MAGIC MIX

indie

WEEK STARTING 17 May

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

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

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

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

FORMAT INFORMATION

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

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

2xLP Info: Black vinyl.

Acid Mothers Temple & The Melting Paraiso UFO

Hallelujah Mystic Garden Part 2

    Hallelujah Mystic Garden Part 2 contains a new deep-pocket groove disco version of fan favorite Pink Lady Lemonade. Side 2 is a slick kosmiche-electro-disco number that unfurls over a period of 20 minutes and is periodically punctuated by Makoto Kawabata's unruly soloing. 

    Cotton Casino : voice, astral mama Kawabata Makoto : guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru Higashi Hiroshi : synthesizer, noodle king Mitsuko☆Tabata : guitar, guitar-synthesizer, voice, kisses & hugs Satoshima Nani : drums, another dimension S/T "Wolf" : bass, tapes, space & time Recorded at Acid Mothers Temple, Jun. 2016 - Mar. 2017 produced and mixed by Kawabata Makoto 

    AJJ

    Live At Third Man Records

      AJJ (fka Andrew Jackson Jihad) is one of the staple groups of American folk-punk in the 21st century. Singer/guitarist Sean Bonnette and bassist Ben Gallaty, with a slew of other artists changing record-to-record, command a strong cult-like fandom that nearly ensure fist-clenched singalongs at every live show, and this, now their third live document of their moving and affective show, was a damn great encapsulation.

      Bacao Rhythm & Steel Band

      Great To Be Here / All For Tha Cash

      "By popular demand, Bacao Rhythm & Steel Band is back with another must have of a two sider. Two tracks finding their way to vinyl for the first time that were cut during The Serpents Mouth sessions but only made it to the cd and digital release. A lot of people wrote us asking for it, and here it is, a 7 inch release that lives at the intersection of Funk, Soul, and Hip Hop. The A side is Bacao's crushing cover of the Jackson 5's B-Boy classic "Great To Be Here". A tune that a lot of people probably thought had steel pans on the original version, a misconception that lead to BRSB choosing it for their inimitable treatment. They open the tune with a chunky open drum break that gives way to the steel pan work banging out the infectious and instantly recognizable guitar lines from the J5's version. The B side finds Bacao diggin deeper into the hip hop crates again and coming up with a monster of a Gang Starr track to cover. Taking on their underground street a nthem they cut for their Full Clip compilation, "All 4 Tha Ca$h". BRSB tease the tune in with the two top notes of the riff for the first 8 bars catching listeners ears and giving the DJs a record to work with. When the whole riff drops and they give away what the tune is they are covering awww shits & ooooooohs are sure to be heard out in the crowd." 

      Beauty Sleep

      Be Kind

        Beauty Sleep have earned a stellar reputation for crafting vibrant synth-driven pop music thanks to previous single releases like ‘Until We See The Sun’ and ‘All In’. Their debut LP Be Kind is released on Quiet Arch records.

        The captivating record showcases a young group clearly in love with the process of creating music together. Flush with golden vocal harmonies, dazzling synths and earworm hooks, Be Kind is a huge step in Beauty Sleep’s blossoming career. Beauty Sleep’s music is born of the friendship its three members share. The Belfast natives met first by chance at a mutual friend’s party. While chatting, Cheylene, Ryan and Aimee discovered a powerful shared creative bond. Overcome with the rush of inspiration only the prospect of a new project instils, the group decided to seize the moment and focus their energy into forming a new band. Enter the lush dream-pop Beauty Sleep makes today. Their strong releases have been bolstered by the band’s high energy live performances, which the group view as another avenue for communal celebration of music and dance. 

        FORMAT INFORMATION

        Coloured LP Info: LP vinyl shrink wrap with coloured vinyl

        Black Midi

        Talking Heads / Crows Perch

        black midi, the enigmatic London-based four-piece that 'are less interested in proving themselves the future of indie rock than in imagining indie rock from the future' (Pitchfork), present new single, “Talking Heads”.

        “Talking Heads” is a calculated intensity, driven by frenzied percussion, bright, vivacious guitar, and spastic vocals. 'We've always tried to make it heavy but danceable, melodic but good rhythms,' says vocalist and guitarist, Geordie Greep. 'It is accessible music, there are experimental aspects that we've taken from when we went crazy at the beginning, we've just reigned it in to make something that is pop music.'

        Alongside the band’s recently shared single, “Crow’s Perch,” “Talking Heads” will be released as a double A-side 12” via Rough Trade.



        Black Peaches follow up their acclaimed 2016 debut with a dazzling display of musicianship on their explosive new album Fire In The Hole.

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

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

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

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

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

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

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

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


        FORMAT INFORMATION

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

        Originally released way back in 2007, "Melody Day" was the ecstatic and enthusiastic opener for Caribou's third album "Andorra". The pastoral haze of his previous work remained, but "Andorra" and particularly "Melody Day" was a more direct, urgent animal. Informed by ye-ye and psych-pop the track rattles and stomps its way straight to the heart of the indie disco, grabs you by the hand and leads you off into the wildflowers. Over on the flipside, Four Tet (in his post-downbeat, pre-jungle, "Ringer" phase) enlists Luke Lalonde, Adem and One Little Plane to turn "Melody Day" into an aching acoustic folk ballad underwrit by a thunderous kick, thus perfectly capturing that feeling when you've had too many drugs at Glasto and poor programming allows the Chems to follow Fleet Foxes...



        Causa Sui

        Summer Sessions Volume 1

          Causa Sui's three volumes of Summer Sessions are back in print! This time on the band's own label, on individual LP's for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso’s signature style. Originally the Summer Sessions were intended as a side project for the band – a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums.

          But these three albums came to define the band, and have become become modern classics of psychedelia and progressive rock since their were initially released ten years ago. In a scene often characterized by loyalty to a specific period, there’s something refreshing about Causa Sui’s eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example – the 24 minute ”Visions of Summer” taking up the entire A-side: here new and old sounds dissolve in a mindbending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancocks Mwandishi group, as much as it sparks associations to Kyuss or Hendrix.

          Other tracks, such as the frenetic Rip Tide (vol. 2), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for savory, atmospheric pieces such as the sun-drenched ”Venice by the Sea” (vol. 3) or the Morricone-esque ”Cinecitta” (vol. 2). Praise for Summer Sessions: Causa Sui, psychedelic/desert-space rock band from Denmark, effortlessly takes the prime trimmings of almost every element rock has to offer and propagates a sensation of their own...It’s almost impossible to not appreciate the groovy jazz-rock bass lines of Jess Kahr, the endless expressive jazz styles of drummer Jakob Skøtt, and most importantly the extravagant lead guitar and keyboard work of Jonas Munk...These enduring works of art must be beheld by the likes of rock enthusiasts and/or anyone wishing to seek what psychedelic-rock has to offer.

          For a modern psychedelic/jazz-fusion/jam rock album, Summer Sessions is as essential as it gets. Sputnik Music. Formed in the late summer of 2004, this Danish four-piece unashamedly reference such esteemed cosmic talents as Blue Cheer, Amon Düül II and Ash Ra Tempel. Yes, it's another improv quest for the heart of sonic enlightenment, but they do it with a conviction, dexterity and drive that few modern bands possess. -Mojo.This is space music, that flows as a lysergic trip with poetic flights that remind us of the cosmic couriers, and also derives from the most free-jazz contaminated by rock music.

