MAGIC MIX

indie

WEEK STARTING 15 Nov

Genre pick of the week Cover of Town Centre by Squid.

Squid

Town Centre

    The hotly tipped post-punk, disco-funk phenomenon Squid are back with a new EP called ‘Town Centre’ on vinyl via Dan Carey’s Speedy Wunderground label, the first EP from the legendary singles label. ‘Town Centre’ is a perfect distillation of everything they have done so far, making good on the angular funk of ‘The Dial,’ the disco-punk of ‘Houseplants’ the ambitious songwriting of ‘Terrestrial Changeover Blues’ and through to their more ambient-leaning early work.

    Kicking off with the ambient sprawl of ‘Savage,’ Squid are instantly revelling in the uncertainty and ambiguity found in the searching out of ideas and have created something that feels meditative yet active, capturing their alluring chaos but presenting it in a totally different manner. Next up, the propulsive, guitar-led ‘Match Bet’ was written at guitarist Anton Pearson’s parents house in Norfolk and spawned from an open tuning fingerpicking pattern that sparring partner Louis Borlase had been developing after being inspired by the Don Edwards track ‘Coyotes’ in Grizzly Man.

    On ‘The Cleaner,’ Squid are at their angular best, the lyrics are inspired by moving to London and trying to adjust to the pace and lifestyle of the city. The track is bursting with ideas, and there’s a clear energy and determination within the band to embrace different musical styles, deftly. ‘Town Centre’ closes with ‘Rodeo,’ a cinematic track that features an observational monologue from Ollie Judge. Percussion and keys wunderkid Arthur Leadbetter says of the track: “The song is a story for us. One that feels like your on a movie set while the camera is rolling, but the lead actor has lost the plot and split his mind between those closest to him.”

    For ‘Town Centre’ the band once again team up with producer du jour Dan Carey and emerge with a powerful, intensely angular collection of songs that recall the finest corners of late 70s post-punk alongside a propulsive motorik drive and glimmers of early noughties disco whilst expertly making it all their own.

    Dan Carey on Squid. “I love Squid so much. To record with them is such a joy - the room is a sea of ideas and enthusiasm without any clashes of ego; every suggestion is given full attention. This , combined with their musicianship results in beautifully inventive music, underpinned by a hard steady groove and topped with lyrics that are important and surreal.”

    Acid Mothers Temple & The Melting Paraiso U.F.O.

    Minstrel In The Galaxy

      Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.

      What we said back then ...

      ‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.

      The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.

      They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

      To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!


      FORMAT INFORMATION

      Ltd LP Info: Limited edition 500 only coloured vinyl LP with download code in gloss finished 350gsm board sleeve.

      Here we have a celebration of Northern European electronics as Iceland's most famous export (except Findus Crispy Pancakes of course) Björk cooks up a cultural exchange with fellow vikings Karin & Olof Dreijer for a three tracker of ear wrecking energy. On the A-side Karin appears as Fever Ray, handing Björk the stems to xer icy electro winner "This Country Makes It Hard To Fuck". Making excellent use of an abandoned power plant, nearby Tesla coil and clanking assembly line, the former pop pixie hammers out a tough as fuck industrial cut then adds her inimitable vocals as the icing on the toxic cake. Next up, Karin gets to flex xer remix muscles with an epic, ascendent take on "Features Creatures", adding additional vocals, wild synth yelps ('member "We Share Our Mother's Health") and a whole heap of cinematic heft to the cut. Flip it and Karin teams up with xer bro Olof for a reprise of The Knife bringing a suitably techy, tribal and icy electro vibe to the same track. Brought to life with a super cool sleeve design, printed clear outer and retro-metal inner, this 12" nails both sound and vision.


      Blue Bendy

      Suspension

        'Suspension' is the debut 7" from South London's Blue Bendy; a breathless combination of pastoral psychedelia and jaunty post-punk. It is backed by the jaunty, irresistibly catchy ‘As Long As I Get My (Hiss)’, which crosses C86 indie-pop with 90s indietronica. Blue Bendy are six former Goldsmiths students who initially bonded over a mutual love of Stereolab and 90s fashion. In the words of the band themselves: “‘Suspension’ is a profoundly wonky lament about a bridge; a celebration of the monolith on Humberside if you will. It was conceived out of a desire to communicate its enduring status as a symbol of romance, nostalgia and yearning.”

        Bonnie Prince Billy

        I Made A Place

          Bonnie “Prince” Billy stays busy - in the past five years he has released albums of previously-recorded songs by Susanna Wallumrod, Mekons, Merle Haggard; even himself) and a collaborative record with Bitchin Bajas! The only thing he hasn't done is a new album of Bonny originals - in case you weren't counting, 2011's Wolfroy Goes To Town was the last one. That's from the first half of the Obama presidency, for chrissakes!

          Things happen for reasons that are often bigger than ourselves and outside of our control. They happen suddenly or they happen slowly - but they always happen one day at a time and day after day. Here's Will Oldham, on the confluence of marketplace, values, aesthetic and process that slowly built new album I Made A Place:

          "In recent years, the whole world of recorded music, in the way that such music is conceived, perceived, recorded, released and distributed, has been atomized. I tried holding my breath, waiting for the storm to pass, but this storm is here to stay and its devastation is our new landscape. What else is a person to do except what he knows and feels, which for me is making records built out of songs intended for the intimate listening experiences of wonderful strangers who share something spiritually and musically? I started working on these songs thinking that there was no way I was going to finish them and record and release them. This was a constructive frame-of-mind that protected the songs until this frightening moment when we let go of them and give them to you."

          The world has changed. Some things will never change. Some are gone forever. Thankfully, this isn't one of them: the wait for new Bonnie “Prince” Billy is now on a timer. What's more, the new single drops a bit of Apocalypse WOW. Picking up in a sense where last year's "Blueberry Jam" left off, "(At The) Back of the Pit" considers what to do with the things we love when it comes time for the death (and therefore, rebirth) of our painstakingly-built'n'kill't world. It's an affirming country jam: elegiac early moments give way to jaunty roots-rock strides, a horn section soulfully charting the long rays at the end of the day as well as the first rays of the new rising sun as they light on all our hopeful tomorrows.

          STAFF COMMENTS

          Barry says: I think it's probably hard for someone as resolutely productive as Mr. Billy to reach the moment in a songs creation where it feels like there is no more work to be done. Fortunately for us, these delicate, tender country ballads finally reached the light of day, and we're all the better for it. As brilliantly produced and perfectly balanced as any of his previous work, whilst being more focused and melodic. Gorgeous stuff.

          FORMAT INFORMATION

          Coloured LP Info: Indies only deluxe edition on transparent red vinyl.

          Billy Bragg

          Best Of Billy Bragg At The BBC 1983 - 2019

            Best Of Billy Bragg At The BBC 1983 - 2019 is a compilation of classic performances at the BBC from the early 80s through to the present. The album, fully remastered and featuring many previously unreleased tracks, includes selected highlights from sessions for John Peel, David Jensen, Janice Long, PhillJupitus, Bob Harris, Tom Robinson & more, and offers a fascinating chronological perspective on the development of one of the UK’s most beloved entertainers. The collection draws from all corners of Billy’s catalogue and features, among many gems, his signature song ‘A New England’ (later covered to huge acclaim by Kirsty MacColl), ‘Levi Stubbs’ Tears’, and his workers’ anthem ‘There Is Power In A Union’, with a couple of atypical covers thrown in, namely John Cale’s ‘Fear Is A Man’s Best Friend’ and ‘A13’, his personal psycho-geography take on ‘Route 66’. All of these and more paint a picture of a British national treasure plying his trade at a British institution and making the world a better place in the process

            Brainstory

            Buck

              Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony.

              However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK. 

