MAGIC MIX

indie

WEEK STARTING 18 May

Genre pick of the week Cover of Tell Me How You Really Feel by Courtney Barnett.
The Grammy and Brit nominated Courtney Barnett returns with her second album - 'Tell Me How You Really Feel.' It follows her critically acclaimed 2015 debut album 'Sometimes I Sit And Think And Sometimes I Just Sit', and a recent top 10 collaborative record, 'Lotta Sea Lice', with Kurt Vile. One of the most distinctive voices in music, Courtney is known for mixing witty observations with unflinching self-assessment - fast forward to now and although all of the cleaver turns of phrase and an eye for story telling are still there; this new collection of songs see a more serious and outwardly tone capturing the current social landscape yet still retaining moments of intimacy and warmth. As the world becomes more familiar with Courtney Barnett these songs feel comforting and emphatic yet that raw energy and the ability to make the listener think still remain.

STAFF COMMENTS

Barry says: Another absolute stormer from Courtney, though you might have already heard the superb 'Nameless, Faceless' from the 7" a little while ago, and 'City Looks Pretty' and 'Sunday Roast' from the RSD 12", there are a bunch of gems to uncover on this including the snarling skate-punk melodicism of my personal highlight, 'Charity'. Killer.

FORMAT INFORMATION

Coloured LP Info: Indies exclusive in gatefold mirror board sleeve. Limited red vinyl.

Coloured LP includes MP3 Download Code.

Deluxe CD Info: Limited hardback with exclusive 24 pp photo booklet.

Archie And The Bunkers

Songs From The Lodge

    Straight from the city of Cleveland Ohio -the home of The Electric Eels, The Pagans, The Dead Boys, Pere Ubu, Screamin' Jay Hawkins, and many more- comes the newest sensation in Rock n’ Roll. Brothers Emmett and Cullen are taking the world by storm, bringing audiences nothing but the wildest rock music of the 21st century. This new sound will make you want to shake and smash things up. It is RAW POWER, by teenagers, for anyone who will listen. This is the real deal.

    This is HI-FI Organ Punk! Archie and The Bunkers consists of brothers Emmett (drums/vocals) and Cullen O’Connor (organ/vocals). The pair began recording music in their basement as young teenagers self-producing their first 2 EPs (Comrade X in 2013, and Trade Winds in 2014.) The band's raw garage-punk sound draws heavily from their melding of divergent musical styles. Influences range from jazz organ greats like Jimmy Smith, and Richard “Groove” Holmes, to punk icons Dead Boys, The Stooges, The Screamers, and more. On stage, the siblings attack their songs with an energy that whips the audience into a frenzy. The unique growl of Cullen’s whirring, overdriven organ and the driving beat of Emmett’s 4-piece drum kit, leave concert-goers in shock at the sonic assault levied by only two. 2015 marked the release of their first full-length album on Dirty Water Records.It’s 12 songs were recorded at the storied Ghetto Recorders in Detroit.

    It was here that legendary producer/engineer Jim Diamond captured the unique A&TB sound that’s been dubbed "HI-FI Organ Punk". Emmett describes the duo's sound as, “rock’n’roll that’s been peeled back to it’s raw foundation.” Since then, the boys have embarked on two European tours, recorded four singles, two EPs, and a brand new LP on the way for 2018 on Dirty Water Records. The Bunkers have also worked with some of the greatest labels in the biz, including Norton Records, In The Red, and Jack White's infamous Third Man Records. 

    FORMAT INFORMATION

    LP includes MP3 Download Code.

    Irish alternative rockers Ash are set to return with their latest full-length, Islands, on May 18th via Infectious Music. Serving as the follow-up to 2015’s Kablammo!, the new album was previously previewed with the lead single, “Buzzkill”. Today, the alt trio is back with another sample of the record, “Annabel”.

    Where “Buzzkill” was a poppy thrasher, there’s a bit more yearning in “Annabel”. The licks are still plenty tasty, but they’re wrapped around an undeniable sweetness. “Annabel, have no fear/ You can be my Guinevere,” sings frontman Tim Wheeler. “In the storm I will draw you close/ In the tempest, in the snow.”

    FORMAT INFORMATION

    Coloured LP Info: Indies exclusive special silver metallic mirri board packaging and pressed on metallic silver vinyl.

    Blue Hawaii

    Blooming Summer

      The warmth of the electronic element is almost frightening. By this I mean to say, that music of this tremendous beauty, composed through elements completely opposed to natural history, seems to vaguely hint at a new precipice of human evolution, where we lose track of ourselves entirely. Who is this second Prometheus whom hath given us this blue flame and how does he suffer for his generosity?
      But now we must speak plainly… "Blooming Summer" seems to come together with an un-canny ease, one that could only possibly express a true and monumental love between its two collaborators. Do not even attempt to show me a more beautiful voice or gentle nature than Raphael’s, for you will not be able to find one. As Percy Blysse said to Mary Shelley whilst rowing their boat across the River Styx: “I’ll love you forever, I’ll cherish you always, as long as I’m living, my baby you’ll be.”
      For the moment, I need no other piece of art than "Blooming Summer". I am satisfied and can rest in harmony with the blooming summer. Girls and boys, they love in the colour blue…

      STAFF COMMENTS

      Patrick says: P.S. play at 33 for a sneak peak of the new Washed Out LP...

      Patrick says: Putting the poetic (but completely uninformative) sales notes to one side, Canadian duo Blue Hawaii trade in the kind of sensual, textural synth pop that makes our Barry play with his knobs. Musing on new love during a few months in Central and South American, the duo deliver an LP which shifts between woozy, Cocteau-tinged chillwave and uptempo pop anthems packed with pep.

      FORMAT INFORMATION

      LP includes MP3 Download Code.