          Causa Sui

          Summer Sessions Volume 2

            Causa Sui's three volumes of Summer Sessions are back in print! This time on the band's own label, on individual LP's for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso’s signature style. Originally the Summer Sessions were intended as a side project for the band – a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums.

            But these three albums came to define the band, and have become become modern classics of psychedelia and progressive rock since their were initially released ten years ago. In a scene often characterized by loyalty to a specific period, there’s something refreshing about Causa Sui’s eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example – the 24 minute ”Visions of Summer” taking up the entire A-side: here new and old sounds dissolve in a mindbending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancocks Mwandishi group, as much as it sparks associations to Kyuss or Hendrix.

            Other tracks, such as the frenetic Rip Tide (vol. 2), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for savory, atmospheric pieces such as the sun-drenched ”Venice by the Sea” (vol. 3) or the Morricone-esque ”Cinecitta” (vol. 2). Praise for Summer Sessions: Causa Sui, psychedelic/desert-space rock band from Denmark, effortlessly takes the prime trimmings of almost every element rock has to offer and propagates a sensation of their own...It’s almost impossible to not appreciate the groovy jazz-rock bass lines of Jess Kahr, the endless expressive jazz styles of drummer Jakob Skøtt, and most importantly the extravagant lead guitar and keyboard work of Jonas Munk...These enduring works of art must be beheld by the likes of rock enthusiasts and/or anyone wishing to seek what psychedelic-rock has to offer.

            For a modern psychedelic/jazz-fusion/jam rock album, Summer Sessions is as essential as it gets. Sputnik Music. Formed in the late summer of 2004, this Danish four-piece unashamedly reference such esteemed cosmic talents as Blue Cheer, Amon Düül II and Ash Ra Tempel. Yes, it's another improv quest for the heart of sonic enlightenment, but they do it with a conviction, dexterity and drive that few modern bands possess. -Mojo.This is space music, that flows as a lysergic trip with poetic flights that remind us of the cosmic couriers, and also derives from the most free-jazz contaminated by rock music.

            Causa Sui

            Summer Sessions Volume 3

              Causa Sui's three volumes of Summer Sessions are back in print! This time on the band's own label, on individual LP's for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso’s signature style. Originally the Summer Sessions were intended as a side project for the band – a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums.

              But these three albums came to define the band, and have become become modern classics of psychedelia and progressive rock since their were initially released ten years ago. In a scene often characterized by loyalty to a specific period, there’s something refreshing about Causa Sui’s eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example – the 24 minute ”Visions of Summer” taking up the entire A-side: here new and old sounds dissolve in a mindbending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancocks Mwandishi group, as much as it sparks associations to Kyuss or Hendrix.

              Other tracks, such as the frenetic Rip Tide (vol. 2), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for savory, atmospheric pieces such as the sun-drenched ”Venice by the Sea” (vol. 3) or the Morricone-esque ”Cinecitta” (vol. 2). Praise for Summer Sessions: Causa Sui, psychedelic/desert-space rock band from Denmark, effortlessly takes the prime trimmings of almost every element rock has to offer and propagates a sensation of their own...It’s almost impossible to not appreciate the groovy jazz-rock bass lines of Jess Kahr, the endless expressive jazz styles of drummer Jakob Skøtt, and most importantly the extravagant lead guitar and keyboard work of Jonas Munk...These enduring works of art must be beheld by the likes of rock enthusiasts and/or anyone wishing to seek what psychedelic-rock has to offer.

              For a modern psychedelic/jazz-fusion/jam rock album, Summer Sessions is as essential as it gets. Sputnik Music. Formed in the late summer of 2004, this Danish four-piece unashamedly reference such esteemed cosmic talents as Blue Cheer, Amon Düül II and Ash Ra Tempel. Yes, it's another improv quest for the heart of sonic enlightenment, but they do it with a conviction, dexterity and drive that few modern bands possess. -Mojo.This is space music, that flows as a lysergic trip with poetic flights that remind us of the cosmic couriers, and also derives from the most free-jazz contaminated by rock music.

              Neither inherently good nor evil, the DJINN have been heralded in Arab culture since the Pre-Islamic period, located somewhere on a spiritual plane between humanity and the realm of deities. A mysterious force, their influence - essential between angel and demon - has subsequently extended to mythos, religious belief and folklore far and wide, from the malevolent spirits that originally haunted deserts and inspired poets to the archetypal Western genie in a bottle. Yet also, the DJINN’s name has been interpreted as meaning “beings that are concealed from the senses”. This makes the word a fitting moniker for an album which, despite being shrouded in mystery, manifests an unknowable yet intense spiritual force.

              Their first release - also the first ‘proper’ jazz record to see released on Rocket Recordings- is manifested as equal parts hidden and otherworldly influence. Formed by the talented musicians of Swedish bands Hills and GOAT, DJINN foray into numerous quarters on a far-reaching metaphysical quest lasting the course of this record. It’s a psychic travelogue which frequently encompasses full-throttle free jazz - as in the blistering ‘My Bank Account’, with its echoes of the transcendent extrapolations of Albert Ayler, and the more loose ‘Algäbannem’, which nods to the demolition derby that John Coltrane and drummer Rashied Aliengaged in via ‘Interstellar Space’. Yet this is an album of a wild and wilful variety of textures and headspaces - whether entering into astral jazz or new age ambience akin to the later devotional work of Alice Coltrane, as on ‘Le Jardin De La Morte’ ,or entering into Don Cherry-style small-hours auras as on the reflective and hallucinatory thumb-piano-assisted bliss of ‘Fiskehamm Blues’, all excursions into the unknown are marked by potency of delivery and singularity of intent.

              Titles such as ‘Djinn and Djuice’ might make the listener suspect that a certain levity is present here, yet such self-deprecating tones are entirely belied by the modus operandi of creators who engage with a rare sensitivity and sensuousness in their playing - nodding to the traditions and stylistics of the records they love whilst using them as a springboard into dimensions unknown. It’s a record made with deftness and restraint where necessary, yet also one unafraid to jump in the deep end in search of rich atmospheres and intoxicating soundscapes. “The world is full of magical things patiently waiting for our wits to grow sharper” - thus once remarked Bertrand Russell, he whose very name is bastardised by DJINN to moniker the drifting, hallucinatory ‘Rertland Bussels’. A mighty array of such things on offer within these eight tracks, amidst a soundworld that any intrepid psychic explorer should be delighted to sharpen their wits for.

              STAFF COMMENTS

              Millie says: The label Rocket have dived into the world of Jazz with this beautiful release from Djinn. Raw, free jazz varying from bold loud sounds in ‘Alga?bbanem’ to deeply sensitive ambient notes in ‘Djinn And Djuice’. Incredible, innovative music right here!

              FORMAT INFORMATION

              Coloured LP Info: Limited indies-only 'Ice' coloured vinyl.

              It was never intended to get this far. Endless Boogie had been a band for six years when they were invited by Slint to play the All Tomorrow's Parties festival in the UK. Up to that point, they had been perfectly content existing only at their weekly Lower East Side rehearsals (and the occasional New York City show). At the time, Jesper Eklow and Mark Ohe worked at Matador Records, and word had begun to spread about the Art Departments band. They figured if they were leaving the country to play a show, they should have something to sell, so they pulled some recordings from their rehearsal tape archive, ran two small pressings, hand stamped some sleeves, and the Endless Boogie story officially began. The records (often referred to as "black" and "white") have long fetched high prices on the secondary market. They're back in print here and packaged together as a double CD / double LP set. Vinyl comes in an debossed gatefold jacket. CDs come packaged in a gatefold wallet. 