              FORMAT INFORMATION

              Coloured LP Info: Clear w/ translucent purple and yellow splatter vinyl

              Molly Burch

              The Molly Burch Christmas Album

                On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like “I’ll Be Home for Christmas” and “Auld Lang Syne” alongside heartland hits like “Hard Candy Christmas” and “Snowqueen of Texas”.

                “This is the most fun I’ve had making a record yet,” Burch says. And you can hear that joy on tracks like ABBA’s “Happy New Year” as well as a playful cover of Wham’s “Last Christmas” with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout.

                Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. “I hope it’s a Christmas album for people who love Christmas music and people who don’t love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights.”


                STAFF COMMENTS

                Barry says: It's November.

                Choir Of Young Believers

                This Is For The White In Your Eyes

                  Even though This Is for the White in Your Eyes, the full-length debut by Danish collective Choir of Young Believers, is teeming with instruments--voices, pianos, synthesizers, banjos, an orchestra’s ransom in strings and French horns--it’s not the arrangements that dominate so much as the images they conjure. Snow-flecked moun-taintops, deserted city streets, ghost-filled churches, a final kiss between estranged lovers--this is the emotional terrain trod by Jannis Joya Makrigiannis and his Choir of Young Believers. This Is for the White in Your Eyes is an album of orchestral indie-pop, but its artistic scope extends beyond melody and harmony: Choir of Young Believers paint cinematic tableaux, with Jannis cast as the silvery-voiced narrator.

                  Jannis produced This Is for the White in Your Eyes with his old friends and collaborators Anders Rhedin and Fridolin, constructing cavernous sound-worlds around his own skeletal guitar and piano compositions. (“I don’t have a computer, so I almost never record demos,” Jannis says.) The song cycle begins on a somber note with the lonely piano atmospherics of “Hollow Talk,” a dirge that builds towards a climax of machine-gun snares and sneering children’s choir.

                  It’s followed by the soaring balladry of “Next Summer” and the anthemic single, “Ac-tion/Reaction.” Jannis’ voice is something to behold--a reverb-slicked, bell-like tenor in the Neil Young mold--and his golden pipes haunt the album, floating over “Un-der the Moon” like a celestial body, riding the thundering piano notes of “Claustrophobia,” and rippling on the horizon of the country-tinged “Why Must It Always Be this Way.” And yet, for all of the record’s orchestral gran-deur, there’s an icy Nordic remove running through This Is for the White in Your Eyes that keeps the overflowing emotions in check. In Choir of Young Believers’ hands, even the sweetest melodies carry a hollow, solitary mood that lingers long after the music has stopped.

                  The Clash

                  London Calling: Special Sleeve

                    When The Clash’s third studio album London Calling was released in the winter of 1979, it was clear that the band had made an instant classic, an era-defining masterpiece that stands as one of rock's all-time greatest albums. The album is a hugely compelling melting pot of musical styles, driven by a passion for action and a fierce desire for social justice, with lyrics which remain completely relevant. 

                    FORMAT INFORMATION

                    2xDeluxe LP Info: This heavy weight vinyl edition has a special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                    2xDeluxe CD Info: This edition has a special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                    The Clash

                    London Calling: The Scrapbook

                      When The Clash’s third studio album London Calling was released in the winter of 1979, it was clear that the band had made an instant classic, an era-defining masterpiece that stands as one of rock's all-time greatest albums.

                      The album is a hugely compelling melting pot of musical styles, driven by a passion for action and a fierce desire for social justice, with lyrics which remain completely relevant today.

                      The London Calling Scrapbook is a 120-page hardback companion to the album, of previously unseen archive material, lyric notes, and other exclusive memorabilia, packaged alongside the iconic album itself.

                      The highly anticipated debut album from Glasgow three piece Cloth. An impeccable collection of angular alt-rock tracks, cut through with deep electronic grooves. The album was recorded at revered local studio Chem19, and features singles ‘Demo Love’, ‘Old Bear’ and ‘Tripp’. Prior to release, the band have already attracted nationwide praise in 2019. Vic Galloway named them one of his ‘25 Scottish Artists to Watch in 2019’, Huw Stephens included them on his BBC Radio 1 Introducing ’Tips for 2019’ show, Tom Robinson invited them to play a session on his BBC 6Music show and they played the BBC Music Introducing stage at Latitude. Cloth are twins Rachel Swinton (vocals, guitar) and Paul Swinton (guitar), and Clare Gallacher (drums). 

                      FORMAT INFORMATION

                      Coloured LP Info: Limited white vinyl.

                      Coloured LP includes MP3 Download Code.

                      Dead Meadow

                      Feathers - Reissue

                        Feathers is the fifth album by the time Washington, D.C. based rock band Dead Meadow. It was released in 2005 by Matador Records on CD and LP now about to reissued by Xemu Records under license by Matador Records. The upcoming release will be an exact copy of the original double vinyl and CD packages with original art and masters. In addition to the reissue this new product will include a "demo rarities CD' that will be included additionally in both the CD and LP releases. This demo CD will include outtakes from the 2004 recording session as well as demos with different song structure/ arrangements and even a couple tunes that were axed off the final album. The fourth full-length studio album by Dead Meadow, was the first to include an additional guitar player with Cory Shane. Previously as well as for the majority of the band's career the DC to LA transplants have been a power-trio at essence. This departure in line up wasn't the only other noticeable difference the band was also shifting from pure 60's-70's heavy psych sounds to a more gentle and layered new-psych sound almost more influenced by dark Brit-pop and early new wave bands like the Cure and Stone Roses but through their own hazy interpretation. The different approach shocked current fans and gained lots of new ones as well as garnering solid underground praise at a much needed and delicate time of Dead Meadow's career. Revered and as equally hated this divisional record would be a landmark in the band's history and important piece of the puzzle that has kept the boys rocking and relevant. 

                        Deathcrash

                        Slumber / Bones

                          deathcrash are a melodic post-hardcore band from London. Bearing influence from Chemikal Underground's output, the band play between moments of introspective lyricism and quiet tunefulness, and grinding, distorted guitars.

                          The unassailable DJ Shadow finally returns to our humble shelves with an ambitious and exceptional double album, "Our Pathetic Age", once again on Mass Appeal. "Our Pathetic Age" is the result of an intensely creative period that found the hip-hop and electronic innovator delving further into original composition and experimentation. The first half of Our Pathetic Age features 11 new instrumental works that balance some of Shadow’s most menacing sounds with beams of hope, including his first fully composed orchestral piece. Mindblowing swathes of synth heft surge to trap percussion, sci fi sequences and distorted jukes, or else jazzy syncopation carries nebulous melodies into the upper atmosphere.
                          The second half of Our Pathetic Age is a full album of vocal collaborations, ranging from Run The Jewels, Nas and Dave East to Sam Herring, Paul Banks and Wiki, Inspectah Deck, Ghostface Killah and Raekwon. Shadow notably reunites with his early Solesides collaborators Lateef The Truthseeker and Gift of Gab (Blackalicious). It also features St. Louis MCs Rockwell Knuckles and Tef Poe, fellow Bay Area musicians Fantastic Negrito and Jumbo is Dr.ama, and Brookyln MC Stro. Full track list with collaborators is below.

                          "More than anything, I try to get a sense of the mood of society as a whole. The subtle signals that humans send each other, the way people behave, their frustrations and ebbs and flows. In my part of the world, people are scared. There's rampant homelessness, and a real fear of falling into generational poverty. People are addicted to, and addled by distraction; they're angry and confused, and disaffected by their own governmental institutions. There's songs on the record that are inspired by this energy and seek to harness it, to make sense of it. In some cases, there's attempts to salve the wound; in others, the songs merely observe but don't offer solutions. I want the album to reflect the times we live in, a signpost in the ground to mark the era...Our Pathetic Age." - DJ Shadow.