      Bonnacons Of Doom

      Bonnacons Of Doom

        Whether congregating in dimly lit halls or in forests, and whether mediated by e-mailed audiofiles or infiltrating darker realms of consciousness, mysterious forces are being channelled by a shifting collective intent on psychic communion by any means necessary. Bonnacons of Doom’s identities may be shrouded and hidden in the live arena, yet the force of their vibrations - as captured on the unearthly vibrations and unholy revelations of their self-titled Rocket Recordings debut - is gloriously manifest. “From the beginning, we’ve been really interested in the transformative possibilities of music” explains Rob, one such Bonnacon. “How it has the power to make us and the audience at that particular moment into something else. In particular, we’ve tried to work with repetition, volume and texture rather than traditional song structures. Anything that produces a stasis that people can get lost in rather than following something in a linear or obvious way”  Whilst the line-up of Bonnacons of Doom has been known to morph with each undertaking, the prime movers in the principally Liverpoolbased collective endeavour have included members of Mugstar, Jarvis Cocker’s band and Youthmovies, donning robes and masks to sculpt altered states and subsume themselves to the ritual.

        Recording mostly in single-takes and in the band’s trademark improvisational method at Suburban Home studios by its owner and Hookworms frontman MJ, this recorded incarnation of Bonnacons’ arcane conjury operates stubbornly free of genre, sashaying alongside psych-rock, repetitive drone and electronic experimentation whilst consumed by a devotional intensity that’s multiplied by the transcendental echoing of vocalist Kate. “I guess our environment is another key influence” reckons Rob. “We’re almost all from Lancashire and Yorkshire, and the landscape and mythology of the north is part of who we are. It’s darkness and beauty, the weirdness of its folk traditions, the independence of mind of its culture and the melancholy of its post-industrial grain. I think ultimately what we’re trying to achieve is a kind of Trans-Pennine hypnotic music.”

        FORMAT INFORMATION

        LP Info: LP In Die Cut Sleeve

        The Boxing / Park Fires

        Circles / Wake Me Up

          Following on from the first CPWM release of 2018 featuring Mansion of Snakes and Brooders, this new release features electronic-duo Park Fires and gloomy, psychy post-punk trio The Boxing.

          First up on the CPWM single is Park Fires. Park Fires is the work of Emma Duffy and Rachel Lissenburg who together create richly layered, 80’s inspired electronic pop. This new single won’t be their first collaboration with Come Play With Me, in 2017 the band launched Her Music PR, a female focussed music PR company based in Leeds with a Women in Music event run in conjunction with CPWM.

          Talking about their new single ‘Wake Me Up’ the bands Emma Duffy said: "Wake me up reflects the mental battle with oneself, you long to be with that unrequited love and having that harsh realisation that the relationship will always be one sided. The worst part is that your mind keeps telling you to move on, whilst your heart is holding on to something that will never come true!"

          Joining Park Fires on the upcoming split single is Leeds trio The Boxing. Quickly gathering momentum and buzz with moody soundscapes, razor sharp melodies and hazy post-punk sound. The band have already garnered support from the likes of DIY, Dork, Clash and Louder Than War with the latter aptly describing this bright light of the Leeds DIY scene as “almost brutalist psychedelia".

          The Boxing’s contribution to the CPWM single is the winding, melodic and trippy ‘Circles’. Singer Harrison Warke said about releasing the single on CPWM: “It's a pleasant feeling getting our first physical bit of output under our belts. We just became a bit harder to erase, which I suppose is a comfort. Tony and CPWM made it happen so we're grateful for that too.”



          Boys

          Rest In Peace

            Intimate and affecting indie pop from Stockholm based Nora Karlsson, originally from Umeå in the north of Sweden, the debut LP Rest In Peace is the culmination of a journey that started with writing her first original songs at age 17. Now 22, Nora’s already toured around the world as the guitarist of Swedish psych pop outfit HOLY, and her songwriting’s matured beyond her years.

            A far cry from the lo-fi home-recording of her first EP’s Rest In Peace is an accomplished works by one of Scandinavia’s finest songwriters, one that’s already been praised in-ternationally by the likes of Gorilla vs. Bear, Stereogum, The Line of Best Fit, GoldFlakePaint and many more.

            The Breeders

            Last Splash

              Originally released by 4AD in August 1993, ‘Last Splash’. By the time this album was released, Tanya Donelly had left the band to for Belly and Kim Deal had been joined by her sister Kelley. The album features possibly their best known song, the late 90s indie-disco classic ‘Cannonball’.

              The Breeders

              Mountain Battles

                Fourth studio album, originally released in April 2008. This reissue of ‘Mountain Battles’ includes 12” size, 28 page booklet.

                The Breeders

                Pod

                  The Breeders were formed by The Pixies Kim Deal and Throwing Muses Tanya Donelly. This was their debut album originally released by 4AD in May 1990. The album, produced by Steve Albini combines the energy and angular pop sensibilities of their other bands, bolstered by creative songwriting and clever arrangements. It features iconic Vaughan Oliver artwork.

                  The Breeders

                  Title TK

                    Originally released by 4AD in May 2002. The Deal sisters recruited new personnel to play several live shows in 2001 and returned to the studio with guitarist Richard Presley, bass player Mando Lopez and drummer Jose Medeles to record this third Breeders studio album with Steve Albini.

                    Brian Jonestown Massacre

                    Hold That Thought

                      This is the new single which announces the band's forthcoming two albums to be released this year . The first track is "Hold That Thought" which comes from the album "Something Else" which is to be released on 1st June 2018 . The second track is "Drained" which will come from the self titled album that will be released in September of 2018 . Both tracks were recorded in Berlin & the band are announcing tours of the USA , Canada , Australasia & Europe throughout the year . All tracks were recorded at Cobra Studios , Berlin in 2017

                      FORMAT INFORMATION

                      Ltd 10" Info: 180g White Vinyl

                      Jennifer Castle

                      Angels Of Death

                        On Jennifer Castle’s new album Angels of Death, her third full-length record under her given name (previous releases were credited to Castlemusic), the Ontario songwriter summons a kindred classical vision of the Muses as domestic familiars intimately in league with death. A sublime meditation on mortality and memory, ghosts and grief, Angels of Death casts a series of spells against forgetting and finality, in the form of mystic-minimalist country-soul torch songs about writing, time travel, and spectral visitations. Castle wrote and recorded this breathtaking follow-up to the acclaimed Pink City (2014) in a 19th century church near the shores of Lake Erie, where her family also lived and experienced a constellation of losses that inhabit these bruised musings.