              The Fall

              30 Minutes On A Manchester Slag Heap

                A youngish Mark E Smith is interviewed about all things Fall and Manchester whilst answering by often avoiding the interviewer’s questions in some of Mark’s favourite surroundings- outside on a Manchester slag heap- most answers are preceded by a pause whilst he inhales another draw on his cigarette

                The Flying Lizards

                The Secret Dub Life Of The Flying Lizards

                Reissue. Unavailable for years Jah Lloyd meets David Cunningham - the legendary recordings from 1978 for the first time available on vinyl. David Cunningham says “The source tapes for this LP were recorded in Jamaica by Jah Lloyd as part of a series he made for Virgin Records' Front Line label. The original tapes were not released and were offered to me by Front Line's Jumbo Vanrennen with the suggestion that I should "remix" the music. I accepted the project, expecting lots of time in one of Virgin's studios to play with the music and the equipment, only to be presented with a mono master tape. So I began to invent (or perhaps re-invent) techniques of editing, looping, filtering and subtraction to deal with unremixable mono material (these were the days before samplers. The techniques used here expanded my vocabulary of musical electronic (as opposed to electronic music) treatments and appear in a very different form on records made at that time. Notably "Fourth Wall", my collaboration with Patti Palladin, and my production work on Michael Nyman's records.”

                Fu Manchu

                Godzilla’s / Eatin’ Dust +4

                  Godzilla’s/Eatin’ Dust is the most popular release in Fu Manchu’s 29 year recorded history. It is the combination of what were originally 2 distinct 10” releases: Godzilla (1997) and Eatin’ Dust (1999). Last year, Scott Hill (vocals/guitar) found the original tapes from the Godzilla recording sessions produced by Josh Homme (Queens Of The Stone Age/Kyuss) and unearthed a secret that had been in his garage since 1996...The band had recorded 4 songs that had never been released. These extra songs are early versions of "Grendel, Snowman," "Strolling Astronomer" and "Urethane” (whose final versions appeared on 1997’s The Action Is Go) and a cover of Thin Lizzy's "Jailbreak" (which is a different version than the one which was released on 7” in 1998).

                  The songs line up perfectly with the original tracklist, which includes the band’s crowd pleasing cover of Blue Oyster Cult’s “Godzilla” and fan favorites “Eatin’ Dust” and “Mongoose” (which was featured in a Super Bowl commercial for Toyota and included in the TV series “Sons Of Anarchy” and the films “Boondock Saints II” and “The Hot Chick”).

                  The vinyl packaging is comprised of 3 10” records (in a nod to the original 10” releases) with each of the three pressed on a different custom color in a limited run of 2,000. The vinyl is housed in a triple gatefold package with never before seen photos of the band. The CD version of the album has also been remastered for maximum fidelity. 

                  FORMAT INFORMATION

                  3xLtd 10" Info: 3 x Coloured 10".

                  General Strike

                  Danger In Paradise

                    Limited rerelease. Unavailable for years. VINYL ONLY.

                    The legendary album from 1984 available on vinyl. Fully remastered by David Cunningham. These recordings were originally released on cassette by Touch in 1984 with the exception of 'Parts Of My Body', released on a single by Canal Records in 1979. Performed by: Steve Beresford: bass, piano, farfisa organ, prophet 5, trumpet, flugelhorn, euphonium, percussion, glockenspiel, voice, toy piano, melodica, noises, rhythm tracks, drumkit; David Toop: guitar, prepared guitar, bass, percussion, flute, alto flute, glockenspiel, voice, tapes, noises, rhythm tracks; David Cunningham: tape treatments with guests: Lol Coxhill, Dawn Roberts and Maartje ten Hoorn. 

                    Linda Guilala

                    Estado Natural

                      Spanish shoegaze trio Linda Guilala's new single is the third instalment in the Sonic Cathedral Singles Club.

                      ‘Estado Natural’ (which translates as ‘natural state’) is the follow-up to last year’s ‘Mucho Mejor’ and is an indie-pop classic in the making, all driving rhythms and synths swooping and fizzing like Stereolab in a Soda Stream. The flipside, 'Espacio De Tiempo' (‘space of time'), is a much more Lush and laid-back affair.

                      STAFF COMMENTS

                      Mine says: Pulsing beats, swoony vocals and shimmering synths... say hi to your new favourite shoegaze anthem!

                      FORMAT INFORMATION

                      Ltd 7" Info: Limited edition of 350 on red vinyl.

                      Guitar Wolf

                      Love & Jett

                        Guitar Wolf! They are the keepers of all blasted, hard, spazzed out songs, building a whole life on the bedrock of hyperactive RNR exhilaration. This Japanese power-group has been stupefying audiences at home and on the road since the late ‘80s and fi nally are back to unveil their capital-L loud jams. Third Man is fortunate to be releasing their lucky 13th full-length album LOVE&JETT and to have a hand in supporting Guitar Wolf’s noisy and canonical rise to their rightful place in underground music’s highest hall of fame.

                        LOVE&JETT is full of Guitar Wolf’s sweet, sweet love songs, all recorded in Japan. While each song’s words (apart from a handful of song titles, 1-2-3-4s plus a clever cover of Spencer Davis Group’s Gimme Some Lovin’) punch out in their native Japanese, the adoring English-speaking public will be granted an insert enclosed in each LP and CD with all lyrics translated to English. (That means NO excuses to not have a haphazard bilingual sing-along on their upcoming US tour.) The energy explodes on the scene with the title track’s opening 1-2 bass-snare piston-fi re and truly does not let up at any point on the full album. Seiji, Toru, and Gotz shine especially bright on Sex Jaguar, barely clocking in just over 2 minutes with chorus catchphrases and feline roars.

                        Hey Colossus

                        Four Bibles

                          Coming out of London and the South West of England, Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their “pirate ship” backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor’s waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Wherever they may roam.Four Bibles is their twelfth studio album and the first to be released by London label ALTER, whose sole proprietor (the electronic producer Helm) encountered the group at their first gig in 2003.

                          Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011’s RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this. From the weight of “Memory Gore”, to the subtlety and swag of “It's a Low”, via the sonic extremes of “Palm Hex/Arndale Chins” this is exactly as the band are live; raging & rail-roading but somehow in control.

                          Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.There is a book release to coincide with the album written by bass player (and founding member) Joe Thompson. It's part of a new series called “Sleevenotes” by Pomona Publishing and the first four are out this year. Joe’s book sits alongside other contributions by Bob Stanley (St Etienne), Mark Lanegan (Screaming Trees/Solo), David Gedge (The Wedding Present) and contains a diary of the years leading up to the release of this record. Touring with bands Sumac and Grey Hairs through Europe, recording the album, line-up changes, the band's history and the big question is answered: Why? 

                          FORMAT INFORMATION

                          LP Info: Black vinyl.

                          Institute

                          Readjusting The Locks

                            With half the band having left their native Texas for New York, Readjusting the Locks is the first Institute album written across the country. Despite the distance it sounds every bit as cohesive as if they were all still hanging out every night in the same Austin dives. The newly NYC-based Moses Brown and Arak Avakian flew to Houston in October 2018, where they joined Barry Elkanick and Adam Cahoon to demo the entirety of the new album in a single day. In December, the band got back together in Brooklyn to record with their longtime producer Ben Greenberg (Uniform).