                          The album was produced by DJ Shadow, and the album art was created by Paul Insect, who also designed Shadow’s The Mountain Will Fall and Outsider covers.


                          Dog In The Snow

                          Vanishing Lands

                            Bella Union introduce Dog In The Snow, the moniker of Brighton-based artist Helen Ganya Brown. Dog In The Snow’s Bella Union debut is ‘Vanishing Lands’; an imposing, haunting and luminous collection of songs in the darker spaces between dream-pop, art-rock and electronica, lifted by euphoric melodies, ravishing vocals and absorbing lyrics.

                            ‘Vanishing Lands’ was initially created at Brown’s home in Brighton before co-producer Rob Flynn helped her add shifting, impressionistic swathes of colour, from the ominous chords that open ‘Light’ to the vocal eddies that close ‘Dark’.

                            Brown wrote 8 of the 10 songs in a 3-week spell after a period of “strange dreams.” She recalls: “Dreams in black and white. I found myself in a dreamland and discovered it was being destroyed. I chose ‘Vanishing Lands’ as an album title because it sounded suitably desolate, and lent the songs a feeling of cohesion.”

                            FORMAT INFORMATION

                            Coloured LP Info: LP pressed on clear vinyl and includes digital
                            download code.

                            The Durutti Column

                            Fidelity

                              Les Disques du Crepuscule presents the first ever vinyl release of Fidelity, the 1996 studio album by cult Manchester ensemble The Durutti Column.

                              Originally released by Crepuscule on CD only in April 1996, Fidelity featured 10 tracks written and performed by Vini Reilly, with occasional guest vocals by Eley Rudge. In addition to Vini’s trademark guitar stylings, the album showcased sleek electronic textures and programmed beats.

                              This 2019 vinyl re-master features two bonus tracks: My Only Love was originally released in 1995 on a covermount CD with a specialist guitar magazine, while experimental piece The New Fidelity was issued on a Portuguese compilation album from 1992 called Hare, Hunter, Field.

                              Limited to just 1000 copies, this special double disc edition pressed in clear and blue vinyl features brand new cover artwork by Crepuscule design director Benoit Hennebert, based on a portrait by Vini Reilly of filmmaker Carol Morley.

                              Shana Falana

                              Darkest Light

                                Shana Falana returns with a new album, continuing where her Team Love output left off. Described playfully by its maker as ‘druggy music by sober people,’ Shana Falana’s Darkest Light is as full of mystery, contrast, and paradox as the title would suggest. The Kingston, New York songwriter and record maker works her own deep niche in the psych-rock, shoegaze, and ethereal punk neighborhood. On Darkest Light, she converts all that weird, magical, and occasionally nasty energy into authentic messages of personal empowerment, rebirth, and redemption.

                                RIYL: The Black Angels, PJ Harvey, Alvvays, Black Belt Eagle Scout

                                FORMAT INFORMATION

                                Coloured LP Info: Indies exclusive random multi-coloured vinyl. Each copy is unique.

                                The Gonks

                                Five Things You Didn't Know About The Gonks

                                  The lyrics to The Gonks instrumental track “I’m Dead” say it all. In the tradition of the Tronics, the Subsonics, the Gories and going back to the Dixie Cups, The Gonks arrive with a seventeen minute record of ten songs hacked down to the bare minimum, led by teenager singers Ave Lynch on drums and Sami Perez on bass, who tell the tale of lonely trams, lone wolfs, midnight loners, very alone types, loners, double loners and lonesome alone folk. If Leonard Cohen wrote songs about getting hit by a car for bubble gum bands, or Jonathan Richman wrote heartfelt songs about his mom for The Shaggs, one would have The Gonks. Produced at Studio Bonk by Sonny Smith of Sonny & The Sunsets for his new label Rocks In Your Head Records, this band eschews the glossy over-shiny pop that pervades the rock ’n’ roll world these days and reject all the crooningover-quasi-prog-rock of late and go minimal. “Am I just a sewage pipe, living in the dirt? Sometimes I feel like I might burst, but I’ll just leak a little first....” from the titular single “I’m A Leaker” explains where these damaged loners are coming from.

                                  Headland

                                  What Rough Beast

                                    Headland is a collective of Australian musicians that compose, record and perform soundtrack music for surf films in various forms. The group leader is Murray Paterson, an old surfer himself, who in between wrangling two red-headed boys, finds time here and there to record bits and pieces of guitarbased music. Mostly he heads to Nashuaville where his longtime colleague from a previous life in arts education, Les Dorahy, has set up a small recording studio in the old Booyong General Store, situated in the Byron Bay Hinterland. Whenever friends visit their part of the world, they drop past and join in. Most of the music remains instrumental but this new album is a collection of songs. One of Murray’s comrades from his days with Tex Perkins and The Dark Horses is Joel Silbersher. Joel has been a longtime Headland collaborator–playing bass and guitar–but while recording material for the new album, vocal melodies kept finding their way into Murray’s instrumentals. Soon there seemed enough of a coherent lyrical theme to build an album around. There’s a song about installing a dishwasher. There’s one about a soccer ball filled with blood, and one from the point of view of a lizard. The topic of love among the elderly gets a look in, and there’s a drone called Face in the Sky, which is about a face in the sky.

                                    There is some nice instrumentation touches here too with cello (Tahiti Jones), pedal steel (Danny Widdicombe), double bass (Melissa ‘Curly’ Hunt), violin/melotron (Amanda Brown – GO BETWEENS), percussion (Luke Peacock) and organ (Whitey White) fleshing out the core band of Paterson, Silbersher, accordionist Les Dorahy and drummer Brock Fitzgerald. During the recordings, a good friend of the band, Australian rock legend Spencer P. Jones sadly departed. One of his melodies and lyric was dovetailed to a Paterson instrumental and Ode to Death Trip became an emotional tribute to mark his passing. A couple of other covers appear on the album. There is a surprising, acoustic rendition of Motörhead’s Deaf Forever and a version of John Sebastian’s Darlin’ Be Home Soon. This last is a relic from 2007 when following a hard-drive meltdown at Nashuaville, the only remaining recording of a late night jam was an unedited headphone mix. It seems though, it was impossible to exclude this from the collection.

                                    There’s still enough of the spacious Australian land- and seascapes to satisfy fans of the previous Headland albums (sound/track 2013, Cosy 2015, True Flowers from this Painted World 2017), journeys through a sonic architecture centred around the motion of the ocean and it’s meeting with the coastline. But a narrative of loss and longing sits on the surface here: Silbersher’s voicing is an emotive thread that breaches at all the right times. There are references to the likes of Alex Chilton, Nick Drake and Daniel Lanois but Christian Pyle (Prawn & Spanner Studio) brings a sensitivity to the mix so that any references float rather than reveal themselves in bold relief. What Rough Beast marks the development of an ensemble and documents a sense of meaning embedded with the tone of place.

                                    STAFF COMMENTS

                                    Barry says: A beguiling mixture of Red House Painters style expansive morose rock and brittle, jazzy acoustic stuff. Flickering guitar and soaring ambience bring to mind expanses of land and weightless dreaming. Thoroughly lovely and always surprising.

                                    Originally formed in 2013, around the songwriting between guitarist Chris Killen and bassist Peet Earnshaw, Hot Shorts quickly picked up local attention, leading to two BBC 6 Music sessions for Marc Riley and support slots for Jeffrey Lewis, Trust Fund, The Lovely Eggs and Ezra Furman.

