indie

WEEK STARTING 28 Jan

Genre pick of the week Cover of Blind Date Party by Bill Callahan And Bonnie 'Prince' Billy.

Bill Callahan And Bonnie 'Prince' Billy

Blind Date Party

    The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey, Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo, Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and Sir Richard Bishop happened online in the fall and winter of ’20–’21 — but the party planning dated back to the spring of 2020. Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and Drag City needed an outreach program to keep themselves busy, not to mention sane. In the absence of any company or anything on the calendar, playing songs they loved was an idea; playing with people they loved, the desire. And making it fun — so pairing someone with someone else having no say in the matter, the essence of the blind date, was the plan. Favorite songs were chose; players from around the Drag City galaxy were messaged. Pretty soon, songs were flying back and forth — music in the air!

    And thus, they were entertained throughout the summer of 2020, when so much else in the world seemed so completely wrong. By the fall, the songs started to appear online: Bill and Bonnie singing a song by someone they loved and admired; each song cut by another another artist they loved and admired, then sent to Bill and Bonny to provide the finishing touches. The spotlight pointed in every direction each week: toward the singers and writers who’d originally played the songs (Yusuf Islam, Hank Williams Jr., Dave Rich, The Other

    Years, Billie Eilish, Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt, Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard Cohen, David Berman, Iggy Pop and John Prine), toward their featured collaborators, the artists whose artwork adorned each digital single and videos made by still more collaborators. And you, the listener.

    Like the best parties, it turned out to be everything and more than they’d even hoped for. So many more people were involved in the process that we can get on the page here. Suffice to say, making records over the years has required a broad sense of community and an always-surprising mix of independence and unity, inspiration and utility. Some of our best memories are those where as many of our folks as as possible were together in one place at one time. In those moments, it was just a great thing just to be there. And with others looking in . . . this was a joy one could only be infinitely lucky to feel and to take for granted, as well.

    The Blind Date Party was one of these, maybe the most improbable one yet. It’s for everyone who’s here and it’s in the name of everyone who’s gone but will never go and will always live with us here. This album will too.

    And thus, we are entertained.

    STAFF COMMENTS

    Darryl says: Combining the best elements of each others talents 'Blind Date Party' finds Bill and Will in fabulous form. Mellow, dark, country-folk laments to snuggle up to during the cold winter months.

    TRACK LISTING

    A
    The Blackness Of The Night (feat. Azita)
    OD'd In Denver (feat. Matt Sweeney)
    I've Made Up My Mind (feat. Alasdair Roberts)
    Red-Tailed Hawk (feat. Matt Kinsey)
    Wish You Were Gay (feat. Sean O'Hagan)
    Our Anniversary (feat. Dead Rider)
    B
    Rooftop Garden (feat. George Xylouris)
    Deacon Blues (feat. Bill MacKay)
    I Love You (feat. David Pajo)
    C
    Sea Song (feat. Mick Turner)
    I've Been The One (feat. Meg Baird)
    Miracles (feat. Ty Segall)
    I Want To Go To The Beach (feat. Cooper Crain)
    D
    Night Rider's Lament (feat. Cory Hanson)
    Arise, Therefore (feat. Six Organs Of Admittance)
    The Night Of Santiago (feat. David Grubbs)
    The Wild Kindness (feat. Cassie Berman)
    Lost In Love (feat. Emmett Kelly)
    She Is My Everything (feat. Sir Richard Bishop)

    Angered Wrecks

    Bennies, Booze & RnR 1981

      Take the freaked-out punked up soul of The Stooges and MC5 mix that with 60s garage trash, blend in Sabbath, AC/DC and heavy rock n roll and then hot wire that sound to a handful of freaks located in Fredericton, New Brunswick. Here it is that The Angered Wrecks were located - in an old Victorian style house in downtown Fredericton. It was here they set up a permanent rehearsal space on the main floor taking up the dining room and living room area with a full P.A. system and the long parties would begin as the Angered Wrecks cranked out an unholy primal serving of mind-numbing, eyeball-popping guttural pure rock and roll.

      Lucky for us the Angered Wrecks had a primitive DIY recording set up as they recorded live off the floor with one cardioid mic taped to the ceiling to capture the entire room sound and straight into a cheap Alpine cassette deck. The results of these previously unheard recordings capture the essence of trashy rock’n roll at it’s finest, delivered with pure dereliction, and always a side of extra sleaze.

      Keeping warm in the winter at another old salt box style house they would later rehearse and play gigs in, a large circle was cut in the floor so that the rising heat from the pottery kiln downstairs would (along with the right mixture of beer and ‘Purple Jesus’, weed and often speed and hot dogs) keep these boys fuelled long enough in sub zero temperatures to keep pumping out the rock’n roll savagery.

      The last show they played was in the fall of ’81 at the Bug Shack after the household was served an eviction noticed with the house to be entirely demolished (just like Stooge Manor aka The Fun House). They got a gig together the weekend before demolition, packed the bottom floor and played a blazing set. At the very end, walls were kicked apart, old cans of paint strewn about, general wanton destruction to furniture, doors, windows etc…insane. The bug shack had come to an end and shortly thereafter, The Angered Wrecks.

      That these tapes have survived to this day is all thanks to John Westhaver’s archival hoarding (even though the loss of a 90 minute session of the Angered Wrecks still haunts John to this day).

      So CRANK these tracks as loud as you can – these audio tapes are not for the faint of heart!

      Anorak Patch

      Delilah

        Following breakout tracks ‘6 Week Party’, ‘Irate’ and ‘Blue Jeans’, the 4-piece share new single ‘Delilah’, a tale of wanting more than the small town you call home, and further proof of why Anorak Patch are one of the UK’s most exciting young bands to emerge in recent times. Of the track, the band say, “‘Delilah is a story. It’s about a girl who’s struggling her way through life... the song is sort of a snapshot of how difficult life can be when you are in a bad headspace without good people around you. It’s a lonely place to be. The ‘town’ is just a reference to wanting something more than the place you grew up in... I guess in that sense it’s a little autobiographical. We are from a little place in Essex, it’s not a bad place, but we collectively dream that by playing our music we will have a chance to move out of its orbit.”
        Anorak Patch are also set to perform their debut headline shows, including in their hometown of Colchester next month, and in London next year. Keyboardist Effie Lawrence formed the group in late 2019 with high school friends Luca Ryland (drums), brother Oscar (guitar) and bass player Eleanor Helliwell. The drummer being just 15, and the oldest member 18, the new single continues to show the band’s immense musical talent at such a young age.


        TRACK LISTING

        A1. Delilah
        B1. Blue Jeans

        The Band Whose Name Is A Symbol

        Ensemble 2016

          Cardinal Fuzz are pleased to bring your way The Band Whose Name Is A Symbol – Ensemble 2016. Eight players made up the iteration of the always mutating ensemble cast, who were as follows for this recording - John Westhaver, Nathaniel Hurlow, Bill Guerrero, Jason Vaughan, Dave Reford, Scott Thompson, Mark McIntyre and Eric Larock.

          The session for Ensemble went down at their spiritual home of Birdman Sound in Ottawa in August 2016 where what you hear on record was recorded direct from the floor (and mastered/tweaked by Chris Hardman).
          The whole session (and note this is an edit to fit the constraints of vinyl) - flies by with a reckless, organic abandon, as at times 8 players fly off in different dynamic directions of abstract playing and improvisation with trumpet player Scott Thompson much to the fore and blowing wild. At times the feel of this recording is like a collision between a 70s album on the German Sky transported to a San Franciscan Ballroom is ’68 as the audience are peaking on ‘Orange Sunshine’ as Ensemble finishes up like a beautiful trip, well taken.

          Before Breakfast

          I Could Be Asleep If It Weren’t For You

            The Sheffield duo have always explored feminist issues through the telling of personal stories – fusing their classical knowledge and rich arrangements with raw expression. Their debut album is no exception to this, exploring themes that will resonate with many women in their 30s who are experiencing the shift in perspectives that this decade can bring. On new single ‘Wreck’ singer Gina Walters mourns the abrupt end of a relationship and a vanishing future that she once counted on. “I thought that relationship was it: we were going to have babies, and when that ended it wasn’t really about losing my partner. It was about losing this whole future I thought lay ahead of me, this whole family I would lose, my house, my cat… it was an absolute bombshell, and it still gets me over a year later.”

            On ‘Stand’, the most direct and plain-speaking track on the album, Gina sings, “A house or a heavy womb,” agonising over the idea of having to choose either financial security or motherhood. Speaking with her trademark brutal honesty, Gina says, “As a teenager, I genuinely thought that I would be married with two kids by now. We’ve been conditioned to think that’s what we should be achieving by a certain number. I turned thirty-two a few weeks ago, and I’m dating furiously because I want a baby and I only have a certain amount of years left before it starts to get really really hard.”

            Before Breakfast released their debut EP ‘Open Ears’ in 2019. It is a spell-binding collection of songs knitting together Lucy Revis’ intricate cello with Gina’s expressively haunting vocals. “Our music has always been very beautiful with this discomfort,” Gina says, “which I view as very feminine.” Stand-alone single ‘Buddleia’ would become Before Breakfast’s signature, and best known song to date – opening the door to where they would go next. “When Gina played it to me I remember being in love with it immediately,” Lucy recalls. The band soon caught the ears of BBC Introducing, as well as C Duncan. That year, they supported the Mercury-nominated Scottish composer and musician on tour, which, Lucy says, was, “an absolute dream”.

            Lucy wrote the lyrics and made her lyrical debut on former single ‘Brush My Hair’ after that very tour while coming down from a giddy three-week crush on a bassist. “It was like I was sixteen years old again,” she remembers. “We had this weird little friendship and the song is just about him: it’s lovely and special and I hold him in the highest regard.” For Gina, the themes that inform the debut as a whole also tie into trying to break out as a new band while holding weighty questions of security and stability versus pursuing your dreams. It’s pretty shocking, yet sadly not at all surprising, that in 2021 she feels the need to say, “I really get caught up in the idea that the industry doesn’t want women in their thirties coming through.” Lucy agrees, adding, “There have been so many barriers for us to even do this by our age. I have exclusively played for men since I was 15 years old. I can count the number of female artists I’ve worked for on one hand.”

            Outside of the band, Gina is a singing teacher, and Lucy runs a music school. Over the last eighteen months, the group have been juggling their day-jobs with gradually recording their debut album: a reality they feel it’s important to speak out about. “We couldn’t just go away to a studio for three weeks,” says Gina, “we don’t have the money or time. It was here, there and everywhere.” Whenever they got a chance, the band would lay down parts with their producer Chris Wilkinson – who began his career working in Nashville with Vance Powell (Jack White, Arctic Monkeys) before relocating to his hometown – at Sheffield’s Fox Den studios. “We’d say: Chris, can we come in for a few hours this afternoon to do the vocals? It was a bit haphazard, and a long process.”

            Before Breakfast are telling their story on their own terms, and backed by two new live band members as gig venues gradually open up again, the Sheffield band are going for it, with a debut that speaks to the stagnation, malaise, and static of the last “wasted” year. And as the world opens up again, ‘I Could Be Asleep If It Weren't For You’ is a fitting soundtrack. “We’ve got the momentum” says Gina, “and we just want to do it.”


            TRACK LISTING

            1. Inner Wisdom
            2. Wreck
            3. Brush My Hair (And Tell Me That You Love Me)
            4. Stand
            5. I
            6. She
            7. Voices
            8. Sticky Sweet
            9. I'm A Good Friend
            10. Ii (feat. The Howl & The Hum)
            11. Journey

            Matt Berry

            Summer Sun / Like Stone - Sean Ono Lennon Remixes

              After a busy, successful and critically acclaimed year Matt Berry offers one final salvo to his fans. A unique 12” single featuring his two collaborations with Sean Ono Lennon.

              Sean worked on two tracks from ‘The Blue Elephant’ album and applied his mind to give us distinctive re-interpretations of ‘Summer Sun’ and ‘Like Stone’. Psychedelics mixed with a stomping beat for ‘Summer Sun’ and something a little bit weird and reflective for ‘Like Stone’.

              TRACK LISTING

              Summer Sun (Sean Ono Lennon Remix)
              Like Stone (Sean Ono Lennon Remix)

              Big Thief

              Mythological Beauty

                “Big Thief’s quiet power propels songs of the flesh and soul. These are timeless songs, memorable and momentous.” - NPR Music’s Bob Boilen

                "their new album is a huge leap forward in just about every possible way, a record made with enormous confidence and intuition and empathy.” – Stereogum

                “Adrianne Lenker is a romantic folk-rock poet of the first order.” – Rolling Stone

                Big Thief ’s debut album, Masterpiece, met wide critical acclaim, landing spots on countless “Best of 2016” lists. Their music, rooted in the songs of Adrianne Lenker, paints in vivid tones “the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else’s, and being okay with the inevitability of death,” says Adrianne. “Mythological Beauty” was the first track released from the band’s 2017 album, Capacity.