                            Where the previous Institute albums often wandered into the experimental, Readjusting the Locks strives to be economical, its 13 tracks clocking in at a tight 29 minutes. The band has seamlessly incorporated more ’77 rock n’ roll into their sound, some songs feeling like they could’ve been a Stiff Records single. This sound is emphasized by Greenberg’s expert production — crisp but still blown out and dirty. Lyrically, Readjusting the Locks moves away from the traditionally personal words of frontman Moses Brown. Rather than attacking the internal workings of his brain or its socialization, as on previous records, this album attempts to address the societal atmosphere in which his agita exists.

                            Blaming Neoliberalism and the irresponsible notions of utopia fostered under it, Brown argues that in recent decades the Western world’s assumption that humanity would continue to prosper into the future has, on the contrary, created a disastrous political vacuum. This has allowed banks, corporations, and their politicians to aimlessly advance the Neoliberal agenda into an inconceivably dangerous place. He argues that we are deadlocked in a permanent existential crisis, stuck in an unhumanitarian and environmentally destructive system so all-consuming that we will not find a clear alternative. Without a true plan for a sustainable future those in power will continue to offer humanity new policies, technologies, and politicians that promise change but are only capable of “readjusting the locks” on our incomprehensible existential predicament.

                            FORMAT INFORMATION

                            Coloured LP Info: Bourbon coloured vinyl.

                            Interpol

                            A Fine Mess EP

                              Recorded during time spent in upstate New York with Dave Fridmann, the five songs that make up A Fine Mess gradually emerged as a body of work with a narrative and flow unto itself. The resulting set is a living, breathing postcard from the band to their fans as they tour the world throughout 2019, and a linear continuation of the visceral and contagious energy set loose with Marauder.

                              Echoing its title, the artwork for A Fine Mess is illustrated by a series of lost images, recovered from an abandoned police station in Detroit, MI. In a crumbling evidence room - amongst the rubble - an undeveloped roll of film, dated “1-20-96”, featured latent images of a breaking and entering scene, the rooms in chaos.

                              From the beguiling refrain of the title track, to the soulful topsy-turvy of ‘No Big Deal’, cathartic chorus of long sought-after live favourite ‘Real Life’, anthemic swell of ‘The Weekend’, and angular shades of ‘Thrones’, A Fine Mess is a bracing and distinct entry in Interpol’s oeuvre.



                              Jackie Charles (the love-child, band and alter ego of Kaja Bremnes) are releasing their debut album Future Fantasies on April 19th 2019. Dividingtheir time between the rooftop bars of Berlin and a Norwegian fishing boat, the record was recorded in Hannover and mixed / mastered at Oslo’s Propeller Studios.

                              The band’s songwriting combines the 1980s goth angst of The Cure with the nihilism of Ariel Pink with the heartbreaking vulnerability of Alvvays. A washed out, hallucinogenic quality permeates the album, with brutally honest lyrics concealed beneath sugary sweet melodies. This is a Summer soundtrack for those with more nihilistic tendencies.

                              Themes of escapism are explored, for example on ‘Time Travel’, with the band telling us “reality isn’t all it’s cracked up to be and sometimes living in the past is better than being in the present. Haven’t you ever wanted to travel back to a time when things were less complicated and you felt safe?”whilst title track ‘Future Fantasies’ is more grounded, demanding a reality check for the culture of “thinking positive, dreaming big… If you can dream it, then you can do it. Who cares if society is failing and the sea levels are rising? *whispers* -you’re special-”


                              STAFF COMMENTS

                              Barry says: A beautifully dynamic and exciting mix of crescentic stadium rock, progressive synth and more introspective, quiet indie singer-songwritery. Bremnes' voice is the pivotal point here however, acrobatically swinging between Kate Bush-esque falsetto and quiet, sultry drawl. Lovely stuff.

                              Juju

                              Juju

                                Originally released on Sunrise Ocean Bender. This is the debut album of Italian Juju. Juju is the incarnation of Sicily-based Gioele Valenti (Lay Llamas, Herself). Used to designate objects, such as amulets, and spells used ceremoniously in West Africa, Valenti broadens the scope of ‘juju’ to encompass a mix of rhythmic psychedelia, ancient myths and Mediterranean neo-paganism. Through the music, JuJu tells the story of an ongoing exodus from Africa that more often than not ends in ignored tragedies at sea, ‘a total defeat for humanity.’ Inspired by sources of Earth magic and soil secrets, JuJu strives to turn that defeat into a celebration of spirit and modern psychedelia. 

                                FORMAT INFORMATION

                                Coloured LP Info: Available on 180-gram transparent yellow vinyl. Limited to 300 hand numbered copies

                                L'Epee

                                Dreams

                                  This is the debut single release from L’Epee, the band are Emmaunelle Seigner (Ultra Orange & Emmanuelle), Anton Newcombe (The Brian Jonestown Massacre) & Lionel & Marie Liminana (The Liminanas). Recorded in Cabestany (France) and Berlin at Anton’s Cobra Studio, this three track 12” single comes in deluxe packaging & precedes the full length album released in June this year. 

                                  STAFF COMMENTS

                                  Mine says: If you're a fan of BJM's psych swagger and The Limiñanas' French charm this summery, fuzzy stomper will be right up your street. Love it!

                                  Alex Lahey

                                  The Best Of Luck Club

                                    On her sophomore LP, The Best of Luck Club, 26-year-old Melbourne, Australia native Alex Lahey navigates the pangs of generational ennui with the pint half-full and a spot cleared on the bar stool next to her. Self-doubt, burn out, break-ups, mental health, moving in with her girlfriend, vibrators: The Best of Luck Club showcases the universal language of Lahey’s sharp songwriting, her propensity for taking the minute details of the personal and flipping it public through anthemic pop-punk. Lahey’s 2017 debut I Love You Like a Brother encases Lahey’s knack for writing a killer hook and her acute sense of humor delivered via a slacker-rock package and, in a way, The Best of Luck Club picks up where that record left off.

                                    Lahey co-produced the album alongside acclaimed engineer and producer Catherine Marks (Local Natives, Wolf Alice, Manchester Orchestra), and dives headfirst into a broader spectrum of both emotion and sound through polished, arena pop-punk in the vein of Paramore with the introspective sheen of Alvvays or Tegan & Sara. Here, Lahey documents the highest highs and the lowest lows of her life to date. After a whirlwind of global touring in support of breakout debut I Love You Like a Brother, Lahey wrote the bulk of her follow-up in Nashville during 12-hour days of songwriting. There, she found the inspiration for The Best of Luck Clubís concept: the dive bar scene and its genuine energy.”Whether you’ve had the best day of your life or the worst day of your life, you can just sit up at the bar and turn to the person next to you - who has no idea who you are - and have a chat. And the response that you generally get at the end of the conversation is, "Best of luck", so The Best Of Luck Club is that place.