                                    In 2016 they expanded to a four piece, with the addition of drummer Lara Williams and guitarist Joel Nicholson. The new line-up were invited by Drenge to perform as part of their Tramlines showcase event in Sheffield (Eoin from Drenge also tweeting out around the time that Hot Shorts were his "favourite band of the past 5 years"), and later that year joined the bill at the Los Campesinos! curated 'Us vs. Them' festival in Leeds. Shortly after this, the band released the track 'Metaphor for (Something)' as part of cult label Art is Hard's postcard singles club series.

                                    Recorded and mixed this year at Manchester's Big City Jack's studio, I Understand & I Wish To Continue is the band's peppy second album which ably follows on from where the band's excellent 2017 self-titled debut album left us. It is twenty nine minutes of cascading hook-laden pop precision from one of Manchester's finest breakout bands of recent times. An assured and engaging affair, the record is ten tracks of 90's tinged slacker anthems and the occasional luxury indie lament, deftly arranged and crafted by the band over the last two years.

                                    Unsurprisingly, for a band featuring two published authors, the lyrics on this album take centre stage. Songs like 'Lostprophets Tattoo', 'Don't Stop Me If You've Heard This One Before', and 'I Found You on Myspace' are keenly observed vignettes which blend knowing pop cult humour, keen social observations and the occasional dollop of self introspection. It's a wonderful, lyrically savvy album, designed to leave the listener feeling amused, discerning and invited firmly in on the joke.

                                    Chris says of the writing on the record, “Pretty much all of the songs are either about feeling really old and embarrassing and/or music from my past...the songs are mostly.. about being slightly too old and British to still be into 90s alt rock as much as we are, but there is also one about being afraid to go to space on there and also one about a cat”.

                                    STAFF COMMENTS

                                    Barry says: YES! New outing from Manc faves, Icecapades and it's a corker. Joel from over't road and a trio of talented folks who I don't know smash out a brilliantly wry, cleverly placed set of off-kilter snarling college rock and Blue Album era melodies with skill and grace. Absolutely worth your time.

                                    Imperial Wax

                                    Bromidic Thrills / Bloom & Wither

                                      Imperial Wax comprise of the last and longest serving members of The Fall.

                                      Formed in 2018 – Dave Spurr, Keiron Melling and Pete Greenway joined forces with singer and guitarist Sam Curran to forge a unique sound infusing garage punk, krautrock, rockabilly, post punk and more.

                                      Smith told the band to continue after his death as he rated them as his best line up.


                                      FORMAT INFORMATION

                                      Ltd 7" Info: Limited red vinyl.

                                      Jack Medley’s Secure Men

                                      Secure As Fuck

                                        Jack Medley passed away on 6th May 2019 aged 41. He was a legendary promoter and personality at Brixton’s Windmill and friend/fixer in the early years for the Fat White Family and subsequent spin offs The Insecure Men, WarmDuscher and also Madonnatron. All bands performed at and helped promote his celebratory wake “MegaRave” at The Windmill Brixton 26th May 2019, much of which is now available on social media. A permanent mural of Jack adorns the wall of the Windmill’s smoking room aka Jack (Medley)’s “Reggae Shack”. The album was hatched from an experimental ketamine induced recording session posted on bandcamp by Medley following which he teamed up with producer Dom Keen (Holy Magick, Dark Horses, Death In Vegas) as a writing team to create a driving, chaotic and hypnotic album opening with “Sauly” a cheeky apology to his pal Saul Adamczewski for the “homage”. Within 5 days of Jack’s death, a GoFundMe campaign organised by Brixton Windmill regulars WarmDuscher, Madonnatron and La of Reprezent FM had raised sufficient to finance the production of a short run of pink and black splatter vinyl LPs now being released on Blang Records, also home to Medley’s UK Antifolk family and favourites Milk Kan, David Cronenberg’s Wife, Corporal Machine & The Bombers and Lucy’s Diary. A unique collectable for which proceeds go to Music Minds Matter. 

                                        FORMAT INFORMATION

                                        LP Info: 12" Splatter Colour Vinyl LP.

                                        Joi Noir

                                        Celeste

                                          Joi Noir are a euphoric alt-cult-rock band hailing from Russia. The band who have been compared to the Banshees – mainly due to the presence of enigmatic Russian chanteuse Olga Gallo – released their new album Celeste in January 2019. The album already feels like a classic - like something you’ve had knocking around the house for years. 
 Both hailing from Russia, Olga and Igor Plotnikov met in Moscow and moved to Pointe-Noire, Republic of Congo – hence the Noir in their moniker – before decamping to Kuala Lumpur, Malaysia where they conceived and recorded the outline of Celeste. “The album encompasses the celestial, the divine, the earth and humankind,” says Olga, who has a BA in Psychology and much experience working with teenagers with drug and alcohol problems. “Did God create man or vice versa? It is about the relationship between all these things.”

                                          Together these disparate, perhaps incongruous, geographical but essentially human elements make up Joi Noir and their wonderful album, Celeste. 
 Produced by Stephen Hague (Pet Shop Boys, New Order) – “I was attracted to her voice and the demos reminded me of the Banshees, Pixies and Pretenders” – and the band themselves, Celeste showcases eleven songs including Wild Way Hope - featuring Hague on bass and synth - lead single, Mercury, Crashers – about others crashing your dreams - and Sample and Hold, a song about ordering a sex doll online.

                                          Jeffrey Lewis & Voltage

                                          Bad Wiring

                                            Jeffrey has received jaw-dropping praise from practically every major news and music outlet over the years, as well as awed testimonials from the likes of David (Silver Jews) Berman, Jarvis (Pulp) Cocker, Ben (Death Cab For Cutie) Gibbard, Will Oldham and others… and this new album “Bad Wiring” makes it completely clear why. In all of indie-rock there is no force like Jeffrey Lewis. Although mostly recognized for his lyrical skills (as well as his illustration/comic book skills), the secret weapon in Lewis’s arsenal has been his slow evolution from DIY folkie in the late 90s to barn-burning indie-rock live sensation.

                                            New band name The Voltage is a bit of a slight-of-hand, as the musicians are the same bassist, Mem Pahl, and same drummer, Brent Cole (also of the Moldy Peaches), that Jeffrey has been touring the world with for the past four years as “Jeffrey Lewis & Los Bolts.” But Jeffrey continues his tradition of using a new band name for each release… and as Jeffrey says, “everybody knows most good bands have a ‘v’ in their name… Velvets, Nirvana, Pavement, Vaselines, Violent Femmes, Camper Van Beethoven, Modern Lovers, etc!” Recent Jeffrey Lewis band names like “The Rain”, “Los Bolts” and “The Voltage” are also in reference to the fact that Jeffrey’s middle name is Lightning, the result of being born on the Lower East Side in the 1970s to hippie parents. It was almost his first name but got moved to the middle name when he was born!

                                            The album was recorded and produced in Nashville by Roger Moutenot, the man responsible for producing all of the classic Yo La Tengo albums. Moutenot, who also worked on Lou Reed’s “Magic and Loss” album, and Sleater Kinney’s “Hot Rock” album was definitely the right man to capture these twelve new Lewis songs in the studio. As Lewis explains, “As an experience of working with a producer, it was a dream come true. I obviously worship a number of the records Roger had produced in the past, so I specifically sought him out. The fact that he’s in Nashville was just accidental, we would have traveled to record with him anywhere. Now when people hear we made our album in Nashville, everybody’s like, oh, I guess this is your country album…”

                                            With the endlessly creative musical variety on display from Jeffrey Lewis & The Voltage, and Lewis’s writing as sharp as ever, “Bad Wiring” could be the greatest album of Jeffrey’s 18-year career. Having one solid band line up for a few years in a row has certainly helped. Keep an eye out for a couple other interesting Jeffrey Lewis projects to be released in 2019: Jeffrey’s new giant-size comic book issue (Fuff #12) and Jeffrey’s first book Revelations in the Wink of an Eye: My Insane Musings on Watchmen from Conspiracies to Stupidities. But mostly look for Jeffrey Lewis & The Voltage to be playing at a venue near you, on their UK pre album-release tour in September!