                TRACK LISTING

                1. Mythological Beauty 5:07
                2. Breathe In My Lungs 2:52 

                Blood Red Shoes

                Ghost On Tape

                  After years spent living on opposite sides of the Atlantic world events threw Laura Mary Carter and Steven Ansell of Blood Red Shoes back together into what has become the must fruitful era of their 17 years together.

                  “It’s been a loooong time since we both lived in the same city”, explains Steven. “I mean we actually wrote this album in LA at Laura’s place, then came to the UK to record it…and then everything went nuts”.

                  Realising very quickly that they wouldn’t be able to release the album or tour until the world returned to some kind of normality, the band found their energies quickly spilled over into other projects. Laura-Mary started a podcast, Never Meet Your Idols, with her best friend in LA, interviewing everyone from Zack Snyder to Mark Lanegan to CHVRCHES. It is now about to start its third season. Steven started applying his love of electronic music by writing and producing other alternative artists like Circe, ARXX, Aiko and XCerts, racking up millions of streams in the process.

                  Having worked together on Laura–Mary’s forthcoming solo mini album Town Called Nothing and restless from the lack of touring, the duo started jamming out in rehearsal rooms, which led to the light-speed writing, recording and release of the impossibly-titled Ø EP in the summer of 2021. Which concludes what the band call an “off year”.


                  And that brings us back to GHOST ON TAPE. It appears that like David Lynch’s The Lost Highway, nothing is linear in the world of Blood Red Shoes. Written and recorded before their most recent EP, GHOSTS ON TAPE is a huge jump into new terrain for the band. Musically and emotionally their most mature work, it is a complex, imaginative, and very gothic development on their sound. Musically, it leaves almost no trace of their former selves.

                  “We’ve always been outsiders right from the very beginning” says Steven. “This album is really about us asserting ourselves as our own little island”, he adds. “We have made an entire career out of being told what we are “not”, of being rejected, of not fitting in, and this album is us deliberately pushing into all of our strangeness, emphasising all of the things that make us different”. Obsessed by true crime and murder podcasts, many songs on the record are told in character and explore the dark psyche of those at the pinnacle of outsiderdom: serial killers. "Ghosts On Tape" paints a picture of a dark and unsettling world. It is the sound of a unified and confident duo who know exactly who they are, even if the wider world doesn’t really get it. The sound of two people who have spent their entire adult lives making music together and who, more than ever, are finding new pathways for their creativity.

                  “Ultimately this album is an invitation”, explains Steven. “It’s us saying, this is our world, these are our darkest thoughts and feelings - our ghosts - caught on tape. You are welcome to join us. Come and embrace the strange”.

                  TRACK LISTING

                  1. Comply
                  2. Morbid Fascination
                  3. Murder Me
                  4. (I've Been Watching You)
                  5. Give Up
                  6. Sucker
                  7. Begging
                  8. (You Claim To Understand)
                  9. I Am Not You
                  10. Dig A Hole
                  11. I Lose Whatever I Own
                  12. (What Have You Been Waiting For?)
                  13. Four Two Seven 

                  Inimate British pop for fans of Spike, The Cleaners From Venus, Felt, Durutti Column, Black Ark Studios and Aladdin. Charming lost tapes from the early ‘80s, treasured only by family members until now.

                  "Jim and I met at university in Liverpool in nineteen seventy-five and immediately began making music together. We both had rooms in the same big Victorian house in the centre of town and our evenings were spent hanging out in the nightclubs of Toxteth, like Dutch Eddie's where the DJ played Trinidadian music all night long.

                  Liverpool has always been somewhere with its own distinctive culture, poetry, and music. In the nineteen seventies it was absolutely magical. The city was still bathed in the afterglow of the Beatles and there was a kind of creative anarchy about the place. There was this band called Death Kit who used to put on multi-media events with people in fancy dress and random bits of theatre. We'd turn up completely out of our heads and it felt like we were deconstructing ourselves as individuals.

                  After we left college, Jim began living in Cambridge and I returned to London where I'd grown up, but our musical relationship continued. We knew people who were making commercial sounds and having success with them but that wasn't what we wanted to do. We performed occasionally, albeit very erratically, mostly as a duo but sometimes with other musicians.

                  What we were really interested in was musical exploration. Jim built a studio in his back garden, bought some multi-track recording equipment, and began experimenting. We wanted to produce something that was just for ourselves. We were undoubtedly very naïve but naivety and innocence were hallmarks of that time.

                  In my childhood, I'd been fascinated with the story of Aladdin. Now that fascination began to be reflected in the music we were making. Here was a story about a boy who transforms his world and enters the magical realm. That seemed to be exactly what was happening to me. For all sorts of reasons, I hadn't particularly enjoyed my childhood but now I had managed to step out of the everyday reality, to find a place where I belonged and where I had a kind of power.

                  The name we used for the band came from a song recorded in 1949 by a singer called Mel Torme. There's a line in that song that goes, "Careless Hands don't care when dreams slip through." That seemed appropriate since dreams were part of the territory we were exploring.

                  I had got married immediately after leaving college and by now I had a daughter who was afraid to go to sleep at night. She wanted me to be present in her dreams with her. That became the inspiration for a period during which Jim and I tried to recreate the shifting landscape of the night-time imagination.

                  Unfortunately, the choice of name turned out to be horribly prophetic when in a freak accident Jim fell into a lake and was drowned. It seemed to me that for some time, he had not been paying enough attention to his own life. So I wasn't exactly surprised when I heard the news but I was completely devastated. After Jim's death, I put away his guitar and never played again. I went on to make a career as a novelist.

                  Most of the recordings we produced were lost over the years. A bunch of master tapes was accidentally thrown into a dumpster and others were left in the attic of a house I lived in at some time during the nineteen nineties. This album has been pieced together from fragments that somehow survived the cull."

                  - Brian Keaney November 2020

                  STAFF COMMENTS

                  Matt says: Following on from the AMAZING The Bernhardts EP, Smiling C uncover more heartfelt, earnest, DIY wave and indie from the North of England. Loving this label at the moment. Careless Hands sound like Durutti Column's most dreamy offerings played at a never-ending afterhours party in Hulme Crescents circa '87

                  TRACK LISTING

                  Lawrence
                  Seeing Double
                  Turning
                  New Lamps For Old
                  Just Like Strangers
                  Diana
                  On The Bridge
                  Face In The Mirror
                  Dream My Dream
                  Looking For A Secret

                  Back in stock Cover of Tally Ho! / Platypus (Reissue) by The Clean.

                  The Clean

                  Tally Ho! / Platypus (Reissue)

                    On November 12, Merge will reissue two crucial releases from The Clean's distinguished discography. The "Tally Ho!" b/w "Platypus" 7-inch and the Boodle Boodle Boodle 12-inch EP, the Dunedin trio's first official recordings as a band, both celebrate their 40th anniversary this year. These reissues have been remastered by Tex Houston with assistance from the Alexander Turnbull Library New Zealand, and The Clean's David Kilgour and Robert Scott oversaw the careful re-creation of the original packaging. Merge is thrilled to make these records globally available for the first time since their original release in 1981. Pitchfork described "Tally Ho!" as "a classic of immense proportions, from its Velcro melody, absurdly mixed garage organ and motorik beat, to the crusty, hiss-laden home eight-track recording that embodies it." Recorded in the middle of a New Zealand tour for a humble NZ$60, the song broke into the country's Top 20 singles chart at #19, surprising everyone including the band. Its B-side "Platypus" was recorded live at a show just days prior, capturing the band's buoyant and elastic sound on stage. The 7” reissue will be available on limited-edition silver Peak Vinyl and standard black vinyl, as well as limited clear vinyl exclusively in New Zealand.

                    Dead Skeletons

                    Dead Magick - 2021 Reissue

                      To celebrate the ten-year anniversary of ‘Dead Magick’, Fuzz Club Records are announcing a vinyl reissue of the debut album from Icelandic psychedelic art-rock project Dead Skeletons. In the decade since it was originally released on 11/11/11 via Anton Newcombe’s A Recordings label, ‘Dead Magick’ has come to be seen as one of this generation’s definitive works of neo-psychedelia and had an almost cult-like reverence attached to it. Tours around the UK, EU and USA, major international festival dates and critical acclaim soon followed the album’s release, and it also helped to catalyse a burgeoning underground psych scene to whom ‘Dead Magick’s occult sonic belligerence became a crucial and highly-lauded touchstone. A twelve-track masterclass in “transportative far-out guitar hymnals” (as described by The Quietus’ Luke Turner), the ‘Dead Magick’ double album was an exercise in spiritual rock’n’roll drones shaped by primitive fuzzed-out guitars, repetitive vocal mantras, distorted organs and crashing percussion.

                      Inspired by bandleader Jón Sæmundur Auðarson’s own diagnosis with HIV, the driving philosophy behind Dead Skeletons (and the wider ‘DEAD’ concept that Jón, aka Nonni Dead, has been exploring since 2003) is defined by the ‘He who fears death cannot enjoy life’ chant heard on the album’s declarative opening track, ‘Dead Mantra’. The underground hit was the first song released by Dead Skeletons – comprising Jón, Henrik Björnsonn (Singapore Sling), Ryan Carlson and Aislinn Van Kriedt (Asteroid #4) – and laid out the band’s intentions from the off: to use music as a means to inspire people to celebrate and cherish life unshackled from fears and anxieties over their mortality. “I created the DEAD concept in 2003 as an idea to use art as a therapy to overcome the fear of death and to enjoy life to the fullest. I had been dealing with the HIV virus since 1994 and wanted to use my art skills to explore this idea further and spread positive messages to help other people in the same position as myself”, the Reykjavik-based artist recalls.

                      TRACK LISTING

                      1) Dead Mantra
                      2) Kingdom Of God
                      3) Psychodead
                      4) Get On The Train
                      5) Dead Magick I
                      6) Ask Seek Knock
                      7) Ljósberinn
                      8) Lifðu!/Live!
                      9) When The Sun Comes Up
                      10) Yama
                      11) Dead Magick II

                      Paul Draper

                      Cult Leader Tactics

                        'Cult Leader Tactics' is a self-help manual on how to become a complete cult in the music industry & is his first solo album since 2017's much- lauded 'Spooky Action'.

                        'Cult Leader Tactics' offers a satirical analysis of the self- help manual genre. A guide on how you can get to the top of your chosen profession, or ahead in life & in affairs of the heart, by acting in a Machiavellian manner, employing dirty tricks or 'Cult Leader Tactics' to achieve your life goals. After experiencing these types of human behaviours & themes, the album arrives at the conclusion that the only true answer in life is love.

                        Paul plays most of the instruments on the album, including lead vocals, guitar & various Moogs & synthesisers. An album produced with long-time collaborator & acclaimed producer Paul 'P-Dub' Walton (Massive Attack, The Cure, Bjork) at Loft Studios, it also includes guest appearances from Porcupine Tree's Steven Wilson & Gam of the band 'Sweat' as well as featuring a 288- person C.L.T. Lockdown Choir.

                        'Cult Leader Tactics' offers a selection of Paul's most focused & ambitious work so far, a brilliantly dark commentary on an industry he is all too aware of.

                        TRACK LISTING

                        1. Cult Leader Tactics ( 04:07 )
                        2. Internationalle ( 03:23 )
                        3. Dirty Trix ( 03:48 )
                        4. Cult Leader Tactics In E-Flat Minor ( 01:32 )
                        5. You've Got No Life Skills, Baby ! ( 03:57 )
                        6. U Killed My Fish ( 03:44 )
                        1. Everyone Becomes A Problem Eventually ( 03:31 )
                        2. Annie ( 04:22 )
                        3. Talkin' Behind My Back ( 02:59 )
                        4. Omega Man ( Feat Steven Wilson ) ( 04:07 )
                        5. Lyin' Bout Who U Sleep With ( 05:01 )

                        Bonus 7" W/ Indies Exclusive LP
                        1. Omega Man ( Feat Steven Wilson ) ( Extended Mix ) ( 06:09 )
                        2. Annie ( Acoustic Version ) ( 03:31 )

                        Earthless

                        Night Parade Of One Hundred Demons

                          There’s an ancient Japanese legend in which a horde of demons, ghosts and other terrifying ghouls descend upon the sleeping villages once a year. Known as Hyakki Yagyō, or the Night Parade of One Hundred Demons, one version of the tale states that anyone who witnesses this otherworldly procession will die instantly—or be carried off by the creatures of the night. As a result, the villagers hide in their homes, lest they become victims of these supernatural invaders.

                          Such is the inspiration for the latest album from EARTHLESS. “My son is really into mythical creatures and old folk stories about monsters and ghosts,” bassist Mike Eginton explains. “We came across the ‘Night Parade of One Hundred Demons’ in a book of traditional Japanese ghost stories. I like the idea of people hiding and being able to hear the madness but not see it. It’s the fear of the unknown.”