                        The title track finds Castle wrestling, like Jacob, with the radiant angels of death “hanging in the room,” while she attempts to navigate, or write, her way through the “loopholes and catacombs of time”—the line is borrowed, with permission, from fellow Canadian poet Al Purdy—like Ariadne in the labyrinth, with her spool of silver thread. Real-life muses haunt Angels of Death as well. In addition to Al Purdy, whose verse appears as a result of an invitation from Jason Collett of Broken Social Scene to incorporate a Purdy poem, Castle cites Cuban American artist Ana Mendieta, Didion’s The Year of Magical Thinking, and Spanish artist Susana Salinas (the addressee of “Stars of Milk”) among those whose work served as catalysts. 

                        Cosmic Psychos

                        Loudmouth Soup

                          The Psychos are back, mate!
                          Australia’s most legit export since Crocodile Dundee have announced the release of their eleventh studio album, 'Loudmouth Soup' out APRIL 2018 on GO THE HACK Records for Australia and SUBWAY Records for the rest of the World!!! WATCH OUT!!!

                          Australia’s most legit export since Crocodile Dundee have announced the release of their eleventh studio album, 'Loudmouth Soup' .

                          They’ve also got a ripper new vid for your eyes to devour in the form of‘Feeling Average’. And frankly, after singing about beers for more than solid three decades, it’s no surprise that the Psychos have finally delivered a song about the hangover from hell.

                          Paul De Jong (The Books)

                          You Fucken Sucker

                            The new album from acclaimed composer and cofounder of beloved experimental collage-pop duo, The Books. As a society, we know that we are overwhelmed – consumed by hyper-stimulation, and frustrated by what often feels like an exhaustive barrage of external forces. For Paul de Jong – cofounder of beloved collage-pop eccentrics, the Books – that societal frustration was compounded by a series of unexpected and frightening personal turns. In his new album, You Fucken Sucker, Paul returns to his musical teens in an uncompromising manner, and with an overwhelming statement for the present. De Jong serves us with an uncanny (and sometimes uncomfortable) reflection of our collective mental excess. Presented in the exact sequence in which it was conceived, You Fucken Sucker charts a grueling and complicated time span in de Jong's life.

                            Over the course of its 14 tracks – which range in length from 15 seconds to nearly 10 minutes – we hear complex tapestries of acoustic and electronic instrumentation submit to waves of unhinged screaming; found-sound assemblage seamlessly incorporating subtle R&B rhythms; Freudian funk; lo-fi prog-metal; and vast synth patch orchestration adding unexpected textures and tension to the whole spectacular mess. Like much of Paul de Jong's work, You Fucken Sucke r is a genre unto itself, overflowing with innovative exploration of sounds and senses. Unlike his previous work, it is an unvarnished exposition of anger, frustration, misery and confusion. Perhaps most vitally, it is an opportunity for the rest of us to experience the kind of communal emotional purge more typical of his roots; pre-Internet basement punk rock shows – unafraid of being afraid. 

                            Decisions

                            Decisions

                              Decisions are a new punk band from New York City and this EP is their first official release.

                              The house punk band of Bushwick’s socially conscious bastion The Silent Barn, Decisions craft songs that rail against yuppies (‘Gatekeeper’), creeps (‘Trapped’) and the gentrification prevalent in New York’s 5 boroughs.

                              While these tracks range from fast ultra-catchy punk bangers to sprawling hard rock developments (‘Rusted Shut’), there is not a wasted note on these four tracks and we bear witness to a new band with a the rare quality of an incisive attack whose message is entirely of the moment.

                              In their short career Decisions have played with the likes of Parquet Courts, Palberta and KAG.

                              Following on from their riotously superb (and brilliantly pressed 'Piss Yellow') 7" a couple years ago, Denim And Leather are back with a full-length outing, brimming with social commentary and brain-melting riffmongery.

                              We kick things off with the full-scale aural assault of 'Scran', half-way between the snappy, chugged-out bass and death-knell guttoral vox of 90's metal and 00's grindcore, but with a rhythmic sensibility and off-piste rhyhmic phrasing rarely seen outside the remit of the more capable math-rock bands of yesteryear. 'Grave 99' takes things back a notch initially, before launching into the furious single-note riff and galloping bass we've come to know and love, brilliantly dynamic and furiously agressive but tempered with the perfect amount of nuanced touches that make D&L so singularly recogniseable.

                              Move along and 'Embryocean' basically does everything I tried to do in a band when I was in my late teens (furious riffs, rapidly sliding bar chords and distortion cranked up to at least 11), but with all of the success I missed out on. Perfectly timed slides, brilliantly visceral chord progressions and raw, unleashed power.

                              'Ancient Cowboy Rituals' follows it up with a curveball (if anything can be called a curveball, this is most certainly it), with barely distorted guitars and cantering country-tinged guitar sweeps laying beautifully atop a persistent dusty percussive workout, with almost whispered spoken word laguidly rolling around the foreground, all underpinned by the sounds of the Beetham tower howling under the force of southern winds.

                              The onslaught continues into the second half of the LP, with 'Cathedral Gardens' and 'Hatchlings' sitting back to back, knives out and preparing their next move. The former pummeling with fuzzy bass and head-bobbing chug, while the latter negates the stoner-doom vibe with heavy AF skate hardcore power chords and pitch-perfect vocals (just because they don't do it much, doesn't mean they can't), this is yet another testament to their unwavering skill and unmatched ability to forge a cohesive narrative through walls of distortion and pummeling power. 'Organ Donor' is by far the most vitriolic outpouring from the latter half of the album, brilliantly raising the heart rate before the mindblowingly chugging hot-box mayhem of 'Secretions', slowly unfurling into a thumping hypnotic fade-out, before fading BACK IN AGAIN for another round.

                              There is nothing in Manchester that comes close to Denim And Leather for pure, scathing hardcore. 'Sacred Autism' is a triumph in every way, a perfeclty executed, vitriolic outpouring and an unforgettable journey throughout.

                              Essential.

                              "The Bees Made Honey In The Lion's Skull" is Earth's first album of entirely new material since 2005's "Hex". Where "Hex" revelled in dark satanic twang and austere American beauty, "The Bee Made Honey In The Lion's Skull" finds Dylan Carlson and the band growing into a harder, more rock and American gospel oriented and improvisatory direction framed by a truly psychedelic production and blazing guitar sounds. Earth is honoured to be joined on this record for three songs by legendary jazz guitarist Bill Frisell, bassist Don McGreevy and Steve Moore on acoustic grand and electric piano, Wurlitzer and Hammond organ.