                                            STAFF COMMENTS

                                            Barry says: With one eye on a mind-bogglingly huge range of genre influences, Lewis manages to craft a sound entirely unlike anything you've hard before. Old school jangly indie sits comfortably alongside punky riffs and Lewis' trademark American twang, giving more than a hint of the attitude and drive of 90's college rock without the pomp and cheese that comes along with it. A singular talent, and possibly his best LP yet.

                                            FORMAT INFORMATION

                                            Dinked Edition LP Info: Exclusive Pale Blue vinyl.
                                            Exclusive Die Cut cover.
                                            Bonus 7” (2 additional tracks ONLY available on Dinked Vinyl).
                                            Artworked inner bag.
                                            Sticker Sheet insert.
                                            Numbered Edition of 550.
                                            Download card.

                                            Coloured LP Info: Poppy Red coloured LP.
                                            Sticker Sheet insert.

                                            Eschewing the ‘love song industrial complex’ that dominates the airwaves, for Meatraffle it is the political, the platonic, the comradeship of the struggle that provides true artistic grist. This is a band you can get behind, they’re honest and down to earth, and while the world grows increasingly hostile it’s reassuring to know that there’s a group of people out there who get it, address it and want to change it. They’ve found the sweet spot between sincerity and humour, without taking themselves seriously they garner a lot of respect.

                                            Meatraffle have a self awareness, they know what it is to live in a changing, unequal society. But they know how to counteract it too, by calling it out. Their lack of pretence is a breath of fresh air in a stagnant, money-obsessed world, and they shout about worker’s rights, sexism, capitalism and the shoddy state of politics in a way which truly captivates and engages their audience.

                                            Weatherall opts to take the message deep into the the dubosphere, channeling the spirits of Jamaica via bars-long tape delay, melodica snippets and a heavy blast of ganja smoke! Watch yer bassbins on this digi-dub monster folks!

                                            MixHell meanwhile hit the airwaves of an alternative galaxy, their alien pop sensibilities rife throughout the angelic choruses and warbled verses of "Meatraffle On The Moon". Anthemic yet fragile and broken, it's the perfect anti-anthem of our times....



                                            STAFF COMMENTS

                                            Matt says: Wevvers shines a hydroponic light on upcoming act Meatraffle, while MixHell provides a light boogie-pop rubdown that should surely see these rising stars garner tons of radio play.

                                            Milky Chance

                                            Mind The Moon

                                              Milky Chance return with the help of Tash Sultana, and the results are simply put; special. Pop on their collaborative efforts, Daydreaming, which you’ll immediately see manages to border feeling both worldly and otherworldly

                                              It’s rare that on a day you hear a new Milky Chance song that you’ll hear anything else as fresh sounding. This track is one of their most introspective offerings yet. The band explain "It’s not just a daydream, it’s more like a vision of how things could be, and where you could go. It’s about those mechanisms that starts working when you don’t know how to deal with reality.“

                                              Their collaboration with Tash Sultana evolved after they met at an Australian festival. They got together shortly after in the studio to create Daydreaming. Tash’s debut record, Flow State, has seen the artist win host of tastemaker credibility from media from across the globe from Rolling Stone, Triple J to the Guardian.

                                              Milky Chance comprises of German duo Clemens Rehbein and Philipp Dausch. There’s few accomplishments that the band haven’t already achieved with their first two albums, Sadnecessary and Blossom. Things really started for the band with their first hit, Stolen Dance, which went on to become a global phenomenon garnering support from the likes of BBC Radio 1 who playlisted the song for 6 weeks with the track peaking at no.1 on Shazam. On their second record, hits like Cocoon and Doing Good saw them play 241 shows in 41 countries.


                                              Mojo

                                              Issue 314 - January 2020

                                                A BUMPER SEASONAL PACKAGE, pairing a deep dive inside the genius of Leonard Cohen (plus the exclusive story of the posthumous new album, Thanks For The Dance) with our indispensable Review Of The Year, featuring the 75 Best New Albums of 2019, best reissues and the best releases in specialist genres – all presented in a handy and stylish additional book. The covermount CD is a comprehensive Best Of 2019, including tracks by Nick Cave, Underworld, Sharon Van Etten, Bill Callahan, Cate Le Bon and Fat White Family. Also in the issue: Ginger Baker – the full story; Brittany Howard’s solo breakout; the birth of Madness; Beck’s back pages; and Fontaines DC’s brilliant year. Not to mention: Springsteen, Hendrix, Nilsson, Lana Del Rey, Paul Butterfield, Jaz Coleman, Mark Hollis, Weller’s avant garde EP… and Ivor Cutler. Plus: Officially The Greatest Christmas Albums Of All Time!

                                                John Dwyer and his Oh Sees (aka OCS) reissue the "Suck Blood" album on his own Castle Face imprint. Produced by Kelley Stoltz using all green energy (no joke), the album serves as a half-way point between the band's "Cool Death Of The Island Raiders" album and their most recent material. Thee Oh Sees are the underground punk rock of 2009!!

                                                FORMAT INFORMATION

                                                Ltd LP includes MP3 Download Code.

                                                Katy J Pearson

                                                Tonight

                                                  A hazy dusk falls on a crossroads somewhere between Gloucestershire and Bristol. A wooden signpost points in two directions: good ol’ fashioned country heartache to the left; effortless pop hooks to the right – and underneath, cross-legged on still-warm car bonnet, sits Katy J Pearson, strumming an acoustic guitar as she spins a tale of blossoming dancefloor romance.  ‘Tonight’ is the product of scrapping everything and going back to basics – Katy’s first outing as a solo artist after a joint project with her brother ran its course. Writing for her own enjoyment and “no longer writing songs for men in suits, or trying to impress them”, the springy riffs and sweet, upbeat melody of ‘Tonight’ were gently coaxed into being in Katy’s home city of Bristol, in her own time and on her own terms; the antithesis of the fast-paced, surreal and London-centric blur of her previous musical career.

                                                  The first of a handful of songs written during solo sessions at community artist space Island Studios, ‘Tonight’ was later recorded with Ali Chant (PJ Harvey, M. Ward, Perfume Genius, Gruff Rhys) at his studio, Toy Box. Its premise is classic and universally relatable: the meeting of two people, be it in a club or anywhere else, and how they are made instantly more vulnerable by their romantic spark. With its wheedling strings and warm production, ‘Tonight’ sounds more tinged by the South Western states of America than the South West of England. But any country inclination is happily accidental, says Pearson - it just kind of happened. “People said I was sounding quite country and I hadn’t even realised - my eyes were opened!”

                                                  For its physical 7” release, the fizzing anticipation of new love captured on ‘Tonight’ is perfectly counterbalanced with a tender and soulful B-side ballad – a cover of M. Ward’s ‘Poison Cup’. Though similarly romantically-inclined with a softly-country-round-the-edges vibe, ‘Poison Cup’ sees Pearson strip instrumental accompaniment way back, allowing her striking voice to take the front seat, and further cementing the message: here is Katy J Pearson in her most undiluted form.


                                                  Pumarosa

                                                  Devastation

                                                    From the very first beat of ‘Fall Apart’, anyone familiar with Pumarosa can tell that a transformation has taken place. With a fast drum’n’bass inspired tattoo beating urgently beneath a sawing riff and a wide, synthesised expanse, this is a dramatic evolution from the band’s more guitar-driven debut, ‘The Witch’.

                                                    Digging deeper into electronic influences ranging from Aphex Twin and Autechre to old jungle tunes, the shock of ‘Fall Apart’ mirrors the irreversible shift in Pumarosa’s own circumstances: shattering diagnoses, new beginnings and a strange optimism - the promise of what can be built only after total annihilation - all fed into a record that feels like an exhilarating affirmation of life.