                          Whereas 2018’s Black Heaven featured shorter songs and vocals from guitarist Isaiah Mitchell on much of the album—an unprecedented move for the San Diego power trio—their latest is a return to the epic instrumentals EARTHLESS made their unmistakable name on. Night Parade Of One Hundred Demons is comprised of two monster songs—the 41-minute, two-part title track and the 20-minute “Death To The Red Sun.”

                          The scenario that allowed for this kind of exploration was a stark contrast to that of Black Heaven. At that point, Mitchell was living in the Bay Area, which made it difficult for the band to get together and work on the type of long instrumental pieces they’re known for. But in March 2020, the guitarist moved back to San Diego. More specifically, he moved back the night the pandemic lockdown kicked in. Bad timing, perhaps—or maybe perfect timing.

                          Plus, they were all on the same page about not wanting to do another record with vocals. “In a way, I think this album was a reaction to our last record,” Eginton says. “Black Heaven was outside our comfort zone. I think it was a good record, but it was challenging to write songs in a more traditional verse-chorus-verse format. This one was more enjoyable. I’m sure we’ll do more vocal tracks in the future, but for the time being I see that album as a one-off.”

                          Given the record’s inspiration, it should come as no surprise that Night Parade of One Hundred Demons strikes a more sinister tone than the rest of the band’s catalogue. “It definitely has a darker, almost evil kind of vibe compared to stuff we’ve done in the past,” Rubalcaba says. “There’s more paranoia and noise, and some of Isaiah’s whammy-bar stuff kind of reminds me of these Jeff Hanneman moments in Reign In Blood, where it just seems like everything is going to hell. It’s pretty fun.”

                          Night Parade of One Hundred Demons was recorded in San Diego with Rubalcaba’s childhood friend Ben Moore, who’s worked with everyone from DIAMANDA GALAS and BURT BACHARACH to CEREMONY and HOT SNAKES. When Eginton wasn’t tracking his bass parts, he worked on the album’s incredible sleeve art. “He really dedicated himself to the project,” Rubalcaba says. “He’d be drawing in the studio with, like, a coal-miner’s lamp on his head while we were doing overdubs. He really knocked it out of the park.”

                          All told, Night Parade of One Hundred Demons isn’t just a return to the band’s traditional format—it’s a return to their very beginnings. “This album actually has the very first Earthless riff in it,” Eginton reveals. “We just recorded it 20 years after we wrote it. But we’re really happy with how this record came out. We feel it might be our finest to date.” 


                          Eels

                          Extreme Witchcraft

                            Eels release their fourteenth studio album Extreme Witchcraft on the band’s own E Works Records. Eels leader Mark Oliver Everett, aka E, co-produced the record with PJ Harvey producer and guitarist John Parish, marking the first time the two have recorded together since 2001’s Souljacker album Eels have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter E (Mark Oliver Everett), Eels have released 13 studio albums since their 1996 debut, Beautiful Freak. In 2008, E published his highly acclaimed book Things the Grandchildren Should Know and starred in the award-winning Parallel Worlds, Parallel Lives documentary about the search to understand his quantum physicist father, Hugh Everett III. 2020’s Earth To Dora album, received extensive critical praise, and was described as “their sweetest natured album ever” by The Independent and awarded four stars in MOJO and NME.

                            TRACK LISTING

                            1. Amateur Hour
                            2. Good Night On Earth
                            3. Strawberries & Popcorn
                            4. Steam Engine
                            5. Grandfather Clock Strikes Twelve
                            6. Stumbling Bee
                            7. The Magic
                            8. Better Living Through Desperation
                            9. So Anyway
                            10. What It Isn’t
                            11. Learning While I Lose
                            12. I Know You’re Right

                            Simone Felice

                            All The Bright Coins

                              Simone Felice has long dedicated his storied life to the arts, and perhaps his brushes with death during childhood as heard in the song “No Tomorrows” have proved an unlikely but powerful source of inspiration. All The Bright Coins is his latest, arguably greatest devotion to song and the power of the words within it. Yet, like all artists worth their salt, he claims not to have quite grasped what he’s been reaching for.

                              There had been no grand plans to write this new album. Simone was happy with his lot and becoming increasingly more successful as a frontline record producer and songwriter (The Lumineers, Bat For Lashes, Jade Bird, Matt Maeson f/ Lana Del Rey, and indeed, The Felice Brothers) but, he muses, sometimes the lure and pull of penning his own material becomes too strong to resist, most closely referenced in the track “Puppet” f/ Four Tet. “Year Around The Sun”, written on New Year’s morning in 2021, after a year of endless lockdowns and constant fear and confusion, is a recalibration of what’s real and what’s important.

                              With help from friends, music, laughter & time, we’ll find a rebirth. I began writing All The Bright Coins in 2019,” says Felice. “It had been several years since I had written anything of my own, as I’d felt called to produce records and write with other artists I love. Then one rainy morning I wrote ‘Puppet,’ a mainly autobiographical tune about the dark, empty, and farcical side of being an underground touring troubadour most of my adult life.

                              Part of me felt as though perhaps this should, and would, be the last Simone Felice song I’d ever put out, ‘Puppet stand, Puppet bow,’ a final curtain call. But then a few months later I wrote ‘Prisoner,’ and then‘ Bare Trees.’ The ‘Heat’ (that’s what myself and a few close friends call it: that sweet, painful, ungovernable whisper) was with me once again... All The Bright Coins is a richly rewarding and inspired sound, that makes a personal connection with the listener. It’s built squarely on a bedrock of emotion, utilizing an acoustic guitar, and occasionally a piano to back the distinctive voice. It’s a record that requires attention, a headphones record.

                              TRACK LISTING

                              1. Year Around The Sun
                              2. Moonlight Promises
                              3. The World's Fair Simone Felice Feat. Four Tet
                              4. Puppet Simone Felice Feat. Four Tet
                              5. 90s
                              6. No Tomorrows
                              7. All The Kings Of The Earth

                              Josephine Foster

                              Godmother

                                A beautifully observed baroque masterpiece, part dream pop, part futuristic psych-folk with ambient synths and Josephine Foster’s plaintive guitar. Godmother is a slowly unfolding song cycle that marries a myriad of previous musical escapades with electronic experiments.

                                Exploring new horizons on this record, it sees Foster at her most expressive and hypnotic. Now back home in the mountains of Colorado, Josephine’s 20-year journey to this new nirvana becomes enthralled further with a symphony of synths that sound like they are played in some neighbouring netherworld, through cotton gauze. It’s music that’s devotional, spiritual, a fitting soundtrack for any journey within or without, a means to experience places and vibrations beyond the boundary of time and space.

                                Discussing the record, Josephine explains “You may notice me travelling a bit further sonically from our precious earth, aspiring to rise into broader astral perspective, to contemplate the light and origins of it all, as I do believe there is a grand source that is the sum of it all, us all. Performing all the parts on this recording, you may sense me focussing gestures of my singing into the instrumentation, which is a very great relief indeed, as the voice has such grand dreams to be set free.”

                                TRACK LISTING

                                1. Hum Menina
                                2. Sparks Fly
                                3. Guardian Angel
                                4. Old Teardrop
                                5. Flask Of Wine
                                6. Gold Entwine
                                7. Dali Rama
                                8. Nun Of The Above
                                9. The Sum Of Us All

                                Fruit Bats

                                Sometimes A Cloud Is Just A Cloud

                                  Eric D. Johnson, the creative force behind Fruit Bats, doesn’t spend a lot of time looking in the rearview mirror. “Maybe it speaks to some Midwest thing,” he says. “Don’t be overly reflective or navel-gazing. And as a songwriter, you always want to be looking forward, not backward.” But with the 20th anniversary of his first Fruit Bats release (2001’s Echolocation) on his mind, it seemed as good a time as any to take stock of his work—and he’s doing so in the form of Sometimes a Cloud Is Just a Cloud: Slow Growers, Sleeper Hits and Lost Songs (2001–2021), a two-disc collection that tracks the history of Fruit Bats from its earliest days to right now.

                                  Thoughtfully compiled by Johnson himself, this set is split in two distinct halves. Set in reverse chronological order, the first disc cherry-picks from Fruit Bats’ official releases, including fan favorites “Humbug Mountain Song” from 2016’s Absolute Loser and “The Bottom of It” from his 2019 Merge debut Gold Past Life alongside some of Johnson’s more personal choices like “Glass in Your Feet” from Echolocation. “I was 25 when I made that record,” Johnson remembers. “I was even younger than that when I wrote that song. I think I hadn’t yet learned to write from the heart.

                                  I was trying to create a sound. It wasn’t even so much about the song at that point.” To emphasize both his reticence at dwelling on the past and to showcase how far he has grown as a songwriter, the first disc kicks off with a brand-new track, “Rips Me Up.” Recorded with Josh Kaufman, who helped produce Fruit Bats’ 2021 full-length The Pet Parade, the song is a soulful strutter about, as Johnson says in the liner notes for this set, how love “paralyzes and wounds us.” If the first disc of this set is “the collection that you buy for your friend that’s Fruit Bats curious,” according to Johnson, the second disc is for longtime fans that want a deeper dive into Fruit Bats lore. To put this half of Sometimes a Cloud Is Just a Cloud together, Johnson dug into several hard drives’ worth of material. Included here are lovely early versions of “Rainbow Sign” and “The Old Black Hole,” recorded to a Tascam 4-track just as Fruit Bats was becoming a reality. There’s also a rambling take on the Steve Miller Band’s classic rock mainstay “The Joker,” and some wonderful never-before-heard original tunes.

                                  For Johnson, two of the most exciting tracks are “WACS” and “When the Stars Are Out,” both recorded during the sessions for 2011’s Tripper. The former is a standout for an appearance by Dinosaur Jr.’s J Mascis who applies a perfect psych-soul solo to the mix. The latter features another special guest, the late, great Richard Swift on piano. “I didn’t even know Richard was on that song until I was approving the masters,” Johnson says. “This was before his production career had really taken off. You could just bring him in for a session and he would just vibe out.”

                                  Even if Johnson had some internal debates about ruminating heavily on his past work in this way, what putting together Sometimes a Cloud Is Just a Cloud did is reassure him that trusting his musical instincts has served him well for these past two decades and will continue to do so well into the future. “I love how the best-laid plans are never what you think they’re going to be. I love the unpredictability of it. Recording and writing songs is often like, ‘Wow, that is not where I was expecting that to go.’ My whole career has been like that. This was not where I expected to go. But I mean that in a really good way.”

                                  TRACK LISTING

                                  LP 1 SIDE A

                                  1 Rips Me Up
                                  2 The Bottom Of It
                                  3 Cazadera
                                  4 Humbug Mountain Song
                                  5 Absolute Loser
                                  6 The Rock Doc

                                  SIDE B

                                  7 You’re Too Weird
                                  8 Flamingo
                                  9 Born In The ‘70s (Live In Portland)
                                  10 When U Love Somebody (Live At Spacebomb)
                                  11 Glass In Your Feet

                                  LP 2 SIDE C

                                  12 Without Any Airs
                                  13 Barely Living Room (Demo)
                                  14 Baby Bluebird (Waltz Demo)
                                  15 Hot Dogs
                                  16 WACS
                                  17 When The Stars Are Out
                                  18 Aces

                                  SIDE D

                                  19 The Joker
                                  20 Feather Bed (Demo)
                                  21 Goodnight Sun & Hello Moon
                                  22 Rainbow Sign (4-Track Demo)
                                  23 The Old Black Hole (4-Track Demo)

                                  Fucked Up

                                  Epics In Minutes

                                    Released only three years into their existence on CD only, it is re-mastered and made available on vinyl for the frst time. The songs here are the beginning of the long journey of Fucked Up's larger than life catalogue with sounds ranging from blown out hardcore punk recorded on four track cassette, to the glorious interlocking guitar parts and narrative lyric writing that would set the tone for the rest of their musical career.

                                    TRACK LISTING

                                    1. Colour Removal 
                                    2. What Could Have Been 
                                    3. Baiting The Public I 
                                    4. Baiting The Public II 
                                    5. Last Man Standing 
                                    6. Litany 
                                    7. Police 
                                    8. Circling The Drain 
                                    9. Reset The Ride 
                                    10. There Is A Light That Never Comes On 
                                    11. Generation+Red 
                                    12. Zezozose 
                                    13. Dance Of Death

                                    PJ Harvey

                                    Let England Shake - 2022 Reissue

                                      Reissue on vinyl of the eighth PJ Harvey studio album Let England Shake. The album was produced by PJ Harvey, Flood and John Parish and originally released in February 2011. Let England Shake features the singles ‘The Words That Maketh Murder’ and ‘The Glorious Land’ and was the second album in the catalogue to win the UK’s Mercury Music Prize. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of original co-producer John Parish.

