a few months later, they met up in Bloomington, Indiana, to record Halo at Russian Recording, the studio that had been home to L’il Bub (RIP). They invited their friend Ben Lumsdaine to produce. In addition to mixing and producing records for locals Amy O and Steve Marino, he had worked on Krauter’s solo albums and toured with him, and he immediately settled in as the fourth Hoop.

                                                                                                                                                                                    One thing they wanted to avoid was falling right back into their old routines. Instead, they took on new roles that allowed them more room to breathe, more space to create. They even wrote a few songs together—a first the band’s history. Hoops take obvious joy in playing these songs and playing around with them, often nodding to their favorite bands but always putting those familiar sounds in new contexts.

                                                                                                                                                                                    An album defined by musical exuberance, full of gratitude and generosity to counteract and compliment the deep undercurrents of melancholy coursing through every hook and riff, Halo sounds like a lively conversation among close friends, each song a high five, as they look for some stability in their lives and figure out what they owe themselves, each other, and everyone around them.

                                                                                                                                                                                    "Hoops know the power of dream-pop" - Pitchfork. 

                                                                                                                                                                                    "Sprightly lo-fi constructed with an attention to production and atmosphere that you'd expect from someone with a background in noise music." - The FADER. 

                                                                                                                                                                                    "There are legit flashes of brilliance to be found in the tapes’ collective" - Gorilla Vs. Bear.

                                                                                                                                                                                    “Propelled by ample grooving keys and guitar, 'Rules' is a two minute jaunt into the past when synths and subdued vocals were king.” - Stereogum.

                                                                                                                                                                                    “Simply put, this is the best dream/jangle-pop debut since the aforementioned Oshin and an absolute must for fans of this genre...absolutely terrific and addictive debut full-length album.” - Under The Radar.

                                                                                                                                                                                    "The Bloomington, Ind. outfit blends shimmering guitars, woozy keyboards, and clacking drum tracks for their sun-flecked brand of indie-rock, which evokes peers like Real Estate and DIIV." - Entertainment Weekly.

                                                                                                                                                                                     
                                                                                                                                                                                    RIYL: Barrie, The Marias, Beach Fossils, Men I Trust, Blood Orange, Part Time, Real Estate, Crumb, Ariel Pink, The Clientele, Clairo, No Vacation, Video Age, Kevin Krauter, Golden Days, Hovvdy

                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                    Dinked Edition LP Info: • Exclusive green & blue marbled vinyl.
                                                                                                                                                                                    • Exclusive alternate colour sleeve.
                                                                                                                                                                                    • Exclusive 7” of ‘English Breakfast’ EP.
                                                                                                                                                                                    • 400 pressing.

                                                                                                                                                                                    H.C. McEntire

                                                                                                                                                                                    Eno Axis

                                                                                                                                                                                      Narratively, H.C. McEntire’s Eno Axis is about finding direction in the natural world, and following love.

                                                                                                                                                                                      Sonically, it’s an album shaped enormously by the atmosphere it was recorded in - the crew’s synergy and positivity, the proximity and presence of a band in a room playing with intention.

                                                                                                                                                                                      Structurally, it’s a group of songs inspired by the colors and tones of open tunings, by the sacrality of space and instinct.

                                                                                                                                                                                      Stylistically, it’s folk-rock leaning into its curious experimental side and moved by the spiritual rawness of classic soul and the simplicity of earnest pop.

                                                                                                                                                                                      Eno Axis feels like a confident and mature step forward from her debut album LIONHEART - in tone, arrangement, production, and spirit.

                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      Dinked Edition LP Info: • Exclusive iridescent blue vinyl.
                                                                                                                                                                                      • 12” x 12” screen-printed, two-colour print.
                                                                                                                                                                                      • Signed & numbered.
                                                                                                                                                                                      • Numbered edition of 300.

                                                                                                                                                                                      Dinked Edition LP includes MP3 Download Code.

                                                                                                                                                                                      Coloured LP Info: Indies only copper marble LP.

                                                                                                                                                                                      Coloured LP includes MP3 Download Code.

                                                                                                                                                                                      LP includes MP3 Download Code.

                                                                                                                                                                                      Chali 2na

                                                                                                                                                                                      Fish Outta Water

                                                                                                                                                                                        Fish Outta Water is the first studio album by Jurassic 5 front-member Chali 2na. It was released on Decon in 2009. It features guest appearances from Talib Kweli, Anthony Hamilton, Beenie Man, and the Marley brothers Damian and Stephen.

                                                                                                                                                                                        Chali 2na, is an American rapper, associated with the groups Jurassic 5 and Ozomatli. He is known for his baritone and quick delivery rapping style.