                                                    Learning to ‘Fall Apart’ may not have come easily to Pumarosa, but what’s emerged in ‘Devastation’ is an album about transformation on a more cellular level. First came the chaos: on the week ‘The Witch’ was released, the band’s lead singer Isabel Muñoz-Newsome was diagnosed with cervical cancer, with the resulting surgery and recovery totally changing her relationship to her body (and how to write about it).

                                                    Inner-band relationships also evolved following the departure of bassist Henry, which further energised Pumarosa to explore new spaces in their already-expansive sound. The band took the work to producer John Congleton in LA, whose production on the likes of St Vincent and Swans helped convince them he could bring these songs and life-changing experiences into existence. They were joined in the album recording by Tool’s Justin Chancellor who, after becoming a fan of the band from their debut, provided driving bass performances in his inimitable style.

                                                    ‘Devastation’ is a powerfully uplifting album that confirms Pumarosa as one of the UK’s most inventive and ambitious bands. Songs work through questions of mortality and the pain of love while revelling in sexuality: what it feels like to ‘Fall Apart’, what it takes to carry on, and what it means to be alive.


                                                    STAFF COMMENTS

                                                    Barry says: It doesn't surprise me that Devastation has a host of guests providing exactly what i'd expect them to. That rolling driven bass sound? Yep, Justin from Tool. The gloomy, but immediate production? That's right, It's John Congleton, Swans' producer, and adding that all to Pumarosa's own brand of arty percussive electronic indie, you have the superb, heartfelt triumph that is Devastation.

                                                    The Raconteurs

                                                    Broken Boy Soldiers - 180g Vinyl Reissue

                                                      The Raconteurs consist of Jack Lawrence (bass), Patrick Keeler (drums), Brendan Benson (guitars, vocals, keys) and Jack White (guitars, vocals, keys). The seed was sewn in an attic in the middle of a hot summer when friends Jack White and Brendan Benson got together and wrote a song that truly inspired them. This song was ‘Steady, As She Goes’ and the inspiration led to the creation of a full band

                                                      FORMAT INFORMATION

                                                      Ltd LP Info: 180gram vinyl with a copper-embossed gatefold tip-on jacket.

                                                      As the series draws to a close, no Warp anthology would be complete without Seefeel, Mark Clifford, Daren Seymour, Justin Fletcher, and Sarah Peacock's iconic, post-rock-electronica group who would make a mark on the early days of Warp records. Bridging guitar-based dream pop and shoegaze stylings with the downbeat, ambient techno and electronica they'd form a unique and characterful landmark on the mid 90s horizon, signing to Warp after early murmurings on independent label Too Pure.

                                                      This final volume of this epic Warp series digs the bands Peel session from 1994 and is comprised of "Rough For Radio", "Starethrough", "Vex" and "Phazemaze". Side A drifts through their fuzzy shoegaze electronica and into their slightly claustrophobic blankets of beats, instruments and texture wrought with blackened circuits. Side B opens with the mournful techno of "Vex" before the gloopy static swamp of "Phazemaze" completes the selection with an experimental piece worthy of John Peel's cult sessions....

                                                      What a way to end the series! Pheewwwee. Gotta get 'em all!!


                                                      STAFF COMMENTS

                                                      Matt says: Like label mates Plaid, Seefeel's world is that of mystery, exploration blurred boundaries. Existing in liminal and hallucinatory plains yet guided by a humane and sympathetic outlook. This final edition of Warp Session finds the band in exquistive form.

                                                      Skylark And The Scorpion

                                                      Skylark And The Scorpion

                                                        From the haunting haze of strings to the melodiously plucked harp, then the ethereal female voice that soars like a siren call, beseeching a lover to stay, Skylark & The Scorpion simultaneously tug at the heartstrings and nourish the soul. Their sweeping soundscapes swell, soothe and seduce like the titular lovers. Destined to be together forever, but fated to be separated ‘til eternity, their tale of doomed romance is the stuff of classical tragedy.

                                                        Contributions come from ambient music composer Roger Eno (brother of Brian, who added piano and accordion to the mix) and orchestral arranger Nell Catchpole (on violin/viola), with additional contributions from Tim Harries (double bass), Jamie Spencer Smith (guitars), Fontane Liang (harp) and Nick Foot (percussion). Producer / songwriter Webb, who also plays the cornet, then completed the album by adding brass arrangements, before sending the results to celebrated producer Ben Hillier for mixing.

                                                        To commemorate the album’s announcement, Skylark and the Scorpion are also revealing a 40-minute short film that accompanies the entire record, making this an extraordinary artistic AV project. Weather The Storm (the film) was shot in Shetland and features both band members.

                                                        Snow Patrol

                                                        Reworked

                                                          'Over a 25 year career, Snow Patrol have carved out a unique place for themselves. Since their 1998 debut, 'Songs for Polarbears', the band have racked up an impressive number of critical and commercial accolades, including over 17 million global album sales, 1+ billion global track streams, 5 UK Platinum Albums, an Ivor Novello award and have been nominated for a Grammy and Mercury Music Prize. 'Reworked' includes three newly-recorded songs, as well as 13 re-envisioned versions of classic songs, and celebrates Snow Patrol's 25th anniversary as a band. Reworked is a collection of Snow Patrol’s classics reimagined for the band’s 25th anniversary. CD and a Heavyweight black double vinyl format housed in reverse board gatefold sleeve with download code. 

                                                          FORMAT INFORMATION

                                                          2xLP includes MP3 Download Code.

                                                          Oliver Spalding

                                                          Novemberism

                                                            “Novemberism” is the debut album of 23-year-old UK artist Oliver Spalding. As with his debut EP “Unfurl” (2017), the album was written and recorded with producer Ed Tullett (Novo Amor). Built around Spalding’s staggeringly beautiful voice, the record is full of melodic, immediate songwriting and arresting electronic production. Asked about his choice of title, Spalding explains, “To be melancholy all year round is to suffer from Novemberism.” And indeed, these 11 tracks are woven together with a common thread of heavyheartedness. Even the more upbeat songs, like title track “Novemberism” and “Bow Creek”, which drive and glisten with intoxicating pop hooks and 80s era synths, recall the darker undercurrents of classic New Order.

                                                            Says Spalding, “The album focuses on a certain period of time in my life and the things that happened around me. My honesty in songwriting is key. The aim of this album was to be raw and emotional. Emotions are scary and no one wants to face them, and that’s what I wanted the album to feel like - something that is uncomfortable but also beautifully revealing. Synthesizers feature heavily across the record, including single “Bow Creek”, where iridescent synth stabs and lush strings wash over a hazy, late-night London. “I’m a huge Roxy Music fan”, says Spalding, “I love Brian Ferry’s work and take inspiration from the Prophet synth sounds on the 80s Bruce Springsteen records. Opener “Athamé” explodes the record into life with a barrage of saxophone and cymbals, before settling down to “Xanax”’s addictive delayed guitar lines and Spalding’s world-weary vocals. The slow, dark R&B simmer of “Her Crescent” reflects in the dark, ethereal pool of Björk-influenced soundscape “Emissive”, and the quietude of the delicate, piano-led heartbreaker “Golden” gives room to breathe after the gloomy electronic cacophony of “AIBM”. Elsewhere in the album, “Unreal” sees Spalding’s gossamer, spine-tingling falsetto soar to the heavens, and epic power ballad “Everglades” lifts Spalding’s voice to its towering, affecting peak, bringing the album to a close with a shudder of thundering drums. 

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: limited to 500 copies on 180 g white vinyl with a free album CD inside plus a colour printed inner jacket and a lyrics sheet insert.