                                      PJ Harvey

                                      Let England Shake - Demos

                                        Collection of unreleased demos of tracks written for the eighth PJ Harvey studio album Let England Shake, including demos of ‘The Words That Maketh Murder’, ‘The Glorious Land’ and ‘The Last Living Rose’. Features brand new artwork – the cover is a drawing by Polly, and the package also includes previously unseen photos by Seamus Murphy. Mastering by Jason Mitchell at Loud Mastering, under the guidance of longtime PJ Harvey producer John Parish.

                                        TRACK LISTING

                                        1LP
                                        Side 1
                                        Let England Shake - Demo
                                        The Last Living Rose - Demo
                                        The Glorious Land - Demo
                                        The Words That Maketh Murder - Demo
                                        All And Everyone - Demo
                                        On Battleship Hill – Demo
                                        Side 2
                                        England - Demo
                                        In The Dark Places - Demo
                                        Bitter Branches - Demo
                                        Hanging In The Wire - Demo
                                        Written On The Forehead - Demo
                                        The Colour Of The Earth - Demo

                                        1CD
                                        Let England Shake - Demo
                                        The Last Living Rose - Demo
                                        The Glorious Land - Demo
                                        The Words That Maketh Murder - Demo
                                        All And Everyone - Demo
                                        On Battleship Hill – Demo
                                        England - Demo
                                        In The Dark Places - Demo
                                        Bitter Branches - Demo
                                        Hanging In The Wire - Demo
                                        Written On The Forehead - Demo
                                        The Colour Of The Earth - Demo

                                        Jana Horn

                                        Optimism

                                          Optimism is the debut album from Jana Horn of Austin, Texas. Originally self-released in a small vinyl edition, now widely available. Horn says the LP, "seemed to come about indirectly, almost in passing, a feeling of being in-between things. I was really mobile at that time, living wherever... I had just discovered, late, Raymond Carver Broadcast, Sybil Baier, Annette Peacock, Richard & Linda Thompson, a short story called “Car Crash While Hitchhiking” by Denis Johnson. I had “Heart Needs a Home” in mind, “The Great Valerio;” I was just really moving through the world, hanging in the shadows of the people I wanted to be. Hoping, looking out, this is Optimism. I was looking for anything."

                                          TRACK LISTING

                                          1. Friends Again
                                          2. Time Machine
                                          3. Optimism
                                          4. Changing Lives
                                          5. Man Meandering
                                          6. Tonight
                                          7. A Good Thing
                                          8. Jordan
                                          9. Driving
                                          10. When I Go Down Into The Night

                                          Imarhan

                                          Aboogi

                                            For 20 years the Tuareg culture and music has fascinated the world. Their quasi-sacred poetic songs inspire western songwriters like KURT VILE or JOSÉ GONZALEZ, while the virtuosity of their guitar playing fascinates guitar heroes like JIMMY PAGE, and finally the spirituality and meditative hypnotism impresses electronic music producers like FOUR TET.With two albums, IMARHAN has become an emblem of the new Tuareg generation, breathing new life into “Assouf”, the desert blues.

                                            While most of current Tuareg productions are exiled to the United States, the group, led by Sadam, is part of their culture and their city, the capital of the Tuareg people, with an open door to the desert. By building their own studio in Tamanrasset Aboogi, Imarhan become the spokesmen of the young Tuareg lost generation (forgotten by Algerian, Nigerian and Malian governments).With their new album Aboogi, Imarhan manipulate the rights and ancestry of the Tuareg. By inviting the legendary Mohamed AtItlale aka Japonais (who has since, sadly, passed away) and the genius musician Abdallah Ag Alhousseyni, IMARHAN follows the heritage of TINARIWEN, the godfathers of Assouf. When they recorded with GRUFF RHYS of the SUPER FURRY ANIMALS, their brilliant and universal songwriting takes on every sense of the word. Finally, by inviting the Sudanese singer SulafaElyas, we understand that IMARHAN is open to all of Africa, defenders of the Tuaregs but above all spokesperson for the new African generation.


                                            STAFF COMMENTS

                                            Matt says: The equivalent to 'The DJ's choice of DJ'; Imarhan are the band of choice for outer-national music moguls like Gruff Rhys, Jose Gonzales and Four Tet. Assouf music from the Tuareg which you could say, Tinariwen brought to our attention many desert moons ago. This is evocative music that hits your heart and nourishes your soul.

                                            TRACK LISTING

                                            1. Achinkad
                                            2. Derhan
                                            3. Temet
                                            4. Tindjatan
                                            5. Asof
                                            6. Assossam
                                            7. Taghadart
                                            8. Laouni
                                            9. ImaslanN’Assouf
                                            10. Tamiditin
                                            11. Adar Newlan

                                            Johnny Foreigner

                                            Waited Up 'til It Was Light

                                              After 13 and a half inglorious years and a MILLION shows, Waited Up 'til It Was Light, that seminal johnny foreigner debut album, is FINALLY released on limited vinyl via Alcopop! Records, with much kindness to Best Before for letting it happen. Pressed on beautiful red/green ghost splatter wax with a few carefully chosen extra tracks - relive, relearn, rejoice. johnny foreigner are BACK baby. Waited Up 'til It Was Light 2008 press:"The best and most important record not only of this year, but possibly of this decade" - The Line of Best Fit "If you can't laugh at naming a song 'Salt, Pepa, and Spinderella', what can you laugh at?" - Consequence "Awash with striding, bubblegum-blowing cuts, this is an exhilarating and triumphant debut" - The Skinny "Brash, messy, gloriously noisy and tinged with moments of beguiling honesty" - NME "A defnite contender for home-grown debut of the year" - Drowned In Sound "Rebellious, cheeky, funny, loose, and musically solid" - Pop Matters

                                              TRACK LISTING

                                              1. Lea Room 
                                              2. Our Bipolar Friends 
                                              3. Eyes Wide Terrifed 
                                              4. Cranes And Cranes And Cranes And Cranes 
                                              5. The End And Everything After 
                                              6. Hennings Favourite 
                                              7. Salt, Peppa And Spindirella 
                                              8. Yes! You Talk Too Fast 
                                              9. DJs Get Doubts 
                                              10. Sometimes In The Bullring 
                                              11. Yr All Just Jealous 
                                              12. Absolute Balance 
                                              13. The Hidden Song At The End Of The Record 
                                              14. Champagne Girls I Have Known 
                                              15. The Houseparty Scene Is Killing You 
                                              16. I Heard, He Ties Up Cats 
                                              17. What Burlesque Won't Stand

                                              Kreidler

                                              Spells And Daubs

                                                In a year of the moon, Kreidler have produced the album Spells And Daubs. In a year of the moon – and in a year with 13 moons. Such years are known for not being the most comfortable.

                                                In September 2020 the band met for exploratory sessions and initial recordings in Düsseldorf, in the familiar settings of the Kabawil Theater. That already has a certain tradition. The impetus this time was a solitary gig in the conspicuously spacious surroundings of the (former) Philipshalle. In a year that threw everyone back on themselves. Over the winter Kreidler worked remotely, sifting through the material, arranging the pieces, adding textures and contours. They met again in the spring of 2021 for further recordings at the Uhrwerk Orange studio in Hilden, near Düsseldorf. That, too, has a certain tradition.

                                                From fifteen pieces they filtered out ten, and thus held an album in their hands. Then – and this is new – they took it to London, to Peter Walsh, so that he could mix the tracks.

                                                Daubs are in no doubt here. This is a tenfold of colourful-blotches-thrown-onto-canvas. Then a stepping back, contemplating, remixing paint, layering, overlaying, scraping free again elsewhere. And these spells are not devastating curses, rather they are enchanting incantations, a calling forth a spring without having to ban winter in a sombre masks. Spells And Daubs is a melodious interplay. Not that Kreidler neglect the rhythmic; their characteristic drive runs through all the pieces on Spells And Daubs. Perhaps it's like this: The beat is musicalised, the melody rhythmitised.

                                                Spells And Daubs is like a collection of short stories. Its ten pieces explore the same space drawn together by an overlaying arc. All of them have the length of a single, and each one has the potential of a single in the way the arrangements are laid out – so enticing is the melodic line and the beat. This succinctness was perhaps last heard on the 2000 eponymous Kreidler album. The drums are powerful with a light swing. The bass alternates beyond its functionality and its indicator just of the low frequency, swoops up and takes over the melodic lead. Perhaps most beautiful in the irresistible pop gems Arena, Unframed Drawings, and Revery. Aptly Alex Paulick moved to the fretless Bass – conjuring the spirit of Mick Karn.

                                                For all of their Krautrock attributions, Kreidler never tire of reminding us that their musical development stemmed form a love of British pop music. So you might say the co-op with Peter Walsh is a match made in heaven. His illustrious mixing and production skills have lifted works from Shalamar or Lynx to Heaven 17 to Scott Walker, Pulp or FKA Twigs into other spheres. Kreidler had previously collaborated with him in 2013 for two tracks (Snowblind, Escaped, BB169). On Spells And Daubs, Walsh's methods and magic are especially audible in the spatial production, with his hallmark blend of depth and punch. Spells And Daubs is wrapped up in an enigmatic black-and-white drawing by prolific artist and filmmaker Heinz Emigholz from his Basis of Make-Up series. Their ongoing collaboration feels like a constant now. The mutual interference of Heinz Emigholz's and Kreidler's universes started about ten years ago, when he expanded the album Den with seven videos.

                                                TRACK LISTING

                                                Side A
                                                A1 Tantrum
                                                A2 Toys I Never Sell
                                                A3 Dirty Laundry
                                                A4 Revery
                                                A5 Unframed Drawings
                                                Side B
                                                B1 Freundchen
                                                B2 Arise Above
                                                B3 Music Follows Suit
                                                B4 Arena
                                                B5 Greetings From Dave

                                                Dinked Edition Bonus Disc:
                                                Side C
                                                C1 Howling At The Third Moon
                                                C2 Moon
                                                Side D
                                                D1 Howling

                                                Jenny Lewis With The Watson Twins

                                                Lewis, Jenny With The Watson Twins - 2022 Reissue

                                                  Jenny Lewis’s first solo album from 2006. Known and loved by many as the front-woman of Rilo Kiley, Jenny's vocal and songwriting gifts have continued to blossom at a rapid rate since that band's first album in 2000. This may be her solo debut, but there's nothing virginal about it. The album was lovingly crafted together during short spurts of recording activity in the San Fernando valley, Portland, Oregon and Lincoln, Nebraska - due to the shared production duties of celebrated finger-picking guitar prodigy M Ward and Nebraska's resident production genius Mike Mogis. The magnificent backing vocals come courtesy of gospel singers Chandra and Leigh Watson (the Watson twins). Talented friends were roped in between tours and recording sessions and stand-out track a cover of the Travelling Wilbury's 'handle with care' - with its phenomenal sing-a-long crescendo features vocals shared equally by Jenny, M Ward, Conor Oberst and Ben Gibbard.

                                                  TRACK LISTING

                                                  Run Devil Run
                                                  The Big Guns
                                                  Rise Up With Fists!!
                                                  Happy
                                                  The Charging Sky
                                                  Melt Your Heart
                                                  You Are What You Love
                                                  Rabbit Fur Coat
                                                  Handle With Care
                                                  Born Secular
                                                  It Wasn't Me

                                                  The Magnetic Fields

                                                  The House Of Tomorrow

                                                    The House of Tomorrow EP celebrates 30 years in 2022. The House of Tomorrow EP marks the first release introducing vocals by Stephin Merritt.

                                                    Cast your mind back to notable landmarks of 1992. Outside the Twin Cities, Mall of America opened to the public. Frank Gehry’s enormous golden fish sculpture, El Peix, welcomed Barcelona Olympians. And The House of Tomorrow, a four-song 7” on a small indie label, ushered in a new era for The Magnetic Fields. When Susan Anway, who sang on early albums Distant Plastic Trees and The Wayward Bus, left the group, Stephin Merritt stepped up to the microphone. “This was my first time singing on record,” he recalls. He sought to sound simple, subtle, and unobtrusive, à la the Japanese concept of shibusa. “But now, listening back, I hear a little too much vocal influence from the Jesus and Mary Chain. (I really should move to Scotland. I belong there.)”

                                                    Likewise, the arrangements and production of The House of Tomorrow felt less polished overall than on its predecessors, even as the band’s sound was evolving. “I wanted to have rock instrumentation, plus cello (so ELO without keyboards), but everyone was tracked separately so there was no question of sounding like we were playing together,” explains Stephin. Instead, he chose to highlight the artifice. Voilà! “The drums are like Tusk only more so, the cello sounds like a synth, and the guitars might as well be programmed.” The House of Tomorrow rose in stature upon re-release on compact disc in 1996, with a new addition, “Alien Being” (previously relegated to the flip of the “Long Vermont Roads” single), boosting its modest track list from four songs to five. The limits of technology had stymied plans the first time: “You can’t fit five two-and-a-half–minute songs on a 7” record, even at 33rpm.”