                              FORMAT INFORMATION

                              2xLtd LP Info: Limited 2018 repress in Stoughton gatefold jacket.

                              Under the tree – In The Cave – At The Water, there’s where you’ll find Eleventeen Eston; savouring the shade since his 2014 debut LP ‘Delta Horizon’ turned the spotlight his way. Taking shelter in the subterranean, the Perth musician has found a sound saturated with entheogenic splendour, growing something gorgeous from the grotesque. Finding a natural home on Hamburg’s Growing Bin, Eston emerges into the daylight with a dreamy LP.

                              The vision quest begins with 'C in Sympathy', a freefall into the perverse beauty of the Domus Aurea, brought to life with E2-E4 electronics, chorus pedal shimmer and muted bass. Leaving the grasslands we dip a toe in the water with the hypnotic ripples of '2 d'Or (Cab Chassis)', a Carl-Craig-goes-New-Age number which fuses the electronic and acoustic to perfection. Delicate piano, crystalline synth tones and tape-saturated emotion lend their cinematic charm to 'East Perth Stories (Closing Titles)' before the propulsive bass and soft focus groove of 'The Four Fountains' hits you with the heat haze. Eston takes another tapey diversion on the sci-fi synthscape 'I Remember', while the coastal cool of 'Thread & Truth' picks up the wavy white funk baton from Spike.

                              The B-side brings more beauty as the drifting and dreamy ambience of 'I Float, I Am Free' gives way to the Windham Hill guitar licks, snaking bass and billowing textures of 'A Squall, 1988', offering a welcome echo of the wonder of Wilson Tanner. 'Where There Is Rain' sees Eston tune the Ute radio to 96FM Perth, marrying cascading keys, evocative vocal samples and lush guitar with a solid 80s pop beat, before he slows the pace for 'Sand Man' a skewed and stoned bit of beach funk that's perfect for seduction. We part ways with the panoramic 'Dory On Swan', a serene soundtrack to lapping waves and magic caves. Always in season, Growing Bin do it again.

                              STAFF COMMENTS

                              Patrick says: Currently causing the calmest stir on the Piccadilly stereo, the long awaited follow up to "Delta Horizons" sees Eleventeen Eston AKA John Tanner (of Wilson Tanner) treats us to warm white funk, hazy ambient and dreamy pop.

                              Fake Laugh

                              Better For Me / On Loop

                                Fake Laugh (AKA Kamran Khan) kicks off 2018 with a luscious double A Side on limited edition 7” vinyl and digital formats via Headcount Records. Following on from the release of his self-titled, debut album last Summer and ready to hit the road in support of Girl Rey on their UK tour, Kam delivers these two very different but equally peachy cuts. The London & Berlin based songwriter once again recruited Theo Verney to help produce the brutally honest love ballad ‘Better For Me’ and the fuzzed up earworm ‘On Loop’ – both offering a fresh take on the personal journey of Fake Laugh. After his album received support from 6 Music, BBC and X FM, Kam (touring member of The Japanese House) has wasted no time in getting straight back into the studio to finish these two new tracks. With more releases planned for the immediate future, man like Kamran Khan is on a roll. 

                                Jonny Greenwood

                                Bodysong

                                  ‘Bodysong’ is an album by Radiohead member Jonny Greenwood as well as a soundtrack to a film of the same name. On the album, Greenwood fuses elements of jazz, electronic, classical and experimental music.

                                  The soundtrack was originally released in 2003. Now remastered by Christian Wright.

                                  The Gun Club

                                  Lucky Jim

                                    This is the very last album Jeffrey Lee Pierce recorded in 1994 and probably the darkest record he ever recorded. The most telling track on the album is A House Is Not a Home, an electric scorcher with Pierce telling his, and his band's, life story; by the end they were a band without a country, dismissed in America and met with indifference everywhere else except in the Netherlands.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited edition coloured vinyl.

                                    Coloured LP includes MP3 Download Code.

                                    The Gun Club

                                    Mother Juno

                                      May 18th see’s the reissue of Mother Juno, The 1987 album released by The Gun Club. It was produced by Robin Guthrie of the Cocteau Twins. "Yellow Eyes" was originally entitled "Funky Junkie"; "Nobody's City" was originally "Sleepy Times Blues". The original recordings of Mother Juno were released as Mother Berlin in 2015 on Bang! Records containing an additional track,"Country One".

                                      FORMAT INFORMATION

                                      Coloured LP Info: Limited edition coloured vinyl.

                                      Coloured LP includes MP3 Download Code.

                                      Half Man Half Biscuit

                                      No-One Cares About Your Creative Hub So Get Your Fuckin' Hedge Cut

                                      Famed for making ill-tempered music with a social conscience, Birkenhead band Half Man Half Biscuit, formed in the early eighties, ‘merely as a way of getting through the day’. Quickly picked up by the angst-ridden youth of the eighties, their punk driven, lyrical rants, and protests against all things celebrity and fake, became the unofficial anthems of the underground.

                                      STAFF COMMENTS

                                      Barry says: Another classic title from the HMHB camp, and fortunately the music is as entertaining as the cover is, with their trademark ska-lite jangle and throbbing spoken word oddities in full force, this is yet another superb outing.

                                      FORMAT INFORMATION

                                      Vinyl comes with CD version of the album enclosed.

                                      James

                                      Better Than That EP

                                        James return with their EP Better That That on Infectious Music and the first music to come from the band’s studio sessions with producer Charlie Andrew (alt-J, Wolf Alice).

                                        In the EP’s title track ‘Better Than That’, Booth urges the universe to do its worst, like a man squaring up to life itself. “You can do better than that,” he sings. “Hit me again and show me where I’m cracked.”

                                        Never been a band inclined to shy away from politics. On ‘Hank’ singer and lyricist Tim Booth turns his eye on Donald Trump’s American carnage. He sings of: “White fascists in the White House / More beetroot in your Russian stew” and: “NRA high fives / Orlando, Sandy Hook and Columbine”.