                                                            Vinyl comes with CD version of the album enclosed.

                                                            Sports Team

                                                            Fishing

                                                              The first single to be taken from their forthcoming debut album, due for release early 2020. 

                                                              Snap this up they're gonna fly!

                                                              Tindersticks

                                                              No Treasure But Hope

                                                                Three years since their last album proper, singer Stuart Staples decided Tindersticks’ return called for something special and No Treasure but Hope, is very much that! Rich in intuitive warmth, lush melodies and an inquisitive spirit, it’s an album that casts a fresh light on Tindersticks’ core qualities, bathed in the glow of a band intent on rediscovering what they can do. Expanding the horizon without losing the focus, No Treasure but Hope manages to collect some of the band’s most immediate work in one outstanding album. This is the bands twelfth record, the earliest Tindersticks release being in 1991. Over the course of the band’s rich history, Staples has found a voice in film composition as well. This includes a soundtrack to Claire Denis’ science-fiction film High Life (2019), which features vocals from actor Robert Pattinson.


                                                                STAFF COMMENTS

                                                                Barry says: For their first album in three years, Tindersticks bring us a haunting collection of brittle piano-led ballads, rich in atmospheric ambience and shimmering with reverb. songs like 'Trees Fall' and 'See My Girls' revel in the sort of off-piste vocal turns you'd expect from Nick Cave, and help to cement Staples & Co. as one of the most creative musical forces out there.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Indies exclusive clear vinyl. First pressing comes in a limited edition die-cut sleeve.

                                                                Toy

                                                                Songs Of Consumption

                                                                  TOY, who released Happy In The Hollow, their fourth, and by far most acclaimed album to date, in January of this year on Tough Love Records, have announced details of Songs Of Consumption, an 8-song collection of unique interpretations of tracks which have inspired the band.

                                                                  The idea was originally birthed when the band recorded four covers for the bonus 7"s that came with the Dinked and Rough Trade versions of the last album. 3 of those songs feature here alongside 5 new recordings completed last month, which comprise tracks by Stooges, Amanda Lear, Nico, The Troggs, Serge Gainsborough, Soft Cell, John Barry and Pet Shop Boys/Elvis/Willy Nelson (depending on how you know the song).

                                                                  Talking about the album, TOY said:

                                                                  Songs of Consumption sonically is a continuation and development of the themes conceived on Happy In The Hollow and it will show people where we are going towards musically. The DIY approach was explored further utilising more of the electronic elements that we touched upon before. Drum machines, stripped down arrangements and rudimentary production give a primitive sound that we thought suited the choice of songs. Some of the songs have very big sounding production, so we wanted to experiment with them by going in a different direction.

                                                                  Music is consumed voraciously now whereas these songs came from a time when the song was of the most important thing and that's what was appreciated. Stripping them back to the essence of what they are was also something we wanted to explore. Also, we wanted to make a covers record with songs by people that influenced us in the past few years and it’s as much about the way they dealt with their ideas, and how they put themselves in uncomfortable situations in order to make something that in the end is simple. It’s a homage to the spirit of these people, that helped us to untangle ourselves from our inherent complicated nature and create a new space where we can exist.

                                                                  Additionally, having played a sold-out tour of the UK in February, including a mesmerising show at Village Underground in London, the band have announced a couple of very special shows at the end of the year.

                                                                  Playing under the banner of ‘Hollowed Out – A night of strange sighting and unhabitual ritual’ the shows will see them re-imagining songs from Happy In The Hollow. In London they will be joined by AV artist Sculpture, live performances from The Thelma Death Stare and Ducasse, DJ sets from Cherrystones and Sheet Noise and live visuals from Daisy Dickinson. In Manchester they will be joined by Mutabase and a DJ set from Sofie K.

                                                                  STAFF COMMENTS

                                                                  Barry says: It's nice to hear a selection of (superb) covers from Toy, expanding their sound into this diverse range of covers. Though the songs are not their own, it gives us an insigt into their influence, and honestly couldn't be any more their own. Swathes of guitar noise and succinct percussive throbs work their way behind Dougall's recognisable vocals, all accompanied with their ever present crystal-clear synths and melodic sensibilities. Lovely stuff.

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: LP is on cream opaque vinyl and is exclusive to Indie stores.

                                                                  The Twang

                                                                  If Confronted Just Go Mad

                                                                    'If Confronted Just Go Mad' sees a fresh direction for The Twang and their first album to include vocals from new female vocalists, both of whom also perform for rising star Tom Grennan. The girls have become an instant hit with twang fans while providing the band with a new optimistic sound. The new album, mixed by Mint Royale legend Neil Claxton, is sure to satisfy the band’s loyal fan-base serving up large slices of the classic Twang emotion that has served them so well over the past decade. Songs confront the fragility of relationships, the lure of addiction, a cover of an eighties indie classic and even an appearance by leading spoken word artist Polarbear. Core writers Phil Etheridge and Jon Watkin have put real emotional energy into making the record, finding a new way of working together which has delivered a sound that feels authentic and exciting. If you get knocked down… just get up… If Confronted Just Go Mad! 

                                                                    The Twilight Sad

                                                                    Killed My Parents And Hit The Road

                                                                      The Twilight Sad release ‘Killed My Parents And Hit The Road’ now on vinyl for the first time.

                                                                      With the majority of tracks mixed and mastered by Iain Cook of Aerogramme, ‘Killed My Parents And Hit The Road’ encompasses the bands’ bare, unfeigned use of melancholy with rousing, epic intensity, never straying too far from hitting sentimental nerves. Throughout the record, melodies stagger between feedback-laden instrumentals and rich, seemingly effortless acoustic ballads, each accented by Graham’s strong Scottish tones, creating a collection of songs that are as intriguing as they are engulfing. Alongside their own tracks, the band have chosen to cover songs by Joy Division (‘Twenty Four Hours’), Yeah Yeah Yeahs (‘Modern Romance’) and The Smiths (‘Half A Person’), providing greater scope into the tracks’ pensive and wistful subjects, whilst retaining the stirring and engaging qualities of the originals.

                                                                      Unwound

                                                                      The Future Of What

                                                                        Their third album in as many years, 1995’s The Future of What is an unrelenting, constructivist masterstroke. The Olympia trio’s signature sound—grinding bass, syncopated drums, and fragmented guitar over measured yelps—ratchets past the thread into a stripped-out metallic slurry. Equal parts noise and adrenaline, the album opens with a simple question: “Where’s your energy?” It’s been 25 years and we’re still searching for the answer.

                                                                        The Victims

                                                                        Horror Smash EP

                                                                          **EP OF NEW RECORDINGS FROM CLASSIC AUSSIE PUNK BAND** “Punk music, at its most effective, its most important, exists at a nexus of a few simple but important ideas. Punk needs to be youthful, it needs to be reactionary, it needs to be short-lived and it needs to be controversial. So for a group of twenty-something Australians, excitable as the frontline first wave of kids responding to both the Ramones and the Sex Pistols (yet still influenced by the New York Dolls and Stooges and Flamin’ Groovies), who existed for but barely for a year from 1977-1978 and wrote songs about serial killers, high school girls and hating disco…well, I’d argue they are the most perfect punk band ever. “The band was Dave Flick (aka Dave Faulkner later of the Hoodoo Gurus) on guitar and vocals, Rudolph V (Dave Cardwell) on bass and James Baker on drums. Best known for their classic ‘Television Addict’, that song is but the tip of the iceberg of the band’s powers. Having self-released two godhead 7-inches during their brief existence, the seven songs on those singles are absolute cannon at this point. Quintessential, pure, unfuckwithable. And all that is just side one of the LP. “Side two contains a bounty of unreleased-for-decades demos of nine otherwise undocumented Victims originals. Demos in name alone, these properly recorded songs brim with all the identifying marks of the known Victims classics…irreverence, taking the piss, murderers and an invigorating youthful attitude. “The last thing to remember about punk as a theory, an aesthetic, is that its ‘ideas’ are all bullshit anyway. That’s easily proved by the 7-inch EP released alongside this release of new recordings of ‘Charlie’, ‘Horror Smash’, ‘I Wanna Be With You’ and ‘Everynite’ which proves that the Victims now (featuring Ray Ahn from the Hard-Ons on bass), some 40 years after their heyday, could still easily take on any au courant band half their age.” – Ben Blackwell