                                                    From World’s Fairs and Disneyland to Tex Avery and Hanna-Barbera cartoons, visions of the home of the future have long been popular. Although this new vinyl edition of The House of Tomorrow includes an etching of Buckminster Fuller’s visionary D.I.Y. Dymaxion House, Stephin laments the sluggish pace of architectural innovation. What is his dream home? “I want to live in Barbarella’s spaceship, with my neighbors being the Jetsons, floating defiantly over Edinburgh Castle.”

                                                    Never before released as a 12”, this 30th anniversary remastered edition of The House of Tomorrow is available on opaque spring green vinyl (as well as basic black). But don’t press Stephin to discuss the color’s charms, please. “I had a sickly pea green bathroom in my East Village tenement, and I never got over it,” he reveals. “It’s okay on plants, but everywhere else, the browner it is, the less I hate it. My favorite shade of green is brown.”

                                                    TRACK LISTING

                                                    Side A
                                                    1 Young And Insane
                                                    2 Technical (You’re So)
                                                    3 Alien Being
                                                    4 Love Goes Home To Paris In The Spring
                                                    5 Either You Don’t Love Me Or I Don’t Love You
                                                    Side B
                                                    Etching……..

                                                    Marsden & Richardson

                                                    Marsden & Richardson

                                                      Russell Marsden and Emma Richardson first started writing songs together in their teens after meeting at school in their Southampton hometown. Forming Band of Skulls 17 years ago with drummer Matt Hayward, they went on to make five acclaimed studio albums together. Now, the pair have temporarily stepped away from Band of Skulls to focus on a new musical project they’ve been dreaming about since their earliest songwriting days.

                                                      The album covers the full breadth of human emotions, mining deeply into songs about human connection, vulnerability, loss, change, love, identity and forgiveness – as well as the future and hope. It’s vast in scope, something magnified by its grandiose cinematic feel that leans towards the soaring jazz arrangements of the 40s and 50s. The album’s strings were scored and directed by Tom Edwards, who had worked with Band of Skulls previously when he’d reimagined several of their songs. “When Tom sent back the first song, ‘Outsider’, it was a jaw-dropping moment for us to see what he’d done with it,” Emma says. “We challenged him to take inspiration from the incredible composers and arrangers from the 40s and 50s jazz era such as Nelson Riddle and Gordon Jenkins. Russell and I have always loved those records and the string arrangements from that time always stagger us and Tom got this entirely. What he did with the strings, time and time again blew us away.”

                                                      Nostalgia is another theme running throughout the album. The pair sight a Portuguese word  ‘Saudade’ which refers to the nostalgic feeling of longing for something that’s passed and is no longer around, but also looks forward with hope to the possibilities of the future. “This concept played on our minds,” Emma says, thinking the idea could be the thread which ties the album’s songs together. It’s seen well on ‘Mama’, which sees a character singing with nostalgia about memories from childhood and realising the love they had then will shape their own future. ‘Oh Forgiveness’ looks back on a difficult past but finds catharsis in looking forward and ‘That’s What Other People Do’ sees a couple finding a connection by revisiting memories from the past.

                                                      The album began to be put together just prior to lockdown; it was written and recorded in a new, home studio built in Russell’s basement. The studio was named Snook after John Snook who built the house in 1838. With the two playing almost all the instruments between them for the very first time.

                                                      The Snook studio freed the pair from time constraints and enabled them to perfect their songcraft and production. For the first time, Russell produced the album. “It was something that I always really had an interest in and always wanted to do,” Russell explains. “The situation kind of forced me to just do it – there was no way of meeting up with anybody or working with anyone else. We’d worked with some amazing producers in the past – Richard X, Gil Norton, Nick Launay and Ian Davenport. I’m grateful for the time I got to spend working alongside such talented people, yet it felt like I had them looking over my shoulder when I started work on my debut production. I spoke to Ian during the process, and I confessed, ‘I’m going to take on the role of producer “and he was like, ‘Oh, I always thought you’d do that Russell,’ which was actually very reassuring.”

                                                      Whilst this project is very much separate from Band of Skulls, it is still very much “running alongside” what the duo are doing now, according to Emma. “We wanted to look back to those records which have always inspired us, records with a strong songwriting duo like Nancy and Lee, Simon and Garfunkel. They created their own self-titled, self-contained sonic world and we wanted to do that with this album.

                                                      “We also wanted to celebrate our own songwriting partnership. We’re very proud of these songs and we hope they stand up for us forever. If someone wants to know what we can really do when writing a song, this album should be the place to look. We’re so proud of everything we’ve achieved.”

                                                      TRACK LISTING

                                                      1. Outsider
                                                      2. One More Question
                                                      3. Beautiful Love
                                                      4. Closer Together
                                                      5. Lonely Hearts
                                                      6. Mama
                                                      7. Oh Forgiveness
                                                      8. Sideways
                                                      9. That’s What Other People Do
                                                      10. Water
                                                      11. There Goes The Moon
                                                      12. Why Do You Have To Be So Beautiful

                                                      Charlie Megira

                                                      Da Abtomatic Meisterzinger Mambo Chic

                                                        On his 2000 debut, Da Abtomatic Meisterzinger Mambo Chic, Megira channels the optimism of post-war America, narcoleptic surf, and the Twin Peaks soundtrack into a lo-fi masterpiece all his own. Sung in both Hebrew and English, Mambo Chic moves at a deliberate pace, unconcerned by the traffic of the modern world and wrapped in a blanket of Tascam 4-track hiss. On “Tomorrow’s Gone” Megira achieves the feat of being so far back in time that he’s somehow living in the future and waiting for the rest of us to arrive.

                                                        TRACK LISTING

                                                        SIDE A
                                                        A1 Golgotha Rock
                                                        A2 Yesterday, Today And Tomorrow
                                                        A3 The Girl Who Was Frightened Of Ashtrays
                                                        A4 At The Rasco

                                                        SIDE B
                                                        B1 Hashahar Ha’ole
                                                        B2 Tomorrow’s Gone
                                                        B3 The Death Dance Of The Busty Hot
                                                        Lifeguard Instructor Babe
                                                        B4 The Avenging Wolf II

                                                        Anaïs Mitchell

                                                        Anaïs Mitchell

                                                          As funny as it may sound, Anaïs Mitchell has spent the past 15 years in some kind of hell. OK, not actual hell, but the multi-faceted world of Hadestown, a musical project she began in Vermont in 2006 that has grown into a Tony®- and Grammy®-award-winning Broadway phenomenon with touring editions now delighting audiences as far away as South Korea.

                                                          “I experienced so much joy working on Hadestown, but it just kept ramping up and up and requiring more and more attention,” Mitchell admits. “I had to become so single-minded and really put blinders on to my other creative life.” As it did for many artists, the COVID-19 pandemic unexpectedly offered Mitchell a blank slate to reconnect with her own music. The result is a new self-titled album made with close collaborators from Bon Iver, The National and her own band Bonny Light Horseman, Mitchell’s first collection of all-new material under her own name since 2012’s Young Man in America.

                                                          “I was nine months pregnant when the pandemic reached New York, so we made an 11th hour decision to leave and have the baby in Vermont,” Mitchell recalls. “We left the city and had the baby a week later, and then like everyone, we were in the midst of this unprecedented stillness. It felt like I could see behind me: oh, there’s New York City. There’s Hadestown. There’s my life with just one kid. A certain kind of stress and expectations. In Vermont, we moved onto my family farm and lived in my grandparents’ old house, with a new baby. I’d look at pictures on my phone from a few months earlier and wonder, whose life was that? This record, and the songs that are on it, came out of that time. I got into a flow again that I hadn’t felt in a really long time.”

                                                          Dubbed by NPR as “one of the greatest songwriters of her generation,” Mitchell is a master of the worlds of narrative folksong, poetry and balladry. Those talents are evident from the first moments of the new album, as Mitchell narrates what she calls “an unbearably romantic” trip over the Brooklyn Bridge colored by Bon Iver member Michael Lewis’ heartstring-tugging saxophone accompaniment. “Having left New York, I was able to write a love letter to it in a way I never could when I was living there,” she says. “It was like, fuck it. This is how I feel. There is nothing more beautiful than riding over one of the New York bridges at night next to someone who inspires you.”

                                                          Produced by Mitchell’s Bonny Light Horseman bandmate Josh Kaufman, the album proceeds to chronicle Mitchell’s reconnection with the Vermont roots that have been so formative in her life and music. “Bright Star” finds her making peace with the idea of being at peace in the familiar setting of her grandparents’ house, while “Revenant” was inspired by paging through a box of journals and letters belonging to herself and her grandmother — “a very pandemic activity,” she says. “That house is literally my happy place. I can picture myself as a kid, in this house, laying on the carpet with a sunbeam coming through the sliding glass door. There’s something about it that is really connected in my mind to my childhood and a very free, imaginative, creative time. “Revenant” has a lot to do with that house and reconnecting with my childhood self.”

                                                          Mitchell concedes that she tends “to be someone who thinks it has to be hard in order for it to be good or beautiful,” but that feeling has changed, partly thanks to her deep connection with musicians she’s met through the 37d03d collective established by The National’s Aaron and Bryce Dessner and Bon Iver’s Justin Vernon. During the pandemic, some of those artists participated in a “song a day” writing group — an idea Mitchell says is usually “totally opposite of how I roll. But it really helped me to gain access to some kind of trust and intuition and flow. I began a bunch of these songs while doing that.”

                                                          “It unlocked something that allowed me to finish a bunch of songs I’d been sitting on, and feeling a bit paralyzed about how to finish them,” she continues. “Because no one was touring, it’s not like I was playing them for anyone before we were in the studio. In other times, I’ve trotted things out in advance. Here, it was like, here’s all these brand new songs. Let’s discover what they can be. That was really exciting.”

                                                          That discovery process took flight at Dreamland Recording Studios outside Woodstock, N.Y., which Mitchell describes as “this weird, janky, beautiful church - it’s my favorite studio in the world.” Kaufman, Lewis and Big Red Machine drummer JT Bates formed a core band around Mitchell, while Aaron Dessner and Thomas Bartlett joined the sessions mid-week on guitar and piano, respectively.

                                                          After the appropriate COVID tests came back negative, “it was a pretty extraordinary feeling to hug, kiss and share the same space playing together,” Mitchell says. “We went into that world for a week and didn’t leave the studio for any reason. I felt very safe with all those guys. It was warm and joyful.”

                                                          Mitchell says this environment brought out unexpected details in the material, which was recorded almost entirely live together in the room. “Sometimes we tried separating things out, like vocals, but we always ended up back in the room together,” she says. Indeed, after spending the better part of a day recording overdubbed versions of “Little Big Girl” that nobody loved, the musicians gave up and tracked it again live. “We got so frustrated that we went in and I was like, I’m just going to sing this as hard as I fucking can. It felt like that’s what the song wanted to be,” Mitchell says. “It felt like all those songs wanted to be recorded as live as possible.” The exception to the rule was Nico Muhly's arrangements for strings and flute, which were added from New York City afterward.

                                                          Mitchell will debut the new material during various headline tours in the U.S. and Europe in 2022, at which she’ll be accompanied by players from the album. On stage, she can’t wait to further hone the sights, sounds and scenes that bring the songs to such vivid life. “I’ve spent a lot of time trying to write in the voice of other characters, especially with Hadestown. It’s fun for me, but these songs are not that,” she says. “Weirdly, they’re all me. The narrator is me. That’s why it felt right to self-title the album. It felt like after so many years of working on telling other stories, now here are some of mine.”

                                                          TRACK LISTING

                                                          Brooklyn Bridge
                                                          Bright Star
                                                          Revenant
                                                          On Your Way (Felix Song)
                                                          Real World
                                                          Backroads
                                                          Little Big Girl
                                                          Now You Know
                                                          The Words
                                                          Watershed

                                                          Odonis Odonis

                                                          Spectrums

                                                            On Spectrums, Odonis Odonis showcase the extreme ends of their musical margins. Embracing a love of ‘80s goth and darkwave melodicism while maintaining an industrial strength intensity, the dualities of their sound are revealed in a striking new light. With four albums under their belts, the Toronto based duo of Dean Tzenos and Denholm Whale have always followed creative impulses wherever they might take them. Yet while tracing their earliest experiments with surf-rock and shoegaze into more recent dabblings in abrasive EBM, they have never sounded as sonically boundless as this compilation of tracks. Beyond their recorded output, Odonis Odonis have earned a reputation for the ferocity of their live performances, combining cathartic aggression with danceable beats set to pulsating strobe lights and the addition of live drummer Phil Wilson.