                                    Lambchop

                                    Nixon - Reissue

                                      Much has been said and written about Nixon, the album that broke Nashville's finest little big band into the mainstream in the UK (we walked into the Met bar one night in 2000 and saw Noel Gallagerand Patsy Kensit and people like that, and guess what was playing on the bar's hifi? Is that considered mainstream?). It was album of the month left right and center and album of the year in Uncut, if we remember it correctly. Maybe not. Still, it's sophisticated mix of alt.country, white man's soul music, gospel choirs and thick use of strings and Kurt Wagner's last chance to lay down some falsetto vocals before age, smoking and whiskey caught up with him were a sensation. The Zero 7 remix of Up With People added longevity and weight to a campaign that stretched well into 2001. This re-issue comes with an additional full concert DVD from Lambchop's second London show at the legendary Royal Festival Hall with an added string section. Filmed by a TV company that consequently went bust, we were able to save this gem of a document from the vaults of the insolvency and present it here in its raw original form.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Red vinyl.

                                      Olden Yolk

                                      Living Theatre

                                        The musical duo of Shane Butler & Caity Shaffer released their debut album as Olden Yolk last year, an alluring concoction of hypnagogic folk & kosmiche rhythms, expanding & refining Butler's work in his former band Quilt toward a more focused direction. "Living Theatre" is the follow up to that eponymous debut & more than lives up to its promise. The songs on "Living Theatre" were written & recorded during a heavy time of transition & upheaval for the duo, with personal tragedies and a big move from their NYC home to a warmer climate in Los Angeles coloring the album's inception.

                                        Thematically "Living Theatre" tunes seem to be about how humans react to the ways life is colored by both fate and the consequences of the conscious & unconscious decisions we make. Musically, the duo's songwriting has gelled into a unified front, relying more on the subtle shifts of melody & rhythm than a barrage of chord changes; "Living Theatre"s hooks lap at your feet like a babbling brook, rather than bowl you over like violent waves. The refinement in tunes like "Castor & Pollux", "Grand Palais" & first single "Cotton & Cain" points to a new frontier for the group; soaring skyward toward the emotionally textural plateaus of trailblazers like The Go-Betweens or Yo La Tengo. There's a discernible romantic feel to tunes like "Violent Days" or "Distant Episode"'s lush arrangements with Shaffer in particular finding her own voice here; poetic, abstract & expressive. "Living Theatre" showcases a band breaking free from its chrysalis, and embracing its next phase of evolution

                                        FORMAT INFORMATION

                                        Coloured LP Info: Limited green vinyl version

                                        Oozelles

                                        Every Night They Hack Off A Limb

                                          Los Angeles supergroup Oozelles play weirdo punk rock with delightful saxophone and bongo accents, reminiscent of the Birthday Party boiling in a Death Valley heat or the Flesh Eaters experimenting with DC go-go tunes. Their live show is droll and nervy and danceable, and an essential sight to see.

                                          The A-side of their debut single “Every Night They Hack Off A Limb” starts off like the opening overture theme to a forgotten spy film, then surges into the percussion and sax-led, wired up titular refrain. The B-side “Human Trafficking” is a keyboard-driven soul-punk number made especially delightful with bizarro gremlin backing vocals and contagious singalong post-chorus.

                                          Purple Mountains

                                          All My Happiness Is Gone

                                            Purple Moutains is David Berman From Silver Jews.

                                            The Raconteurs

                                            Consolers Of The Lonely - Vinyl Reissue

                                              Third Man is ecstatic to induct into the standard catalog Consolers of the Lonely, the critically-lauded, fan-adored, Grammy Award-winning sophomore LP from the beloved quartet known as the Raconteurs.

                                              Before surprise releases were common, the Raconteurs ambushed the world with the sudden, unannounced release of Consolers of the Lonely on March 25th, 2008, a time when coordinating a worldwide physical and digital surprise release was even less easily accomplished than it is today.

                                              Consolers finds the Raconteurs at their mightiest, exploring what it means to be a contemporary rock band in a classic sense, full-on bombastic horn arrangements and gut-wrenching murder ballads sit side-by-side while the swagger and confidence of riffs and licks for days firmly establish this album as one of the pre-eminent releases of the 2000s.

                                              SWEET VINYL REISSUE OF THIS CLASSIC! IN TIME FOR THE NEW ALBUM RELEASE!!

                                              Red Channel

                                              Crazy Diamonds EP

                                                Melody (vocals, synth), Casey (vocals, synth), Bill (bass), Scott (guitar) and Marcus (drums) united through a shared post-punk sensibility and began experimenting with some angular drum and guitar give-and-take, layered with duelling synth refrains.

                                                Over this Melody and Casey worked-up their vocal harmonies through impulse, developing an interplay reminiscent of The Go Go’s at both their most serene and severe. The pairs vocals drift through each track, punctuating the profound and guiding us through each song’s uncanny terrain.

                                                After a busy year of local shows and bouts of instinct-first songwriting, Red Channel chose a number of their most resonant songs to record with Andrew Schubert at Golden Beat. These were subsequently mixed by Eric Carlson and then mastered by John Hannon for this debut 7” EP on Upset The Rhythm entitled ‘Crazy Diamonds’.

                                                The title track launches the listener through a stratosphere of cascading notes, swoonsome lyrical turns and tack-sharp pivots in rhythmic practice. ‘Crazy Diamonds’ is an exhilarating rush of a song, both wistful and defiant. Melody explains that it is “about the forever fluctuating reality that weaves in and out of ecstasy, loneliness, yearning and destruction. It’s about women being free from a superficial beauty, it’s about the cessation of ideals and power worship.” ‘Giver’ is a similarly sprightly yet pointedly questioning track, “alone in your room, alone with your thoughts, of sleepless shadows, but what do I get?” sing Casey and Melody in spooked unison.

                                                ‘Demons’ swirls with minimalist pop moves, a trailing backing vocal and a tumbling bass motif, whilst a dream-like quality pervades the guitar and keyboard lines. Melody then peppers the song with references to extinguished lights, evil forces, bags of sugar, floods and heaven on earth, drawing us so close that we enter the vision too. ‘Slowness’, which brings this debut EP is a close, is another triumph of illusory lyrical association and punchy gesture. In fact the band sound “caught in a fragment, non-corporeal” throughout all the four tracks. Opalescent passages freewheel into splintered eruptions, there’s a duality constantly in play, “somebody dies, somebody’s born”.

                                                The songs collected here are manifestly catchy, conjured in cyclical patterns that are distorted by a desire that tends towards stream of consciousness. It’s this willingness to wake-up in the unreal and see each moment reflected in the mirror which really sets apart Red Channel’s first record.


                                                FORMAT INFORMATION

                                                Ltd 7" Info: 400 copies only.

                                                Saint Etienne

                                                Tiger Bay - Deluxe Edition

                                                  To mark its 25th anniversary, Saint Etienne announce details of the release of a very special box set of one of their most critically acclaimed albums, ‘Tiger Bay’.

                                                  The lavish set includes: vinyl version of the original album in gatefold sleeve cut at 45rpm over two discs; ‘Tiger Bay - Remains Of The Day’, a 12 track vinyl compilation of rarities and demos; ‘Tiger Bay - Tapestry’, a 13 track CD album of ‘stripped-back’ versions and unreleased arrangements taken from original master tapes and complied by Pete Wiggs; a 28-page booklet featuring a wealth of unseen photographs plus an essay about the making of the album; a 12” x 24” reproduction of the original album poster and a reproduction of the original press release and biography from 1994. Also includes sticker and digital download album code.

                                                  A ground-breaking blend of electronica and orchestration with traditional folk melodies, ‘Tiger Bay’, their third studio album, was originally released on 28th February 1994 on Heavenly.