                                        The EP closes with the melancholy ‘Broken By The Hurt’, which multi-instrumentalist Saul Davies describes as “unsettling and a bit disturbing.” He adds: “It could easily have been a sweet ballad in different hands. Instead it’s dark, but it still has those pop elements and a guitar line influenced by ‘Wish’-era The Cure.”

                                        FORMAT INFORMATION

                                        Ltd 10" includes MP3 Download Code.

                                        Grammy Award winning singer-songwriter Ray Lamontagne releases his seventh studio album on 18th May, via Columbia Records.

                                        Written & produced by LaMontagne, this nine song album includes the singles "Such A Simple Thing" & "Paper Man".

                                        STAFF COMMENTS

                                        Barry says: Lamontagne brings us his newest LP, with tender folk stylings subtly woven amongst the stunning acoustic balladry, all accentuated with Lamontagne's heart-melting vocals.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Limited edition clear vinyl.

                                        The Lovely Eggs

                                        Big Sea

                                          With the country in the grip of Egg Mania surreal DIY punk rockers The Lovely Eggs return with their latest single “Big Sea” released on 7” mind-surfing blue-wave vinyl and will take to the road in May for another bout of UK tour dates. Taken from their newly released and critically acclaimed album This is Eggland ,“Big Sea” explores the mysteries of the universe and is a rallying anthem to everyone who wants to live life different. “It's a pretty deep song really,” said Holly, “It questions the ridiculousness of human ritualistic behaviour and tries to look at what life is all about, the universe and stuff, and the mystery that weaves its way through everything.” 

                                          STAFF COMMENTS

                                          Barry says: With their newest LP causing quite the stir both before and during record store day, it's no exaggeration to say that this one will fly out the door. A brilliantly dynamic and essential addition to any collection.

                                          FORMAT INFORMATION

                                          7" Info: Blue wave vinyl!

                                          Modesty and plain good manners might prevent them from saying so themselves, but the fact that Stephen Malkmus & The Jicks have thrived, rather than simply endured over 17 years and delivered six albums of buzzy, sub-cultural significance, constitutes an impressive legacy. The challenge with album number seven is one that any successful band with integrity faces: how to safeguard that legacy and hold on to their identity without rehashing old ground (unthinkable), and also say something meaningful while (crucially) having fun doing it?

                                          Meeting that issue head on in the run up to The Jicks’ seventh record involved some “navel gazing”, according to singer, songwriter, and guitarist Malkmus and not only in terms of what it means to be releasing music in 2018. If, like him, you’re a voracious consumer of all kinds of culture and feel the need to interact with it, rather than just react, then inevitably “there’s a world that prompts you to put your best foot forward”. With Sparkle Hard Malkmus, Mike Clark (keyboards), Joanna Bolme (bass) and Jake Morris (drums) do exactly that. And they hit the ground running – on air treads.

                                          It’s light ’n’ breezy, head-down heavy, audacious, melancholic and reflective, goodtime and bodacious, and it pulls off the smartest trick: it’s both unmistakeably The Jicks and – due to the streamlining of their trademark tics and turns, plus the introduction of some unexpected flourishes (Auto-Tune, a fiddle, guest vocalist Kim Gordon, one seven-minute song with an acoustic folk intro) – The Jicks refashioned. If 2014’s Wig Out At Jag Bags balanced the lengthy prog workouts of Pig Lib with Mirror Traffic’s sparky pop moments, then Sparkle Hard bears less obvious direct relation to what’s come before. It also has turbocharged energy and enthusiasm by the truckload.

                                          Malkmus started writing Sparkle Hard in 2015. He’d upgraded his home-recording equipment and bought some electronic drums and had been working on the Netflix series Flaked (he penned the incidental music and the end theme song). Demos were done in one day in April of 2017 and then in May, The Jicks started recording at a new studio in Portland called Halfling, which is managed by multi-instrumentalist Chris Funk of The Decemberists, who produced the album.

                                          Self-indulgent escapism has never been The Jicks’ bag, but on Sparkle Hard, the reality of modern life sits closer to the surface, communication cutting to the chase whether it’s a proto-punk grind or a back-porch country duet doing the talking. A cleaner burn for dark and complex times.

                                          STAFF COMMENTS

                                          Barry says: Classic slacker vibes, double tracked vocal flourishes and more acoustic balladry make up the backbone of Malkmus' output, but this one takes the elements previously laid and fleshes them out into tender but beautiful statements of melody and rhythm. More full-on heavy moments are tempered with their ability to reduce things when needed ; the bass/guitar scree in 'Shiggy' serving as a perfect example of a wholly accomplished concept, executed with style.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Indie-exclusive deluxe heavyweight coloured vinyl with insert.

                                          LP Info: Heavyweight vinyl with insert.

                                          Meat Beat Manifesto

                                          Impossible Star

                                            Meat Beat manifesto formed in Swindon in 1987 by Jack Dangers (MBM's only permanent member) and "Impossible Star" is the first full length album in over seven years from the seminal electronic band. Minimal, textural and cinematic in scope, Impossible Star follows the music innovators deeper into more experimental territory. Impossible Star is a layered exploration of sounds and rhythms.

                                            MBM's consistent musical invention has led to all forms of electronic musical experimentation over its 30 year history, from jungle to techno to industrial to dubstep to jazz fusion. Its long string of influential futuristic classics includes such groundbreaking tracks as "God O.D.", "Strap Down", "Psyche Out", "Helter Skelter", "Radio Babylon", "Edge of No Control" to "It's The Music".

                                            Modern Studies

                                            Welcome Strangers

                                              ‘Welcome Strangers’ is the second record by feral pop outliers Modern Studies. Elegiac and haunted, life-giving and triumphant, this beguiling return digs deep into landscapes both real and imagined, internal and external, in a work that might perhaps best be described as “kosmiche choral” or, if we’re pushing it “arts-und-crafts-werk”. Or, put simply, glorious pop music. It is an elemental and often spectral world of contrasting tones and hues that is found within ‘Welcome Strangers’, one whose lyrical vocabulary is of loss, light, air, sun, growth; of spires, seeds and phosphene dreams. Here is the Britain of visionaries such as Kate Bush, Broadcast or PJ Harvey, a nation of dark magic, conflict, celebration and confusion, all at the same time.