                                                            Their 2017 album No Pop was described by Pitchfork as “ claustrophobic electronic music that sounds like the end of the world ,” while they have earned praise from influential sources such as NPR, FADER, Stereogum, and The Needle Drop. Odonis Odonis began as a solo recording outlet for Tzenos in 2010 before evolving into a noisy rock band formation. They have now stripped down to a core duo as the project celebrates a decade of activity. The social limitations of the pandemic found the pair of multi-instrumentalist producers forced to work completely from home for the first time, challenging themselves to step outside of the box and create music they may have shied away from in the past.

                                                            Tzenos describes their newfound process as cherry-picking elements from the angry and occasionally antisocial sound of past releases, but applying an extroverted approach. “This project is the start of the third chapter of the band's evolution,” says Tzenos. “I still feel like we have a lot more to explore musically and writing these songs lit the spark for a lot of new directions. The idea of doing something poppy is a stark contrast to our last record, but as long as the project remains fun and experimental it will keep growing. We’re more like the weird goth kids in the back of the club now.”

                                                            TRACK LISTING

                                                            01. Trust
                                                            02. More
                                                            03. Shadow Play
                                                            04. Impossible
                                                            05. Laced In Leather
                                                            06. A Body
                                                            07. Get Out
                                                            08. Slow Drip
                                                            09. In The Fire
                                                            10. Salesmen

                                                            Pinegrove

                                                            11:11

                                                              Pinegrove’s new album 11:11 is an unqualified triumph, an album that seizes listeners with hook-filled songs imbuing feelings of warmth, urgency, and poetic beauty, even as it asks some of life’s big and difficult questions.

                                                              On previous Pinegrove recordings, band member Sam Skinner usually oversees mixing duties, but this time out, noted producer and former Death Cab for Cutie member Chris Walla has assumed the role. Calling previous album Marigold’s production “crisp and contained,” Hall, who co-produced 11:11 with Sam, sought more of a “messier” feel for these new songs. Most of the recording took place at two Hudson Valley facilities (Levon Helm Studios in Woodstock and The Building in Marlboro) with the final touches done side by side with Walla in Seattle. 11:11 features lush soundscapes, organs, Megan Benavente’s melodic and adventurous bass playing, Josh Marre’s signature guitar work & a special guest- Doug Hall, Evan’s father- playing piano on many tracks. The record sounds intimate, yet expansive.

                                                              “It spends equal time on optimism, community, reaffirming what we are and how it’s our duty to look out for one another” says singer Evan Stephens Hall. “There’s anger, love, hope and grief. The record has all of that.”

                                                              The opening mini epic track, “Habitat,” is a two-part masterpiece of texturalism, brimming with robust, percussive guitars and driven by unsettling shifts. Another key track is “Alaska,” – a happy-go-lucky romp of dense, bracing guitar rock, lurching out of the gate with tectonic force and boasting hooks at every turn. Later, the breezy, pastoral folk-tinged “Iodine” glistens with exquisite vocal harmonies, and “Flora” is a beautifully appointed apology to nature, its luxurious country rock feels connected to past masters like the Flying Burrito Brothers or early Wilco.

                                                              TRACK LISTING

                                                              Habitat
                                                              Alaska
                                                              Iodine
                                                              Orange
                                                              Flora
                                                              Respirate
                                                              Let
                                                              So What
                                                              Swimming
                                                              Cyclone
                                                              11th Hour

                                                              Primal Scream

                                                              Live At Levitation

                                                                Primal Scream’s fusion of indie pop and dance broke down musical boundaries and changed the face of British pop music in the '90s, helping to push dance and techno into the rock mainstream. Their lasting influence is crystallized across nine tracks, on Primal Scream - Live At Levitation. Recorded in 2015 at Levitation in front of underground rock fans from around the world, the LP marks the next release in The Reverberation Appreciation Society’s Live at Levitation series, which captures key moments in psychedelic rock history and live music in Austin, Texas--pulled from Levitation’s extensive archives. Amongst a lineup of classic Levitation bands--Thee Oh Sees, Night Beats, and frontman Bobby Gillespie’s old band, The Jesus And Mary Chain--The Primal Scream set shows the band’s undeniable creativity and unique place in the psych-rock canon, combining psychedelic garage rock, kaleidoscopic pop, and acid house to create a sound that’s simultaneously of its time and ahead of it. Known for their explosive live sets, the recordings show why Primal Scream is still considered one of the preeminent Scottish rock groups, with the Mercury-prize winning band blasting through tracks off of 1991’s touchstone album, Screamadelica, its boogieblues- influenced follow-up Give Out But Don’t Give Up, and the heavily electro-influenced cult favorite XTRMNTR. Making it an essential collection for any Primal Scream or psychrock aficionado.

                                                                TRACK LISTING

                                                                SIDE A
                                                                1. Jailbird
                                                                2. Accelerator
                                                                3. Kill All Hippies
                                                                4. Burning Wheel
                                                                5. Shoot Speed / Kill Light

                                                                SIDE B
                                                                1. Higher Than The Sun
                                                                2. Country Girl
                                                                3. Loaded
                                                                4. Movin' On Up

                                                                Seafoam Walls

                                                                XVI

                                                                  Singer/songwriter and guitarist Jayan Bertrand, bassist Josh Ewers, electronic drummer Josue Vargas and guitarist Dion Kerr have coined new genre “Caribbean Jazzgaze” to describe their wholly unique combination of jazz, shoegaze, rock, hip-hop, and Afro-Caribbean rhythms that is Seafoam Walls.Seafoam Walls caught the attention of cultish music and art communities around South Florida with a soundtrack befitting of their dark tropical paradise, and have remained a Miami secret since 2016. Bandleader Jayan began his journey as a musician listening to metal and classic rock. His first formal lessons after a year of self-taught practice came from a family friend and talented jazz guitarist, Bemol Telfort. Although jazz wasn’t his first love but opened his heart to explorations of free improvisation which led to an introduction to Dion, Josh, and Josue — all active members on South Florida’s jazz scene.

                                                                  Seafoam Walls released their first EP, titled R-E-F-L-E-C-T in 2018 and ROOT in 2019 via Bandcamp.The band recently attracted international rock n roll consciousness following a secret all-ages matinee in the gardens of North Miami’s Centre for Subtropical Affairs with DC hardcore photographer Susie J (Teen Idles, Minor Threat, et al.) and Sonic Youth’s Thurston Moore front row centre. The Miami indie band completed the eight-track album entitled XVI earlier this year. Norwegian sound artist Lasse Marhaug mastered the work, and the band will stream three singles through the summer and autumn months before releasing the complete album at the end of 2021 on seafoam-green coloured vinyl via Daydream Library Series

                                                                  TRACK LISTING

                                                                  1.Sound Check (1:52)
                                                                  2.You Can’t Have Your Cake And Ego Too (5:37)
                                                                  3.Ai (6:02)
                                                                  4.Dependency (2:36)
                                                                  5.You Always Said (5:45)
                                                                  6.Program (2:51)
                                                                  7.See (4:14)
                                                                  8.Rushed Rain (5:49)

                                                                  Silverbacks

                                                                  Archive Material

                                                                    In years from now, anyone seeking to make sense of what life was like during a global pandemic should extend their research beyond the newspaper clippings and dive into the art produced during the period. Archive Material - the aptly-titled second album by Dublin-based art-rock quintet Silverbacks - will make for a particularly illuminating listen on the subject. Capturing the absurd mixture of monotony and creeping disquiet experienced by many of us this past 18 months, it’s simultaneously sobering and wickedly droll.

                                                                    Spend more than five minutes in the company of brothers/band founders Daniel and Kilian O’Kelly and you’ll quickly realise this playfulness is hardwired. Reminiscing about their upbringing in Brussels, they gently rib one another about their early creative abilities. “When Kilian started writing music, around the age of 14/15, it was like, oh shit, that's better than what I've been doing - maybe I should latch on to him a bit,” older brother and lead singer Daniel chuckles. “And that’s still the case,” guitarist/vocalist Kilian bats back, grinning.

                                                                    They laugh too recalling how - prior to the existence of streaming services - they used their dad’s extensive record collection as a lending library, much to his disapproval. “The rule in the house was [you could borrow] just one CD at a time,” Daniel explains. “It was like borrowing a book: you’d check it out for a night and then the next day he'd be immediately chasing up on the CD asking, ‘Where is it?’ And then he’d fine us.”

                                                                    It was via these limited loans that the pair first discovered the work of Frank Zappa, the Beatles and Miles Davis, as well as some of the records and bands that would go on to inspire their output in Silverbacks specifically. “Television’s Marquee Moon was a big one,” Daniel recalls. “Pavement’s Crooked Rain, Crooked Rain was another. And then Sonic Youth generally.”

                                                                    The siblings’ songwriting partnership only began in earnest when Daniel moved to Kildare to study music in 2008, with the pair swapping ideas over email under the band name Mighty Good Leaders. Two years later, Kilian joined Daniel at college in Maynooth and - after changing their name to Silverbacks - they expanded the line-up, recruiting course mates Peadar Kearney on guitar and Emma Hanlon on bass, alongside a revolving cast of drummers. This arrangement continued until 2014, when Peadar left Ireland to live in France and the band reverted back to being a bedroom project. The current incarnation of Silverbacks officially began two years later, upon Peadar’s return to Dublin, with drummer Gary Wickham completing the line-up.

                                                                    The five-piece’s first release together - ‘Just For A Better View’ - arrived in 2017, instantly picking up praise from an array of blogs. 2018-single, the BBC 6 Music playlisted ‘Dunkirk’ extended their audience even further, showcasing Daniel’s sardonic lyrical style as he played a man having a mid-life crisis on the site of the former battleground. As a result of the single’s success, they gigged solidly for the next two years, touring Ireland extensively, and playing shows across the UK and Europe with Girl Band, in-between working on their full-length debut, Fad.

                                                                    Recorded with Girl Band-bassist Daniel Fox - who the band had initially admired for his production work with Paddy Hanna - its release was initially scheduled for November 2019, before being put back to March 2020 for logistical reasons. When the music industry was derailed by the pandemic, its release was postponed indefinitely. Frustrated, the band took control and opted to put it out in July 2020, against the advice of their label. Daniel explains, “We knew it was a risk, but just for our own sanity, we just needed to get it out there and move on to the next thing.

                                                                    It was a leap of faith that paid off, with the Irish Times declaring the 13-track collection “seriously exciting”, DIY Magazine calling it “an excellent example of how a debut should be done” and it getting nominated for the RTE Choice Music Prize Irish Album of the Year. Not that the band hung around to revel in the acclaim: they were already hard at work on the follow-up.

                                                                    Archive Material only cements Silverbacks’ status as one of Ireland’s most fascinating bands. Recorded at Dublin’s Sonic Studios in November 2020, with Daniel Fox undertaking production duties once more, it finds the band leaning into their early influences, delivering idiosyncratic indie-rock packed with intricate, Tom Verlaine-esque “guitarmony”. Other reference points for the record included Neil Young, Weyes Blood and - on ‘Wear My Medals’ in particular - Bradford Cox and Cate Le Bon’s collaborative record Myths 004.

                                                                    Where Fad found Silverbacks focused on recapturing the live experience rather than reveling in studio experimentation, Archive Material skillfully traverses the line between the two. As a unit, they replicate that irrepressible live energy via complex arrangements incorporating everything from wistful Rhodes (‘Carshade’) to congas and Gang Of Four-style bass (‘Different Kind Of Holiday’).

                                                                    Thematically, the record is every bit as rich, displaying an anthropological approach as exemplified by the album’s artwork. The initial premise for ‘They Were Never Our People’ came from a YouTube comment, portraying the decline of a town that has lost its footfall as the result of a bypass. Meanwhile, ‘Central Tones’ is an empathetic character study of someone seemingly content to trade off former glories, but secretly deeply unhappy.

                                                                    On several songs, the pandemic functions as a particularly effective prism through which to examine ideas of community. ‘A Job Worth Something’ finds Daniel reflecting on his real-life experiences working in insurance while his sister treated patients on a COVID ward, and the feelings of futility and guilt he felt at the time. ‘Different Kind Of Holiday’ was inspired by the ways in which previously uncommunicative neighbours bonded with each other during periods of enforced confinement. Throughout, his observations arrived drenched in the same surreal strain of gallow’s humour that many of us were forced to adopt to lighten the toughest moments of the lockdown.

                                                                    Daniel explains, “I can't remember who it was, but I saw a musician who said that they'd be keeping away from writing anything about the pandemic, because who wants to hear about that? But I’d much rather hear about an event via someone who actually lived through it, rather than someone writing about it retrospectively.”

                                                                    Keenly observed and vividly rendered, Archive Material is an eye-witness account of human resilience as much as it is a compelling indie-rock record. Future historians take note.