                                                  Self-produced by the band and engineered by longtime collaborator Ian Catt, the album also features input from Underworld’s Rick Smith, orchestral arrangements by renowned composer David Whitaker (Serge Gainsbourg, Marianne Faithfull, Air) and vocal contributions from Shara Nelson and Stephen Duffy amongst others.

                                                  Saint Etienne set themselves a bold challenge for their third album. No more records about London; no more samples - of music they loved, or snippets of film dialogue between tracks. They would change the genes of their music, swapping the helix of Madchester meets Swinging London meets indiepop for one in which Belgian techno was spliced with folk music.

                                                  ‘Tiger Bay’ was intended to be nothing less than the sound of folk music reimagined for the last years of the 20th Century. Their brilliant reinvention of folk rock for the electronic age might not have resulted in an invitation to headline Fairport’s Cropredy Convention but it gave them their best album yet.

                                                  ‘Tiger Bay’ slipped beneath the sands - neither an indelible hit nor a memorable flop - but that gives it a staying power, perhaps, that its predecessors lack: it doesn’t sound of its moment in the same way ‘Foxbase Alpha’ and ‘So Tough’ do. It sounds as if Saint Etienne had finally broken free of pop time, to create something that floated above pop trends, borrowing and squeezing together elements that should never have blended. It might even be their masterpiece.

                                                  Shitkid

                                                  Detention

                                                    ShitKid, the project of Swedish artist Åsa Söderqvist, is back with its second album [DETENTION], via PNKSLM Recordings (Les Big Byrd, Miss World, Sudakistan etc).

                                                    Moving on from her lo-fi pop beginnings [DETENTION] finds Söderqvist and bassist Lina Ericsson recording in a studio for the first time, offering up a fully fleshed full band sound veering into pop-punk and alternative rock territory. After spending 2018 touring behind her This Is It EP, mixing headline shows and support tours with the likes of the Melvins and US Girls, ShitKid is undoubtedly one of Europe’s most exciting young acts.

                                                    Siskiyou

                                                    Not Somewhere

                                                      Siskiyou returns from a four-year hiatus with Not Somewhere, which finds band leader Colin Huebert (ex-Great Lake Swimmers) essentially in solo mode, writing and self-recording this new collection on his own, playing just about everything himself. Not Somewhere harkens back to Siskiyou's magical, understated 2010 debut in this and other ways: the album's production rekindles a homespun intimacy, where plain-spoken lyrics grapple with portraits of quiet quotidian despair, fragile existential horizon lines separating perseverance and defeatism, honest and unremarkable lives trapped in cultures of false consciousness, impossible desire, self-analysis and self-medication.

                                                      Huebert was commissioned by NYC artist/designer Stefan Sagmeister to write the theme song for The Happy Film, a movie accompaniment to "The Happy Show" installation art project - ruminations on happiness that strongly echo Huebert's own tone and sensibility. Sagmeister wanted the unadorned aesthetic of early , leading Huebert to often write and record songs in the same day. The result is a beautifully restrained and direct song cycle of tunes anchored by acoustic guitar and brushed drumming, detailed with delicate textures, spartan melodic overdubs, and Huebert's distinctively forthright, whisperingly confidential vocal delivery.

                                                      Not Somewhere is delicate, discreet, and wonderfully assured - a humble, wistfully observational and meditatively personal return for Siskiyou. Huebert self-recorded and played almost everything himself, with contributions from guest musicians including cellist and labelmate Rebecca Foon (Saltland, Esmerine) and Destroyer regulars Joseph Shabason and JP Carter on horns and woodwinds. The result is a beautifully restrained and unvarnished song cycle of tunes anchored by acoustic guitar and brushed drumming, detailed with delicate textures,spartan melodic overdubs, and Huebert’s distinctively forthright, whisperingly confidential vocal delivery. From the austere Velvets-chug of “What Ifs” to the Elephant 6-inspired looseness of “Her Aim IsTall” and “Stop Trying (jubilant reprise)” and the sparkling hush of atmospheric twilight folkinflected pieces like “Temporary Weakness” and “Silhouette”, Not Somewhere is delicate and discreet yet wonderfully assured – a profoundly humble, wistfully observational and meditatively personal return for Huebert’s Siskiyou project. 

                                                      Sunn O)))

                                                      Life Metal

                                                        Continuing one of the main currents of the Sunn O))) concept, depth of exploration within collaboration, brought forth Hildur Guðnadóttir to the Sunn O))) constellation. Hildur is a sometime live collaborator of Sunn O))) and a renowned film music composer, former member of the bands Múm, Pan Sonic and Angel. She was a long time collaborator with the composer Jóhann Jóhannsson (RIP). Hildur lent her incredible attitude, as well as her voice, breath and electric cello, and the enigmatic haldorophone to the proceedings, culminating in the epic composition/concerto "Novæ". The cosmos clearly expands.

                                                        At the very beginning of 2018 Sunn O))) co-founders Stephen O'Malley & Greg Anderson set out on a path toward a new album production. They were both determined to create new music and a new method of working in the studio, without forgetting the long and proud history of production and studio accomplishments forged during their first two decades of existence (and the members' own musical experiences out of the band's). One long term goal was completely clear: to record Sunn O))) with Steve Albini in his Electrical Audio studio. Steve took the call, said "Sure, this will be fun. I have no idea what is going to happen."

                                                        Greg and Stephen gathered twice that spring for writing, conceptualising and riff woodshedding in the very building where the band was formed: Downtown Rehearsal in Los Angeles. Sonic cosmoses, flashes of abstract colour (synthetic and objective) and themes emerged from the mastered depths of saturation and circuits between the two players and their mountains of gear. Themes developed in terms of brightness and energy, while visionary cues pointed toward subconscious areas of practice and the pair realised they were exploring other zones of consciousness via sound/time and sound/energy manipulation. In early summer a pre-production session with full backline, as a trio with T.O.S. on Moog, was recorded at Dave Grohl’s 606 studios, Northridge, California.

                                                        In July 2018 Sunn O))) spent just over two weeks in Chicago at Electrical Audio (Studio A) with Steve Albini at the helm. The results are astounding: there is breadth and luminosity of colour, it sounds vast. The sessions were impeccably recorded, authentically represented and completely accurate. The spectrum cracked the firmament open in clarity. An all analogue technique was used, they recorded and mixed on tape, providing a creative gateway for Sunn O))) to evolve their production methods into stronger, confident, performance based and a more logical executive process. The album was mastered and lacquers cut from tape in October by Sunn O))) ally Matt Colton at Alchemy in London. The LP version is a AAA album, recorded and mixed on tape via a completely analogue production, from the input of the band's amplifiers and the air coming off the speakers in front of the microphones to the needle touching the pressed vinyl on your turntable.

                                                        Tim Midyett, a close friend of Greg and Stephen since the Seattle days of the early 90s (and member of Silkworm, Bottomless Pit and Mint Mile), joined in a foundational role tying earth to sound with wicked performances on aluminium neck bass and baritone guitars: instruments he helped pioneer playing back in the 90s (alongside Steve and Shellac of course). Dark matter is reality.

                                                        Prolific new music composer Anthony Pateras arranged and recorded an incredible contribution of pipe organ for a piece titled "Troubled Air" (titled after an essay by author Aliza Shvarts, who also penned the liner notes for Sunn O)))’s Kannon) at Schlosskappelle, Schloss Solitude, Stuttgart. String theory of space.