                                              Witness the incandescent chamber-pop of ‘Get Back Down’: underpinned by complex jazz rhythms, and string and brass flourishes, it manages to be both understated and epic as it explores a similar sonic terrain to Wild Beasts. Or there’s ‘Horns And Trumpets’, a haunting musical perambulation that burrows deep into Britain, a warm-hued hymn for future generations, and ‘Let Idle Hands’, which abandons restraint halfway through and, in a moment of musical epiphany, runs joyously to the horizon.

                                              Meanwhile on ‘Phosphene Dream’ the honeyed harmonies of Emily Scott and Rob St. John wrap themselves around each other like Nancy Sinatra and Lee Hazelwood had they holidayed in draughty Glasgow tenements. Or perhaps – as on ‘Disco’ – they come closer to Kylie and Nick Cave. “It’s an ever changing thing - an organism,” explains principle songwriter Emily of Modern Studies’ collaborative creative process, “there is space for each of the band to experiment.” Shared band listening habits include Yamasuki, Van Dyke Parks, Laurie Anderson, Philip Glass, Matthew E White, Basil Kirchin, and Nanci Griffith. Working at Pete’s Pumpkinfield studio in rural Perthshire through 2017, the band used a Creative Scotland grant to hire a chamber orchestra and a remote village hall to record them in.

                                              Contributors include sisters, wives, toddlers, freeform saxophonists and The Pumpkinseeds, an ensemble featuring violins, violas, cellos, trombones and vocals, brought together to play Pete and Emily’s collaborative string, brass and vocal arrangements. Truly, a family affair. As well as further fleshing out the sound with analogue synths, tube organs, drum machines and mellotrons, some inventive techniques were deployed – a decayed tape loop of Emily’s vocals used to create the stuttering rhythm in Mud and Flame for example, or prepared guitars recurring as percussion and drones. Now they proudly present ‘Welcome Strangers’, an album of modernist pop weirdness for the 21st century, a bricolage where classicism meets experimentalism and repeated listening unearths new stories for this contemporary age. 

                                              FORMAT INFORMATION

                                              Ltd LP Info: Indies store exclusive.

                                              Noah And The Whale

                                              Peaceful, The World Lays Me Down - Vinyl Reissue

                                                To celebrate the 10th anniversary of Noah and the Whale's debut album 'Peaceful, the World Lays Me Down', UMC are releasing the album on vinyl for the first time, alongside the second album 'The First Days Of Spring'.
                                                Much anticipated by fans, these vinyl releases will be pressed on 180gm vinyl and will contain digital download cards.

                                                FORMAT INFORMATION

                                                LP includes MP3 Download Code.

                                                Noah And The Whale

                                                The First Days Of Spring - Vinyl Reissue

                                                  To celebrate the 10th anniversary of Noah and the Whale's debut album 'Peaceful, the World Lays Me Down', UMC are releasing the album on vinyl for the first time, alongside this, the second album 'The First Days Of Spring'.

                                                  Much anticipated by fans, these vinyl releases will be pressed on 180gm vinyl and will contain digital download cards.

                                                  FORMAT INFORMATION

                                                  LP includes MP3 Download Code.

                                                  Pale Waves

                                                  All The Things I Never Said EP

                                                    Pale Waves debut EP pressed on 12" transparet red heavyweight vinyl, with download card. The EP comes shortly after the band were named as the #5 artist on the BBC Sound of 2018 shortlist. Pale Waves are currently on their UK headline tour with all dates sold out.

                                                    Parquets Courts' fifth album 'Wide Awake!' - produced by Danger Mouse - is a groundbreaking work, an album about independence and individuality but also about collectivity and communitarianism. The songs, written by Andrew Savage and Austin Brown but elevated to even greater heights by the dynamic rhythmic propulsion of Max Savage (drums) and Sean Yeaton (bass), are filled with their traditional punk rock passion, as well as a lyrical tenderness. The record reflects a burgeoning confidence in the band's exploration of new ideas in a hi-fi context.

                                                    STAFF COMMENTS

                                                    Barry says: It's hard to dislike Parquet Courts, with their dedication to oddball time signatures and funked-out chaka-chaka rhythms, turning the idea of guitar bands on their head, with a heady mix of soaring power chords, introspective breakdowns and massive, chugging heft. Classic PC.

                                                    FORMAT INFORMATION

                                                    Deluxe LP Info: Deluxe Collectors Edition LP featuring a 16-page double art and illustration booklet by A. Savage.

                                                    Deluxe LP includes MP3 Download Code.

                                                    LP includes MP3 Download Code.

                                                    Poliça

                                                    Give You The Ghost

                                                      Minneapolis continues its golden run of producing quality talent with the first project to arrive out the Gayngs collective, the super slick electronic pop-soul outfit Poliça.

                                                      Fronted by ice cool vocalist Channy Leanagh (who sang with Gayngs), produced by Ryan Olson and featuring Mike Noyce from Bon Iver, it’s a who’s who of the current Twin Cities scene.

                                                      Continuing the tradition of having friends in high places, with Prince and Kanye West among Gayngs fans, Poliça have already been backed by none other than Jay Z, who posted their video for the new for single ‘Lay Your Cards Out’ on his Life + Times blog.

                                                      The result is 11 perfectly formed auto-tuned songs that re-shape the intersection of pop and digitised R&B. And for all Poliça’s synthetic manipulation, Channy’s soft vocals and Ryan’s electronic soundscapes reveal a tender heart beneath, pulsating with life and raw emotion.

                                                      ‘Give You The Ghost’ opens with the attention grabbing sonic of first track ‘Amongster’, the two drummers immediately coming into full effect as it builds to a heady mass of beats, bass and Channy’s wandering vocals. ‘Violent Games’ continues the heavy on the drums theme, with duelling beats that intensify to machine gun-like levels, led by Channy’s urgent and cyclical vocals.

                                                      Born out of the break-up of a recent relationship, the majority of ‘Give You The Ghost’ reflects the difficulty of facing up to your mistakes and making peace with them; an exorcism via exciting new musical possibilities. “The recurring theme of this record is ‘what in the hell just happened and who in the hell am I anyways,” says Channy. This redemptive mood is key for the track ‘Dark Star’. Backed by smooth brass breakdowns throughout and mid-tempo loping rhythms, it’s typical of Poliça’s often meditative content.