                                                                    TRACK LISTING

                                                                    Archive Material
                                                                    A Job Worth Something
                                                                    Wear My Medals
                                                                    They Were Never Our People
                                                                    Rolodex City
                                                                    Different Kind Of Holiday
                                                                    Carshade
                                                                    Central Tones
                                                                    Recycle Culture
                                                                    Econymo
                                                                    Nothing To Write Home About
                                                                    I’m Wild

                                                                    Sin Fang, Soley & Orvar Smarason

                                                                    Dream Is Murder

                                                                      Three of Reykjavík's most prolific and creative musicians have joined hands once again on this track-focused project. Each month in 2021 has seen a new digital single by the project, which are now all collected on this album. Some people say it's the hope that kills you, but statistically dreams are responsible for a lot more casualties. The second album from the Icelandic supergroup, not only acknowledges this but celebrates it. To dream is to slowly digest oneself from the inside.

                                                                      The Soundcarriers

                                                                      Wilds

                                                                        “We've always done things our own way and without any outside pressure,” says Paul Isherwood of The Soundcarriers. “Making music like this keeps things fresh, you always lose something and gain something as you go along but I think of it as just another chapter.”

                                                                        There have been many chapters in the life of the band to date and each one is defined by the singular approach and style of the group. Since forming in 2007 the band - comprised of Isherwood, Adam Cann, Dorian Conway and Leonore Wheatley - have released three albums that position them as a distinct and unique force in British music. Eschewing fads and trends that come and go, they have instead focused on honing their own sonic world that glides between woozy psychedelia, immersive grooves, subtle pop and rich, enveloping soundscapes. They’ve consistently moved at their own pace and on their own terms and on their fourth album, Wilds, they return after seven years since their last. “The sessions started in a cottage in the wilds so there's a literal meaning,” Isherwood says of the title. “But figuratively we've pretty much been in the wild for the last few years as far as a lot of people are concerned.”

                                                                        The recording was staggered over a few different locations, from cottages to primary schools, before finishing in an art gallery. “The beauty of recording in non-studio studios is you have the time for the unexpected to happen,” says Isherwood. “Which is really what keeps you coming back for more.” As a result of the timeframe of the album, it’s one that has changed and grown a lot over the years. “The record has been through a lot of stages,” says Isherwood. “It's almost been circular. We started off wanting to do an album of more shorter, concise tracks and then sort of sidestepped into some more spacey ambient ideas so in a way the album is kind of a synthesis of the two phases, overall carrying on with many of the themes and influences of the first three but with a more focused approach.”

                                                                        The opening ‘Waves’ leaps out the gate with an infectious hook kissed by a touch of French pop before leaping into a devilishly catchy chorus and into a mini prog-like flute breakdown. It sets the tone for an album that is rich in adventure and unpredictability that manages to balance experimentation with accessibility. ‘At The Time’ is almost unrelenting in its grinding charge, managing to create a groove that cracks and pulses at the same time, ‘Wilds’ is a gorgeously floating piece of music that skips along with strutting bass as Wheatley’s vocals merge melody with texture magically. The closing ‘Happens Too Soon gently stirs to life with an almost pastoral folk air to it, as it slowly builds into swirling psych pop rich in texture before reaching a rousing crescendo. “I feel this album sums up a lot of our influences,” says Isherwood. “There’s a strong folk influence in the sense of the actual songwriting but musically we wanted to create songs that were like those rare oddities you find on a bizarre charity shop record. A collection of "one offs" capturing a moment rather than trying to make a hit song.”

                                                                        This sense of it being an album of unique songs is clearly apparent throughout but it also maintains a natural flow and cohesion. This is something that stems from the band’s approach to songwriting for the record. “A lot of the tracks started with a feel or groove,” says Isherwood. “Then building it into a more concise arranged piece. We were conscious that we didn't want the recording to sound too over-polished so although a lot of the tracks were quite painstaking in how they evolved we wanted the actual recording to be quite raw and not be reliant on cutting things up or overly editing things. We wanted it to sound natural rather than perfect.”

                                                                        TRACK LISTING

                                                                        1. Waves
                                                                        2. Traces
                                                                        3. At The Time
                                                                        4. All These Things
                                                                        5. Falling Back
                                                                        6. Saturate
                                                                        7. Driver
                                                                        8. Wilds
                                                                        9. Happens Too Soon

                                                                        Spellling

                                                                        The Turning Wheel

                                                                          Red velvet curtains draw back to reveal a cosmic wheel of fortune, floating in the deep black star-studded theater of infinite space. A whirl of timbres, personalities, and stories. The Turning Wheel revolves around themes of human unity, the future, divine love and the enigmatic ups and downs of being a part of this carnival called Life.

                                                                          Venturing to push the boundaries of her primarily synth-based work, Spelling took on the ambitious task of orchestrating and self-producing an album that features an ensemble of 31 collaborating musicians. The Turning Wheel incorporates a vast range of rich acoustic sounds that cast Spelling’s work into vibrant new dimensions. The double LP is split into two halves - “Above” and “Below.” Lush string quartet shimmer combines with haunting banjo and wandering bassoon leads, as the album progresses from the more jubilant, warm, and dreamy mood of the “Above” tracks to the more chilling and gothic tone of the “Below” tracks. This progression is anchored by Spelling’s familiar bewitching vocal style that emphasizes the theatrical and folkloric heart of her songwriting.

                                                                          TRACK LISTING

                                                                          1. Little Deer (5:39)
                                                                          2. Always (5:15)
                                                                          3. Turning Wheel (3:33)
                                                                          4. The Future (3:28)
                                                                          5. Awaken (4:32)
                                                                          6. Emperor With An Egg (3:09)
                                                                          7. Boys At School (7:29)
                                                                          8. Legacy (3:52)
                                                                          9. Queen Of Wands (5:22)
                                                                          10. Magic Act (5:41)
                                                                          11. Revolution (6:00)
                                                                          12. Sweet Talk (3:34)

                                                                          The Spitfires

                                                                          A Thousand Times - 2022 Repress

                                                                            The album is the follow-up to the critically acclaimed debut ‘Response’ which saw the band enter high in the UK Album Charts and reach #6 in both the independent and vinyl charts, with their recent single ‘So Long’ charting at #1 in UK Vinyl Singles Chart. Building on the success they’ve managed to establish so far, ‘A Thousand Times’ looks certain to cement their reputation as one of the most vital young bands of their generation. Their work ethic and powerful song-writing mixed with their acute social commentary and lack of mainstream industry support has made this fiercely independent band one of the most popular underground success stories in the UK today. This DIY attitude and independent spirit has earned them a dedicated following and sold out shows across the whole of the UK and Europe. Across the 10 tracks on ‘A Thousand Times’ it’s possible to detect a sharper, deeper vision for the band and a more honed song-writing craft than we’ve previously seen. Indeed, first single ‘So Long’ was a taste of things to come, reaching number one in the UK Vinyl chart. The classic pop theme is carried into the title track and the stunning ‘On My Mind’ with tracks like ‘Day to Day’ and ‘Return To Me’ showing a natural progression in style, whilst the thrilling ‘I Don’t Even Know Myself’ shows influence from dub, reggae and ska, all hinting at bigger things (and venues) to come. All songs are written by Billy Sullivan and the album is produced by Tom Pullen at CDS Studios in Chelmsford.

                                                                            TRACK LISTING

                                                                            A1. A Thousand Times
                                                                            A2. Last Goodbye
                                                                            A3. Day To Day
                                                                            A4. Open My Eyes
                                                                            A5. On My Mind
                                                                            A6. So Long

                                                                            B1. I Don’t Even Know Myself
                                                                            B2. The Suburbs (We Can’t Complain)
                                                                            B3. Return To Me
                                                                            B4. On My Mind (Reprise)
                                                                            B5. A Better Life

                                                                            St. Paul & The Broken Bones

                                                                            The Alien Coast

                                                                              Produced by Matt Ross-Spang, and featuring eleven new, original songs, The Alien Coast is the first SPATBB album tracked in the band’s hometown of Birmingham, AL. The arrangement allowed the octet to spend more time and tap a broader creative community than ever before, resulting in their most ambitious work to date.

                                                                              Led by singer and lyricist Paul Janeway - a former bank teller and preacher-in-training who learned to sing in his church choir - the octet explore thrilling new territory on The Alien Coast, a fever dream convergence of soul and psychedelia, stoner metal and funk, animated by the very “fire and brimstone” which Janeway invokes in the album’s opening line. Unlimited studio-time allowed individual members of the band to experiment with synths and samples on The Alien Coast, and even collaborate with Birmingham beatmaker and hip-hop artist Randall Turner.

                                                                              Janeway cites a similarly disparate range of influences that wove their way into the writing for The Alien Coast, from Greek mythology and dystopian sci-fi, to works of art like Bartolomé Bermejo’s Saint Michael Triumphs over the Devil and 17th century Italian sculpture, to colonial-period history books. “The title actually came from reading about the history of the Gulf of Mexico, which is home for us,” he recalls. “When the settlers—or invaders, really—first came to the Gulf Coast they couldn’t figure out what it was, and started referring to it as the Alien Coast. That term really stuck with me, partly because it feels almost apocalyptic.”

                                                                              TRACK LISTING

                                                                              3000AD Mass
                                                                              Bermejo And The Devil
                                                                              Minotaur
                                                                              Atlas
                                                                              The Last Dance
                                                                              Ghost In Smoke
                                                                              Alien Coast
                                                                              Hunter And His Hounds
                                                                              Tin Man Love
                                                                              Popcorn Ceiling
                                                                              Love Letter From A Red Roof Inn

                                                                              Subway Sect

                                                                              Moments Like These

                                                                                'Moments Like These', the new album from Subway Sect, produced by Mick Jones and featuring the 1981 Subway Sect Line-Up, Vic Godard with Sean Mclusky, Chris Bostock, Johnny Britton, & DC Collard and guest appearances by Mick Jones, Pete Williams, Terry Edwards And Simon Rivers.

                                                                                Sukhdev Sandhu runs a publishing imprint Texte und Töne in New York. The LP, the imprint's first, is also the first-ever Subway Sect record to come out in the States. (Perhaps unsurprisingly: they did have a song called U.S. Cunts!) It's been produced by Mick Jones of The Clash. (A White Riot '77 reunion of sorts.) ‘There’s a certain element of unspoiltness about the whole thing and that’s what really appealed to me about it.’ Mick Jones MOJO.

                                                                                ‘This is Vic reflecting on a lifetime in the music business. It sounds like a record that he had to make and is perfect for now. When I was a kid, I used to make up my fantasy punk band with members from different bands and they almost always contained Vic Godard and Mick Jones. The songs are as good as it gets and with Mick Jones producing and playing piano, what more do you need?’ Jim Reid, Jesus and Mary Chain.

                                                                                ‘The Subway Sect story is one of the strangest, and therefore one of the best. Vic Godard indicated ways that pop should go. He dropped hints, left clues. It is all there.’ Kevin Pearce.

                                                                                ‘Vic's always walked his own path. He's a model of independence. No wonder that he's recorded for some of the best UK independents (Rough Trade, el, Postcard). Years ago, when I was writing a book about nocturnal London, he took me on a postal round with him, all the while telling me funny stories about some of the prog rock aristos whose mail he delivered, and enthusing about the latest hip hop and bhangra he was listening to. Asked by Time Out to write an essay about my favourite Londoner, I wrote it about Vic. Now, in summer 2021, I'm very happy to help release Moments Like These. It's about thinking back and thinking forward, about walking your own path. It's got soul, swagger and swing. Vic Godard: always onward!’ Sukhdev Sandhu.

                                                                                ‘It was an accident really as Sukhdev wanted to put What's the Matter Boy out until I told him I'd just recorded a new LP. I'd been in discussions with loads of record labels but they all wanted to get my back catalogue digital rights and weren't into the idea of putting out a new LP. I thought it was on course to be my 2nd lost album until the phone calls with Sukhdev.’ Vic.