                                                        The resulting album is titled Life Metal. It is fully realised and completely real. The record was produced by the core of Stephen & Greg & arranged by the greater constellation Sunn O))). Paintings by visual artist Samantha Keely Smith graciously adorn the sleeve and provide a perfect suitable mask to the proceedings. They collide ideas of 19th century romanticism & late 20th abstract expressionism (mysticism) with Sunn O)))’s approach to metal (via reference points of Arbo, Turner, Delville, Richter, Turrel, Wou-Ki). Photographer Ronald Dick shot them in baths of light colour representing depth of sound pressure in the work.

                                                        There is a second more meditative LP titled Pyroclasts, also recorded by Steve Albini in parallel, and which will be revealed in the autumn 2019 (more later) with all music performed by Stephen, Greg, T.O.S., Tim Midyett, and Hildur Guðnadóttir. 


                                                        STAFF COMMENTS

                                                        Barry says: It's another amazing LP from Sunn here, enlisting the help of Múm's Hildur Gudnadottir on vocal duties to superb effect. Her music has always been beautiful in it's own regard (Múm being one of my absolute favourites) and it's lighter touch and orchestral delicacy adds beautifully to the famously all-encompassing drone of O'Malley and Anderson. Absolutely stunning.

                                                        FORMAT INFORMATION

                                                        2xColoured LP Info: Limited purple coloured vinyl.

                                                        Ltd LP Info: Limited black vinyl edition.

                                                        Teleman

                                                        Family Of Remixes

                                                          To celebrate TELEMAN’s recent critically acclaimed studio album Family Of Aliens, the London foursome announce the release of an accompanying remix album, aptly titled Family Of Remixes. The new offering is released on the 17th May via label-home Moshi Moshi Records.

                                                          The 11-track album sees new cuts of standout singles Cactus, Song For A Seagull, Submarine Life and title track Family of Aliens, with notable names such as the album’s producer Boxed In alongside Ghost Culture, Seven Davis Jr and even Teleman themselves, stepping up to remix duties.

                                                          The new project is timed to drop following a 6-date UK headline tour, that’s sees the quartet headline Hackney’s new EartH venue on 24th April alongside dates in Cardiff, Cambridge, Leicester and two sold-out shows in Bristol and Manchester.

                                                          Family of Aliens, marked a new sonic venture for Teleman, flaunting a new-found harmonious marriage of their renowned beguiling pop sensibility and pulsating electronic undertones. Family of Remixes is the perfect chaperone to Family of Aliens further exploring Teleman’s new electronic textures.

                                                          VR Sex

                                                          Human Traffic Jam

                                                            Technology was meant to be humanity’s tool to combat famine, disease, confusion, and to facilitate life, culture, and innovation. Instead, we’re mired in a digital labyrinth that few care to navigate or even solve. Perhaps it’s not a ruse and the matrices coded by keyboard maestros are a path to liberation, but without querying the constructs we cannot ruminate on their affectations on humanity.

                                                            VR SEX are audio/visual provocateurs who transpose the identifiers of death rock, synth punk, post-punk, ambient, and ethereal soundscapes into an audit on technology and its imprint on our collective psyche. Comprised of visionary mercenaries Noel Skum (Andrew Clinco of Drab Majesty), Z. Oro (Aaron Montaigne of Antioch Arrow/Heroin/DBC) on vocals and drums, and Mico Frost (Brian Tarney) on synths and electric bass.

                                                            Their debut tome, Human Traffic Jam, focuses on lyrical themes that probe the possibilities of loss of autonomy through social media, the decline of human interaction, and celebrity favoritism. Skum believes in the stabilization of society and preservation of our planet by reducing its amount of procreators.

                                                            Through PSRS or Procreation Simulation Reproduction Stimulation, humans can act on their hedonistic desires and not face the responsibilities and consequences that come with being an ill-prepared guardian. The future of our offspring will exist in virtual realms and population growth in turn will be stabilized. VR SEX is the cure to most societal ills.

                                                            Thematically condensed into an eight song album, Human Traffic Jam was written and demoed by Skum in a flat in Athens, Greece during the winter of 2017. During a rigorous week long session at Figure 8 studios with experimental and dimensional production extraordinaire Ben Greenberg (Uniform/The Men), Skum solely committed all the instrumentation present on Human Traffic Jam.

                                                            Rather than being emblematic of influences, each song on the LP infuses a dire tension that cuts shimmer with fetid frequencies, never establishing an aural hierarchy or urgency. Instead, we’re lead into punchy capsules of “dour pop”; the balance of saccharine and sour so emblematic of the VR SEX hive mind.

                                                            DAIS Records releases VR SEX’s debut album “Human Traffic Jam” on April 26, 2019 on digital, vinyl LP (packaged in a thick matte stock jacket with a printed inner eurosleeve with lyrics and download card in various colored vinyl variants), as well as compact disc, housed in a matte digipack with lyric insert and features the bonus track “Corridor (Epilogue)”. Cover art by Brooklyn based artist Adam Helms. 


                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Limited clear vinyl.

                                                            The Wake

                                                            Pale Spectre / Plastic Flowers

                                                              Part of The Optic Sevens Reissue Series. 
                                                              Limited to 500 copies on splatter vinyl Includes Poster & Postcard.

                                                              Originally released on Factory Records in 1987 on a 4 track 12” EP entitled “Something That No One Else Could Bring” These 2 tracks make their first appearance as a 7” single. 


                                                              The Wedding Present

                                                              Go Out And Get 'Em Boy!

                                                                Part of The Optic Sevens Reissue Series. 
                                                                Limited White Vinyl Includes Poster & Postcard. 

                                                                Originally released in 1985 on Reception Records. The debut single by The Wedding Present is reissued here on white vinyl using the original (Reception Records) artwork. 


                                                                Weezer

                                                                Weezer (Teal Album)

                                                                  Throughout a sold out arena tour in summer 2018, Weezer began working covers into their set, ranging from “Take On Me” by a-ha to “Happy Together” by The Turtles, in addition to their massive cover of “Africa” by Toto, which became a viral and radio sensation upon its release earlier that year. Given the tremendous response to these songs at the shows, the band was inspired to put together a covers album -- and thus WEEZER (THE TEAL ALBUM) WAS BORN!

                                                                  Weezer (The Teal Album) precedes the band’s forthcoming new album of original Weezer songs, Weezer (The Black Album), which will be released on March 1, 2019. Weezer (The Black Album) was produced by TV On The Radio’s Dave Sitek, with whom the band worked for the first time. The album’s songs were entirely written on piano by frontman Rivers Cuomo for the first time in Weezer history, creating some of the most satisfyingly awesome songs in the entire hits-filled Weezer catalogue. With band members switching up instruments in the studio, and choruses filtered through Sitek’s own encyclopedic musical references of everything from Gorillaz to Can to Pink Floyd, Weezer (The Black Album) is the bold next step in the winning streak of acclaimed albums they’ve released since 2014. The album’s current song, “Can’t Knock The Hustle,” recently became the band’s sixteenth Top Ten single at Alternative Radio. 


                                                                  STAFF COMMENTS

                                                                  Barry says: It's got a cover of Africa on it, which is my jam. Therefore, it's superb.

                                                                  Josephine Wiggs

                                                                  We Fall

                                                                    Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.

                                                                    But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.

                                                                    Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno’s Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album’s classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.