                                                                                                                                                                                        Various Artists

                                                                                                                                                                                        Soul Jazz Records Presents: Kaleidoscope - New Spirits Known And Unknown

                                                                                                                                                                                          Soul Jazz Records’ new album ‘Kaleidoscope – New Spirits Known and Unknown’ brings together many of the groundbreaking artists involved in the new jazz scene that has developed in the UK over the last few years.

                                                                                                                                                                                          Featured artists include Matthew Halsall, Yazmin Lacey, Ill Considered, Tenderlonious, Theon Cross, Emma-Jean Thackray and many, many more in this ground-breaking release.

                                                                                                                                                                                          As well as sharing a pioneering spirit in these new artists’ approach to frontier-crossing musical boundaries, a further theme of this album is that many also share a determination to independent practices – and most of these artists’ recordings featured here are either self-published or released on independent labels. While the attention of this new wave of jazz artists up until now has been London-based, this album shows how this movement is spread across the whole of Britain (and indeed beyond).

                                                                                                                                                                                          ‘Kaleidoscope – New Spirits Known and Unknown’ shows that while there is commonality in these artists’ approach to music, there is a wide variety of styles – from deep spiritual jazz, electronic experimentalisation, punk-edged funk, uplifting modal righteousness, deep soulful vocals and much more.

                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                          3xIndies Exclusive LP Info: Deluxe edition with bonus 7".

                                                                                                                                                                                          Widowspeak

                                                                                                                                                                                          Plum

                                                                                                                                                                                            With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak’s sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth.

                                                                                                                                                                                            The band’s fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band’s canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie".

                                                                                                                                                                                            Plum navigates the spaces between the lesser emotions of modern life. Hamilton’s lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" – these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                            Dinked Edition LP Info: • Exclusive Green LP.
                                                                                                                                                                                            • 2 x exclusive art prints 2 by illustrator Nick Dahler.
                                                                                                                                                                                            • Signed & numbered.
                                                                                                                                                                                            • Limited pressing of 400.

                                                                                                                                                                                            Coloured LP Info: Limited Edition White Vinyl.

                                                                                                                                                                                            No Age

                                                                                                                                                                                            Goons Be Gone

                                                                                                                                                                                              Summer 2020, and No Age are back out on the street! 

                                                                                                                                                                                              Effortlessly raw and extravagant in one practiced swoop, they set their live/bedroom internal clock and get out early into a glorious windtunnel of naked beats and sunbaked guitars, forming a wave from which they hang eleven tunes. 

                                                                                                                                                                                              A perfectly balanced set, ranging from their classic punk and indie to ever-evolving soundscapes, in maybe their most direct statement yet.

                                                                                                                                                                                              Laraaji

                                                                                                                                                                                              Sun Piano

                                                                                                                                                                                                Spiritual keyboard improvisations performed by Laraaji and recorded in a Brooklyn Church by Jeff Zeigler (Kurt Vile, The War On Drugs, Mary Lattimore).

                                                                                                                                                                                                Sun Piano finds Laraaji fulfilling a lifelong ambition to return to his first instrument, learnt whilst growing up in 1950s New Jersey. A departure from his FX-soaked cosmic zither jams, these elegant miniatures nevertheless reveal enough personality and inner light to be clearly identifiable as ‘Laraaji Music’.

                                                                                                                                                                                                This release is the latest step in something of a late career renaissance for the New York City based musician and mystic. He first came to public attention in the late 70s via his entry in the legendary Brian Eno-produced Ambient series of albums, Ambient 3: Day Of Radiance.

                                                                                                                                                                                                In the last few years his music has been re-discovered by a whole new generation of fans via reissues from the likes of the Numero Group, Light In The Attic and Leaving Records; new collaborations with underground musicians Dallas Acid and Sun Araw; a revitalised live presence that has seen him share concert stages worldwide with the likes of Solange and Jonathan Wilson; and a wide amount of media coverage: from discussing his love of orange clothes in Vogue, to demonstrating the benefits of transcendental music on BBC4 or performing a coveted NPR tiny desk concert. This latest musical side step introduces a new chapter to the story of a much-loved cult icon.

                                                                                                                                                                                                The first release in a trilogy tracked at the same session. Look out for companion LP Moon Piano, an extended EP of piano/autoharp duets, and complete piano sessions anthology CD coming soon.

                                                                                                                                                                                                Theon Cross / Pokus

                                                                                                                                                                                                Candace Of Meroe / Pokus One

                                                                                                                                                                                                  Soul Jazz Records’ new album ‘Kaleidoscope – New Spirits Known and Unknown’ brings together many of the ground-breaking artists involved in the new jazz scene that has developed in the UK over the last few years.

                                                                                                                                                                                                  Soul Jazz Records release an exclusive one-off pressing double-headed 12” single featuring Theon Cross and Pokus on the same day as the ‘Kaleidoscope’ album release.

                                                                                                                                                                                                  Exclusive to independent retailers.


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