                                                                          The Victims

                                                                          The Victims

                                                                            “Punk music, at its most effective, its most important, exists at a nexus of a few simple but important ideas. Punk needs to be youthful, it needs to be reactionary, it needs to be short-lived and it needs to be controversial. So for a group of twenty-something Australians, excitable as the frontline first wave of kids responding to both the Ramones and the Sex Pistols (yet still influenced by the New York Dolls and Stooges and Flamin’ Groovies), who existed for but barely for a year from 1977-1978 and wrote songs about serial killers, high school girls and hating disco…well, I’d argue they are the most perfect punk band ever. “The band was Dave Flick (aka Dave Faulkner later of the Hoodoo Gurus) on guitar and vocals, Rudolph V (Dave Cardwell) on bass and James Baker on drums.

                                                                            Best known for their classic ‘Television Addict’, that song is but the tip of the iceberg of the band’s powers. Having self-released two godhead 7-inches during their brief existence, the seven songs on those singles are absolute cannon at this point. Quintessential, pure, unfuckwithable. And all that is just side one of the LP. “Side two contains a bounty of unreleased-for-decades demos of nine otherwise undocumented Victims originals. Demos in name alone, these properly recorded songs brim with all the identifying marks of the known Victims classics…irreverence, taking the piss, murderers and an invigorating youthful attitude. “The last thing to remember about punk as a theory, an aesthetic, is that its ‘ideas’ are all bullshit anyway. That’s easily proved by the 7-inch EP released alongside this release of new recordings of ‘Charlie’, ‘Horror Smash’, ‘I Wanna Be With You’ and ‘Everynite’ which proves that the Victims now (featuring Ray Ahn from the Hard-Ons on bass), some 40 years after their heyday, could still easily take on any au courant band half their age.” – Ben Blackwell

                                                                            FORMAT INFORMATION

                                                                            LP includes MP3 Download Code.

                                                                            Jane Weaver

                                                                            Loops In The Secret Society - Deluxe Edition

                                                                              This unique package successfully archives the key elements of Jane’s ‘Loops In The Secret Society’ tour. Housed in a concise limited-edition pocket-compendium the new CD version brings Jane’s fully realised ‘Loops Variations’ and sonic installations into your own environment with new illustrations based on the songs by Andy Votel and DVD featuring the experimental film installation featured on the tour by Nick Farrimond. When science fiction turns science fact the effect can be truly momentous. The state demands that no-one wants an unlicensed machine-hum from an outbuilding; no-one wants clever prose mapping the future, no-one wants “music” that is attention-seeking, soul-defining, beneficial, Biblical, baroque and beautiful.

                                                                              No-one told Jane Weaver that. Jane Weaver’s multi-layered synthetics evolved into a welcoming slew with 2014’s ‘The Silver Globe’, continuing through to 2017’s ‘Modern Kosmology’. ‘Loops In The Secret Society’ is a re-imagined journey through parts of both albums, with new ambient pieces primed and polished; with new tangents explored in a lab-friendly blossoming of the Weaver vision that travels yet further into the psych of our future. A continuous experience with one-line observations set in glorious sense-stimulating sound. That source material was then united in an expansionist experiment in late 2018. The ‘Loops In The Secret Society’ tour fused unrelated sounds set off against sympathetic new textures, tones and drones; hot-housed into an idealistic soundscape that formed the conducive parts of the imminent album of the same name. Co-conspirators include Henry Broadhead, PJ Phillipson and Andy Votel. Renegades all, headed by the enigmatic Weaver all under surveillance. 

                                                                              FORMAT INFORMATION

                                                                              2xColoured LP Info: 2LP PINK vinyl, in 5mm spine sleeve.

                                                                              CD/DVD Info: Deluxe Bookback CD & DVD.

                                                                              Emily Jane White

                                                                              Immanent Fire

                                                                                Emily Jane White's new album juxtaposes a heavy melancholy with an intimate touching lightness through her singular alto voice backed by orchestral percussion, soaring strings, heavy guitars, a choir of voices, and an overall cinematic presentation of dynamic songwriting.

                                                                                Ten songs, all written in minor keys, present a deepening storm of melody that offers the hopeful ray of Emily's voice as the waves of rhythm crash and dance around her. Her voice is the listener's guide, a steady and reassuring presence as they march through eerie landscapes, caverns of reverb, church organs and synthetic arpeggios. The occasional samples of birds, insects, and thunder mix with the blend of electronic and acoustic instruments, a subtle reminder of the necessary link between the fate of our ecology and the moral use of technology.

                                                                                Legend has it that Brian Eno’s concept of ambient music came to him while laid up in a hospital bed after an automobile accident in the ‘70s. A friend brought him some records, playing them too low to be properly heard, and Eno couldn’t get out of bed to adjust the volume. While the record spun softly, Eno’s idea for music you could ignore as easily as you could give it your full attention, like a sort of sonic wallpaper, was born. It’s in that spirit of quiet isolation that Ghostly International, in association with Adult Swim, shares Ghostly Swim 2, our way of giving listeners a space to get away from the manic holiday bustle.

                                                                                For those keeping track at home, Ghostly is wrapping up its 15th anniversary as an Ann Arbor/Brooklyn-based indie. 2014 has seen the company soundtracking video games (Playstation’s Hohokum), collaborating with awesome companies like Warby Parker and VOID watches, and clearing 300 releases of forward-thinking music with records from Tycho, Com Truise, and HTRK. What better way to end this banner year than to revisit one of our favorite partnerships from the past decade and a half?

                                                                                Released in 2008, Ghostly Swim was praised for its adventurous survey of exploratory dance and pop music. Our curatorial focus has shifted this time around, moving further inward (spiritually) and outward (as far as our roster goes) to reflect the electronic underground in all of its hazy and vibrant experimentalism. Ghostly Swim 2 is a document of textured ambient zone-outs and woozy, granular house and techno that will help you find some downtime away from The Most Wonderful Time of the Year. So sit back, lower the volume, and enjoy our selections. 


                                                                                Various Artists

                                                                                Two Tone 7" Treasures

                                                                                  TWO TONE RECORDS was created in 1979 by The Specials founder Jerry Dammers. The label spawned a youth movement and a number of well-known artists and singles through the its tenure including the aforementioned Specials with key singles ‘Gangsters’, the UK Number 1 singles ‘Too Much Too Young’ and ‘Ghost Town’.

                                                                                  They also helped launch the careers of Madness with ‘The Prince’, The Beat with ‘Tears of A Clown’, The Selecter with ‘On My Radio’ and The Bodysnatchers with ‘Let’s Do Rock Steady’. The label ended its chart run of singles with ‘Nelson Mandela’ by The Special AKA.

                                                                                  This 40th Anniversary 7” collection has been curated by Jerry Dammers, selecting his favourite 12 singles released on the label between 1979 and 1984.



                                                                                  FORMAT INFORMATION

                                                                                  Box set Info: 12 x 7" Box Set, Presented with their original sleeve designs in a bespoke 1960’s style carry case along with a Two Tone 7” slipmat and an art card signed by Jerry Dammers

                                                                                  FREE SHIPPING This item has FREE UK shipping!


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