                                                                    There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she’s photographed in her travels. We Fall could be the soundtrack to what can’t be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.

                                                                    Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces. 


                                                                    Working Men's Club

                                                                    Bad Blood / Suburban Heights

                                                                      With the start-stop sound of Talking Heads, Gang of Four and Television, ‘Bad Blood,’ fuses 70s post-punk with the stomp of Parquet Courts’ positivity and resonates with the start of the weekend...Syd’s half-spoken words jab through Strokes guitar lines with Mark E Smith drawl...it’s the feeling of a Saturday spent scuffing about in thrift stores and hanging out with friends.

                                                                      Like a homage to smoke-filled vaults, aging billiard rooms and crumby packets of pork scratchings in the Working Men’s Clubs of days gone by, Todmorden-by-way of-Europe trio Syd, Jake and Giulia are about to fling open the doors of their own millennial social hub with the fresh post-punk of infectious debut single, ‘Bad Blood’ / ‘Suburban Heights.’

                                                                      “We grew up in northern towns trying to get in to pubs in social clubs because that’s all we had. The name is an ode to that,” explains Working Men’s Club’s 17-year-old singer and guitarist, Sydney Minsky-Sargeant. “Our surroundings and their differences has influenced us a lot on these tracks.”

                                                                      Joined by guitarist-vocalist Giulia Bonometti, 23 and drummer Jake Bogacki, 18, the trio have always had a clear sense of their whereabouts; quite simply, they wouldn’t even exist without multi-nationalism. Meeting at college in Manchester, Syd and Jake are from Todmorden and Hebden Bridge, but their families hail from Poland whilst Giulia moved to the UK from Lake Garda, Italy. “The songs are based on the culture of walking round Manchester every day then going back to the countryside each night and how the contrast of going back into the hills made us sane,” Syd tells.

                                                                      Working Men’s Club are wise beyond their years as they seemingly offer words of wisdom, to be repeated like some kind of break-up mantra, until everything’s ok; “Be happy when the sun shines / Be happy when the sun rains / You know you should do the same.”

                                                                      If ‘Bad Blood’ is the day, ‘Suburban Heights' is the night. Recorded with Alex Greave at The Nave in Leeds, steady riffs from Syd’s fingers tap-dance on the strings alongside Jake’s skill in working a jagged snare. Meanwhile Giulia’s heavenly disco ‘ooohs’ recall Donna Summer feeling the love whilst cutting right to the contentious subject of gentrification. “Suburban Heights refers to how apparent it is that cities are expanding to hold more people and buildings are rising, they’re morphing into these dystopian party towns,” tells Syd.

                                                                      Already with shows supporting The Wedding Present and Brian Jonestown Massacre behind them, Syd says it’s only the beginning; “Those shows were great experiences and ones we’ll have for life. We love making music and we’re so grateful for what we’ve achieved so far; hopefully there’ll be plenty more to come.”


                                                                      FORMAT INFORMATION

                                                                      Ltd 7" Info: Limited Edition Repress on Blood Red Vinyl.

                                                                      Wreckless Eric

                                                                      Transience

                                                                        Eric Goulden, the man everyone knows as Wreckless Eric, is a rare example of an older and established artist who hasn't lapsed into comfortable formulas. Exactly a year after his last album, the well-received Construction Time & Demolition, he's back with a new album, Transience. For every song of Wreckless Eric's you remember from his early days on Stiff Records, he's recorded 10 more that you've probably never heard. The early DIY British indie label may have been his entry-level position into the music business, but Eric Goulden didn't stop making music after the novelty of Stiff Records - and his being known as Wreckless Eric - wore off. Forty years on, Goulden is still making insightful music while the original label is but a footnote in music history.

                                                                        On Transience, Eric is joined by friends including acoustic 12-string guitar player Alexander Turnquist, Cheap Trick bassist, Tom Petersson, Amy Rigby on piano and backing vocals, jazz horn player Artie Barbato, and on drums Steve Goulding, late of Graham Parker & the Rumour - the first time he and Eric have recorded together since Eric's enduring hit "Whole Wide World" back in 1976.

                                                                        He wrote the songs on the move, alone in grubby rooms, in dilapidated motels, and 'poolside' at rundown, out-of-season resort hotels, during gaps between tour dates. And in roadside cafes, parking lots and launderettes. "I was seeing stuff and writing it down, little vignettes. I felt like I was in a succession of Raymond Carver short stories."

                                                                        Early on in his career, Eric said that all he wanted to leave behind was an indelible stain. During last year's gruelling tour schedule, Eric lost his mother and also his ex, the mother of his daughter. "You start to think, that's it I'm next. There's more time elapsed than there is time left to go. It's like the school summer holiday when I was a kid - at the start it stretched away endlessly but suddenly there was only a week left and then it was over. We're all going to die, it's inevitable and unavoidable. As this vague concept becomes more than just a disquieting reality, I get preoccupied with what is and what might have been."

                                                                        The sun goes down and California slides majestically into the ocean. Eric grinds the hell out of a cheap electric guitar.

                                                                        Various Artists

                                                                        Lux And Ivy's Good For Nothin' Tunes: The Wild, The Weird And The Wang Dang Doodlin'

                                                                          A double CD featuring 50 classic slices of madcap vinyl as enthused over by The Cramps’ Lux and Ivy.

                                                                          Featuring super rare sides, howling rockabilly, juvenile delinquent anthems, a host of dance trends, plenty of haunting weirdness and lots of hi-octane rock ‘n’ roll.

                                                                          Including Eartha Kitt, Ernie K Doe, Ronnie Dawson, Bobby Bare, Scott Engel (later of The Walker Brothers), Ken Nordine and Charlie Feathers.

                                                                          Plus beatnik blues and the crazed excess of Portuguese Joe, Myron Lee And The Caddies, The Poets, Charles Senn and Mike Page’s ‘Long Black Shiny Car’.

                                                                          Along with the awesome ‘Wombat Twist’ by Glenn And Christy and Harvey Hurt’s stupendous ‘Big Dog Little Dog’ – it’s hit after hit.

                                                                          Remastered from the original sound sources with sleevenotes by MOJO magazine’s Dave Henderson.


                                                                          Latest Pre-Sales

                                                                          72 NEW ITEMS

                                                                          Good morning. Open and ready for New Music Friday. Loads of great releases out today. https://t.co/KL1FeNcZ4F https://t.co/1xLXOCJu8X
                                                                          Fri 17th - 9:42
                                                                          RT @dinkededition: HAPPY RELEASE DAY TO @_black_peaches_ - ‘Fire In The Hole’ is out today! DINKED EDITION 13 Exclusive numbered teal LP +…
                                                                          Fri 17th - 9:25
                                                                          Best Sellers of The Week https://t.co/T4SeJf1Eej Just In https://t.co/6f3fZjqA1i Latest Presales… https://t.co/OGU6K6ig8D
                                                                          Thu 16th - 1:09
                                                                          RT @dinkededition: This peach lands in all DINKED shops tomorrow. BLACK PEACHES ‘Fire In The Hole’ They may have flown a little under th…
                                                                          Thu 16th - 11:54
                                                                          DINKED EDITION 17 TYCHO 'WEATHER' Worldwide exclusive pink coloured vinyl. Exclusive signed 12 x 12” print and h… https://t.co/nn9XFwQkGv
                                                                          Thu 16th - 7:55
                                                                          E-newsletter —
                                                                          Sign up
                                                                          Back to top