                                                      ‘Lay Your Cards Out’ and the dreamy ‘Wandering Star’ both feature Mike Noyce of Bon Iver on vocals and are equally as deliciously funk laden as they are hypnotic, with more ratatat drums from Ben Ivascu and Drew Christopherson, propelling the lush arrangements and slinky bass, provided by Chris Bierden.

                                                      “Poliça deals in a type of R&B inflected electronic music that defies explanation... Music with this many synthetic textures and vocal treatments has rarely sounded so natural” - Spinner

                                                      “A swirly combination of layered rhythms, some awesomely manipulated vocals and a dragged-out, slow motion feel... the perfect soundtrack to an almost-winter weekend” - Nylon

                                                      “Ryan Olson and singer Channy Leanagh lead the group, Channy front and centre with her potently echoed voice riding over forward drums and driving bass” - The Fader


                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Back on vinyl for the first time since its original pressing in 2012, Poliça’s classic debut ‘Give You The Ghost’ has been repressed on red marble vinyl with digital
                                                      download card.

                                                      Quiet Slang (Beach Slang)

                                                      Everything Matters But No One Is Listening

                                                        Since Beach Slang came into being, bandleader James Alex has taken to performing his group's heartfelt anthems as more intimate solo renditions. Appropriately dubbed "Quiet Slang," these alternate reality versions of Beach Slang's music have now simultaneously been stripped down and fleshed out in the studio to include piano and cello. Following on from the recent We Were Babies & We Were Dirtbags EP, Quiet Slang now bring you a full album of such songs - 'Everything Matters But No One Is Listening' .




                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Indies exclusive coloured vinyl.

                                                        Sugar Candy Mountain

                                                        Do Right

                                                          Do Right is the follow up to Sugar Candy Mountain’s critically acclaimed 2016 album, “666”. Part travelogue, part response to the current, turbulent climate, Do Right gives voice to the deeply nested anxiety of modern times and attempts to offer a balm. Nature, it seems, is where the band often goes to calibrate its’ moral compass so frequently upended by the daily news-cycle. Sugar Candy Mountain invites you to join them on this journey singing “There’s a quiet place I go when I need to fifind my way/ There’s a quiet place inside/ Come on in just knock and a door will open”.

                                                          Musically, the band remains rooted in 60’s and 70’s rock, with their signature honey sweet vocals. “Do Right” leans more heavily on synthesizer than the band’s previous records, lending the album a more modern feel. The album pairs the ephemeral orchestral arrangements of The Beach Boys with the pop sensibility of George Harrison on “All Things Must Pass”. Oscillating between the hazy psychedelic pop of Mild High Club, the driving energy of Dungen and the danceable familiarity of The Supremes Do Right is a perfect cocktail of old and new, imploring the listener to take a ride into the sunset with Sugar Candy Mountain. 

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Limited edition blue vinyl with postcard.

                                                          Coloured LP includes MP3 Download Code.

                                                          Tenniscoats

                                                          Music Exists Disc 4

                                                            Fourth in a series of 4 Vinyl Only "Discs" by Tenniscoats. In their 20 year career the band collaborated with The Pastels, Jad Fair, Norman Blake and others. LP Incl. double sided fold-out Insert Alien Transistor and Tokyo-based label Afterhours release the vinyl-version of Volume 4 of tenniscoats' masterpiece "music exists" and therefore eventually accomplish this magic quadruple release by the Japanese experimental folk luminaries. "It may even be their greatest ever music, essential plus" Monorail Music, Glasgow.

                                                            TT (Theresa Wayman Of Warpaint)

                                                            LoveLaws

                                                            'Debut solo album from Warpaint guitarist & vocalist Theresa Wayman - It’s been 14 years since Wayman and her bandmates formed Warpaint in their early 20s, LoveLaws allows her to explore ideas that otherwise are difficult in a band. Though she’s a guitarist, she’s not much inspired by other guitarists. It’s been beats, basslines and samples since her teenage years. “I’ve never wanted to be a rock person, so I'm finally fulfilling my vision from 20 years ago”, she says. 

                                                            STAFF COMMENTS

                                                            Darryl says: Theresa Wayman of Warpaint fame is signing copies of her new album 'LoveLaws' here at Piccadilly Records on the release date of Friday May 18th at 1pm.
                                                            Pop in to say hi, and get your copy signed!
                                                            (It's FREE entry and no tickets are required)

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Gatefold Rose coloured LP.

                                                            “I was under a lot of stress because I was trying to make an anti-folk record and I was having trouble doing it. I wanted to make something deep-fried and more me-sounding. I didn’t want to be jammy acoustic guy anymore. I just wanted to make something weird and far-out that came from the heart finally. I was always trying to make something like this I guess, trying to catch up with my imagination. And I think I succeeded in that way — it’s got some weird instrumentation on there, and some surreal far-out words.

                                                            I’m lucky enough to have some people who are playing on it who had a big part in shaping the songs and writing with me. Cooper Crain, the guy who engineered it, and played all the synthesizers. And when the flute guy, Nate Lepine came in, that was really something that made it special. The producer was this guy LeRoy Bach. I love LeRoy, he’s a really talented guy. He did the last record too.

                                                            And it’s more Chicago-y sounding. Chicago sounds like a train constantly coming towards you but never arriving. That’s the sound I hear, all the time, ringing in my ears.” – Ryley Walker.

                                                            STAFF COMMENTS

                                                            Barry says: Narcotics enthusiast and all-round ledge Ryley takes us on his newest journey into the wilderness with 'Deafman Glance', with the same tender plucking acousticry we've come to know and love, but with the psychedelic element all the more pronounced. Brilliantly progressive and nuanced songwriting with Walker's imitable style.

                                                            FORMAT INFORMATION

                                                            Ltd LP includes MP3 Download Code.

                                                            Charles Watson

                                                            Now That I'm A River

                                                              Charles Watson – the London based songwriter/producer and member of indie duo Slow Club and garage-rock super group The Surfing Magazines – announces the release of his debut solo record.

                                                              Not only is this Watson’s solo debut but it also marks his first foray into production. Exploring his relationship with traditional harmony singing, Watson worked with sampled versions of his own voice to create unusual vocal textures.

                                                              A former writing student of Central St Martins and The Faber Academy, Watson uses his own fiction writing as a spring board for his lyrics, a method he has also used for his previous records. The new album takes inspiration from the reoccurring themes and language of the JG Ballard novel 'Hello America'. Now That I’m A River was co-produced by Watson with longtime collaborator David Glover at Tesla Studios in Sheffield and features a hand-picked band, including Guillemot's Fyfe Dangerfield and Hot Club De Paris' Paul Rafferty. Rozi Plain and members of The Deep Throat Choir and Trashkit also make an appearance on the album title track 'Now That I'm A River'.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Pink marble vinyl.

                                                              Wax Chattels

                                                              Wax Chattels

                                                                Guitarless Guitar Music. This is the self-imposed one-line description chosen by Auckland, New Zealand’s Wax Chattels. The keyboard, bass and drums trio don’t have a guitar player, but their overwhelming sound and energy create an atmosphere akin to a traditional power trio though their music is anything but traditional. They create darkly hypnotic and frenetic music that’s rhythmically complex and sinister; there’s heavily treated keyboards, unrestrained basslines and punishingly simple drums. And, it’s loud.

                                                                Peter (keyboards/vocals), Amanda (bass/vocals) and Tom (drums) met while studying Jazz Performance at the University of Auckland. After living abroad, completing Law School and/or performing in a myriad of other music-related projects, they started Wax Chattels, working up their material for a year prior to recording. “We tracked the songs as a live band to capture the energy of the live show, restricting ourselves to instruments which we play live and keeping all production to a minimum to focus on the band’s sound itself.”

                                                                Live, they are not to be missed. While they do come across as a “rock” band, it’s coming from so many places so quickly that you’re kind of left wondering where you’re going. The opening of the one-chord tour de force “Concrete” begins in a downright frightening and jarring place and ends up in a Krautrock-via-Suicide crescendo. It was after a particularly insane live performance that they were signed by both Captured Tracks and Flying Nun Records on the spot.

                                                                Wax Chattels recall the other side of Kiwi underground rock history that’s a bit less sunny and a bit less jangly. The small, yet constantly groundbreaking nation has put forth a new act and album that demands your attention.

                                                                FORMAT INFORMATION

                                                                LP includes MP3 Download Code.

                                                                As the title suggests, Rejuvenate marks a rebirth for South London musician Paul White. Abandoning sampling altogether, White wrote, played and produced all of Rejuvenate's music himself, and the result is an album of playful, psychedelic pop.

                                                                It would have been far easier for White - previously described as a 21st century DJ Shadow, often compared to Madlib and best known as Danny Brown’s go-to producer - to construct an album of loop-based, hip-hop-orientated beats. Instead, taking an ambitious left turn, he worked on honing his songwriting and instrument playing abilities and embarked on creating a totally original record worthy of sitting alongside those he’d usually sample.

                                                                Rejuvenate’s broad sonic palette includes cosmic rock, ambient, electronic, jazz, folk and more. Retaining a groove-heavy, psychedelic aesthetic throughout, White successfully melds these various influences in to his most cohesive, fully-realised offering yet.

                                                                Paul White is joined on this sonic trip by a trio of likeminded souls; British-Jamaican singer Denai Moore adds heartwarming, crystalline vocals to the aptly named Set The Tone and See Through, Zimbabwean musician and poet Shungudzo (aka Shun) shares nuggets of wisdom on Spare Gold and dreamy, melting vocals for Ice Cream Man. White reunites with his sister, Sarah Williams White, and the pair draw on childhood memories for Laugh With Me and All Around.

                                                                Paul White’s previous output includes a treasure trove of mostly instrumental solo records, plus collaborations with Charli XCX, Jehst, Homeboy Sandman, Guilty Simpson, Jamie Woon, Obongjayar, Eric Biddines (as Golden Rules) and Open Mike Eagle. More recently, White reconnected with frequent collaborator Danny Brown, producing most of the Detroit rap maverick’s mind-blowing Atrocity Exhibition album.

                                                                Wire

                                                                154

                                                                  Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

                                                                  This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

                                                                  These special editions are something every Wire fan will want to own. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical tracklistings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.


                                                                  Wire

                                                                  Chairs Missing

                                                                    Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

                                                                    This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

                                                                    These special editions are something every Wire fan will want to own. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical tracklistings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.


                                                                    Wire

                                                                    Pink Flag

                                                                      Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

                                                                      This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

                                                                      These special editions are something every Wire fan will want to own. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical tracklistings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.


                                                                      FORMAT INFORMATION

                                                                      CD Box Set Info: Deluxe 2CD.

                                                                      The latest edition of K7!'s ever essential DJ Kicks compilations sees Forest Swords take on curatorial duties. Following acclaimed albums on Ninja Tune and Tri Angle, soundtrack and installation work, and remixes of the likes of Bjork, Matthew Barnes aka Forest Swords has curated a 25-track compilation that draws a line between past inspirations and his current peers. "During all of the nights that shaped me as a music fan there wasn't really a focus on DJing etiquette; sticking to genres, perfect transitions – it was all pretty DIY and purely like having someone cook up their personal mixtape in front of you, to surprise you and to explore different sounds" says Barnes. "That kind of rough-around-the-edges approach is so much more exciting to me than something sterile and seamless and I wanted to carry that spirit into this compilation." Chosen over the course of a few weeks in winter 2018, the mixed version was cut on Barnes' laptop during a wintery cross-country train journey. Like much of his own output, his DJ-Kicks skirts around pristine electronics and embraces more organic textures: 80s post punk (Anna Domino, Dead Can Dance), classic 90s British electronica (Orbital, Mira Calix), and smokey digi-dub (Rhythm & Sound), all rub up alongside some of the most forward-facing producers working today (Demdike Stare, Laurel Halo, Fis). The compilation sifts through rhythms, shifting speeds and emotions: from pop icon Neneh Cherry's primal thudding to the zombified throb of exclusive Forest Swords track 'Crow' via Deena Abdelwaheed's clattering deconstructions to the euphoric two-step of Djrum. It's a collection of tracks that feels as restlessly curious and weighty as Barnes' own work


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