                                                                                TRACK LISTING

                                                                                SIDE 1
                                                                                A1. Since The '80s
                                                                                Simon Rivers - Organ
                                                                                Vic Godard - Guitar
                                                                                Mick Jones, Simon Rivers, Johnny Britton, Chris Bostock, Sean McLusky -
                                                                                B/vs

                                                                                A2. The Place We Used To Live
                                                                                Mick Jones - Piano
                                                                                Simon Rivers - Piano
                                                                                Vic Godard - Guitar
                                                                                Simon Rivers, Chris Bostock, Johnny Britton - B/vs

                                                                                A3. M.I.P.P (managing The Inter-product Pipeline)
                                                                                Vic Godard - Guitar
                                                                                Sean McLusky, Vic Godard, Johnny Britton, Chris Bostock - Chant

                                                                                A4. Commercial Suicide Man
                                                                                DC Collard - Piano
                                                                                Mick Jones - Percussion
                                                                                Chris Bostock, Johnny Britton - B/vs

                                                                                A5. Sharks 'n' Vipers
                                                                                Mick Jones - Piano
                                                                                Simon Rivers - Piano
                                                                                Vic Godard - Guitar
                                                                                Chris Bostock, Johnny Britton - B/vs

                                                                                A6. Footsteps On A Star
                                                                                Mick Jones - Piano
                                                                                Simon Rivers - Piano
                                                                                Terry Edwards - Baritone Sax
                                                                                Vic Godard - Guitar
                                                                                Mick Jones, Chris Bostock, Johnny Britton, Simon Rivers - B/vs

                                                                                B1. Bossa Nova Boy
                                                                                Mick Jones - Keyboards
                                                                                Vic Godard - Electric Piano & Guitar
                                                                                Mick Jones, Chris Bostock, Johnny Britton - B/vs

                                                                                B2. Juke Box
                                                                                Mick Jones - Piano
                                                                                Simon Rivers - Electric Piano
                                                                                Vic Godard - Electric Piano & Guitar
                                                                                Terry Edwards - Baritone Sax
                                                                                Chris Bostock, Johnny Britton - B/vs

                                                                                B3. How High The Walls?
                                                                                Mick Jones - Piano
                                                                                DC Collard - Organ
                                                                                Simon Rivers - Electric Piano
                                                                                Vic Godard - Electric Piano & Guitar
                                                                                Chris Bostock, Johnny Britton - B/vs

                                                                                B4. Jelly Legs
                                                                                Mick Jones - Percussion & Clavinet
                                                                                Sean McLusky, Chris Bostock, Vic Godard - B/vs

                                                                                B5. She Looks Sad
                                                                                Mick Jones - Piano
                                                                                Simon Rivers - Banjo
                                                                                Vic Godard - Guitar & Organ

                                                                                B6. Time Shoulda Made A Man O' Me
                                                                                DC Collard - Piano
                                                                                Pete Williams - Clarinet
                                                                                Mick Jones, Chris Bostock, Johnny Britton - B/vs

                                                                                Sunn O)))

                                                                                Metta, Benevolence. BBC 6Music : Live On The Invitation Of Mary Anne Hobbs'

                                                                                  To enter the legendary John Peel studios was to enter a temple of music and experimentation, liberty in ideas and sound. The band was nearing the end of a long touring year around the Life Metal and Pyroclast albums.

                                                                                  SUNN O))) had developed the compositions extensively, embracing the formative concepts of the Life Metal album conceptually and emotionally, but actualised and evolved into vast, open and bright hypersaturated arrangements. Particularly the pieces the band chose to perform on this recording: Troubled Air and Pyroclasts. The former enriched into a total aspect of the band's ethos and form in many ways, and Pyroclasts had evolved to become all-inclusive radiation of O))).

                                                                                  The radiation embraces collaboration and freedom of interpretation by each player, within a structural format of the massive monuments of sound and distortion which define SUNN O))). Anna Von Hausswolf and her band had accompanied SUNN O))) on the UK leg, and Anna joined SUNN O))) in the studio on synths and with her tremendous voice on the Pyroclasts pieces.

                                                                                  Stephen O’Malley (Electric Guitar, Minimoog Model D synthesizer)
                                                                                  Greg Anderson (Electric Guitar, Sequential Circuits Prophet-5 synthesizer)
                                                                                  Tos Nieuwenhuizen (Moog Rogue synthesizer)
                                                                                  Stephen Moore (Trombone, Roland Junior-106 (mod) & Nord Stage (gaffed black) synthesizers)
                                                                                  Tim Midyett (Electric Bass Guitar, Roland Juno-106 synthesizer)
                                                                                  Anna von Hausswolff (Voice & Nord C2D synthesizer on Pyroclasts F & C#)


                                                                                  TRACK LISTING

                                                                                  CD Tracklist:
                                                                                  1. Pyroclasts F 15.08
                                                                                  2. Pyroclasts C# 14.11
                                                                                  3. Troubled Air 31.44

                                                                                  Vinyl Tracklist:
                                                                                  A: Pyroclasts F 15:08
                                                                                  B: Pyroclasts C# 14:11
                                                                                  C: Troubled Air 00:00-19:00
                                                                                  D: Troubled Air (continued) 19:00-31:44

                                                                                  Tropical Fuck Storm

                                                                                  Deep States

                                                                                    Recommended If You Like: The Slits, Amyl & the Sniffers, Sonic Youth, Lightning Bolt, Captain Beefheart, The Drones / Gareth Lidiard, black midi, The Birthday Party / Rowland S. Howard, Bad Brains.

                                                                                    Most of us have lived some inner Tropical Fuck Storm over this past year and a half. Even for a band that’s made a career out of crafting songs attuned to political and social crisis, there was a new bleak in the air for Tropical Fuck Storm, what the band calls “give-a-fuck fatigue.” The third album from the avant-punk quadaptly titled Deep States mines familiar ground as well as new cultural terrains, while digging deeper into the subjective state of contemporary panic.

                                                                                    While not quite a protest album, Deep States comes complete with Q drops, nods to the January 6th Capitol Riot, a riff on pizzagate, MAGAs squaring off with Antifas, waterboarded Martians, dangerous cults from Heaven’s Gate to The Shining Path and, not to be outdone, Romeo agents who bed us at night only to betray us by morning. We live in a world in which the bizarre has become the normative, and Tropical Fuck Storm plumbs that paradox. That said, the band is far too wary of the self-importance attached to songs in the didactic mode.

                                                                                    “We make pop records,” frontman Gareth Liddiard says, “that don’t deny we’re all in a bit of trouble here.” What makes Tropical Fuck Storm so great is the intersection between their dark but satiric storytelling and musical arrangements intent on perverting received canons and wisdoms. These are songs as experiment, advancing and retreating at their own idiosyncratic, deeply unsettling pace. They hang on the slant beat and slide into jazzy, distortion-packed jams so tumultuous they’d make Charlie Mingus proud. Musically, Deep States goes wherever it wants, riffing on pop, R&B, Talking Heads-style new wave, Delta blues, Tom Waits, and some of the band’s hip-hop favorites such as Wu-Tang Clan and Missy Elliot. Barriers aren’t just broken, they seem to have completely fallen away.

                                                                                    In this present moment, parts of the world are opening up, or trying to. But Tropical Fuck Storm is here to remind us that many of our most urgent political and social problems have been around a long time now. Same as it ever was, as another genre bending band once sang. As the signs of the latest crisis subside, and the dull ache of awareness with it, Deep States is here to remind us that there is no foreseeable end to human folly, nor, fortunately, to the creativity that resists it. Over the past few years we’ve all heard the noise in our own heads. Tropical Fuck Storm has made music of it.

                                                                                    TRACK LISTING

                                                                                    The Greatest Story Ever Told
                                                                                    G.A.F.F.
                                                                                    Blue Beam Baby
                                                                                    Suburbiopia
                                                                                    Bumma Sanger
                                                                                    The Donkey
                                                                                    Reporting Of A Failed Campaign
                                                                                    New Romeo Agent
                                                                                    Legal Ghost
                                                                                    The Confinement Of The Quarks

                                                                                    Jeff Tweedy

                                                                                    Chelsea Walls

                                                                                      Soundtrack from Academy Award-nominated actor Ethan Hawke’s 2001 film.

                                                                                      Songs written by Wilco’s Jeff Tweedy with the score performed by Tweedy and Glenn Kotche Featuring two previously unissued bonus tracks. Includes performances by Wilco, Billy Bragg, Robert Sean Leonard, “Little” Jimmy Scott, and more.

                                                                                      Packaging features new liner notes from Ethan Hawke, Glenn Kotche, and a conversation between Jeff Tweedy and Grammy®-winning set producer Cheryl Pawelski “It was pivotal for me. There was a burst of creativity that continues to this day because I took the last remaining guardrails off of what I’d been willing to allow myself to do.” –Jeff Tweedy

                                                                                      The same year of his Oscar®-nominated performance in Training Day, Ethan Hawke made his full-length film directorial debut with Chelsea Walls (starring Kris Kristofferson, Uma Thurman, Vincent D’Onofrio, Robert Sean Leonard, and more). A fan of Wilco, Hawke approached Jeff Tweedy about scoring the film, and Tweedy agreed. Around this time, Tweedy had collaborated with musician and producer Jim O’Rourke (Sonic Youth, Stereolab) for a special live performance. As fate would have it, O’Rourke had been working with Glenn Kotche, and O’Rourke introducing Tweedy to Kotche would lay the groundwork for the trio’s work together on the debut album by their band, Loose Fur. Tweedy also asked Kotche to work with him on an improvised soundtrack to the movie he had agreed to score.

                                                                                      TRACK LISTING

                                                                                      1. Opening Titles
                                                                                      2. Red Elevator
                                                                                      3. Promising
                                                                                      4. Frank’s Dream
                                                                                      5. When The Roses Bloom Again
                                                                                      6. Jealous Guy
                                                                                      7. The Wallman
                                                                                      8. The Lonely 1
                                                                                      9. Hello, Are You There?
                                                                                      10. Softly And Tenderly Jesus Is Calling
                                                                                      11. Finale
                                                                                      12. End Credits
                                                                                      13. Finale (Extended) [Bonus Track]
                                                                                      14. Promising [Bonus Track]

                                                                                      U.S. Velvet

                                                                                      U.S. Velvet

                                                                                        ‘U.S. Velvet’ is the debut release from the LAbased duo of the same name, made up of Zahara Jaime and Collin Davis. Their debut single is a raw, post-punk mission statement about the anxieties of living in the 21st Century.  The 12” single includes an instrumental version (exclusive to the 12”) and a dub version by ATOsigned artist, Pachyman. 

                                                                                        Collin is currently an engineer and producer at Stones Throw Studios in Los Angeles and Zahara is a touring musician with The Simps and Eyedress. Zahara and Collin both create solo music as Zzzahara and Ynes Mon respectively. The duo will release a video to accompany their ‘U.S. Velvet’ single, which features a cameo from Stones Throw’s founder Peanut Butter Wolf’s alter ego, Folerio. 

                                                                                        Dub version of the single by Pachyman, who just released his new album ‘The Return of…’ with ATO Records and opened two shows for Khruangbin.

                                                                                        TRACK LISTING

                                                                                        1. U.S. Velvet
                                                                                        2. U.S. Velvet (Pachyman Dub)
                                                                                        3. U.S. Velvet (Instrumental)

                                                                                        Jamie Webster

                                                                                        Moments

                                                                                          Never stuck for inspiration, people-powered and newly electrified singer-songwriter, Jamie Webster watched the world get weird and channelled every wicked turn into a new, 10-track album, Moments.

                                                                                          Melding together two short stories, one of Paul and the other Annabella, Webster’s renowned people-watching prowess, setting vivid pen pictures of neighbours and strangers in his native Liverpool to music, switches to pin-sharp short fiction for Going Out. Cutting across the strange absence of empathy for Britain’s young, Webster uses his characters to spell out the loss, frustration and rebellion of the twenty-somethings stopped in their tracks by recent circumstance and a tangle of incomprehensible rules.

                                                                                          Making observations before conclusions, the song keeps the media in Webster’s crosshairs (“…cutting the feed to the head news station”), but avoids barbed protest. Instead of using the power of guitar and pen to campaign, Webster the storyteller sings in the voice of two young people who are “tired of hearing that freedom comes with cost” to empathise with those whose imprisoned desires to love, work and party couldn’t be caged much longer.

                                                                                          Going Out was recorded at the legendary Rockfield Studios in the company of producer, Dave Eringa, during album sessions in early 2021. Affecting a new, multi-instrumental stage of ‘going electric’ like major influence, Bob Dylan, what lies in store on Moments – following 2020’s We Get By – is Webster’s lyrical gift sealed in the bold embrace of his band’s musicianship, from bluesy jams to fuzzed up anthems. Taking a distinct view from Covid-hit Britain, watching the wave hit and assessing the aftermath, the artist boldly claims that out of all the lockdown albums, this could be THE lockdown album.

                                                                                          Jamie says of the single and album: “People must pretend not to understand what it’s been like for young people, waiting to finally live what they are told are their best years only to be denied that life for so long. They’ve had so little support, their own pains weren’t addressed during lockdowns and nobody came out on their side or to change things, so ‘Going Out’ is about understanding why rules are broken. If people like this one and ‘Days Unknown’ then ‘Moments’ won’t disappoint them. It’s bigger, better and doesn’t compromise for a second to try and claim popularity over principles.”

                                                                                          Alongside the constant presence of Bob Dylan, Webster’s last 18 months has been spent channeling the incomparable artistry of David Byrne and the doomed bliss of Laurel Canyon’s creative heyday, including The Mamas and The Papas and Crosby, Stills, Nash and Young, whilst shaping the words and sounds of album number two.


                                                                                          STAFF COMMENTS

                                                                                          Andy says: Is right!

                                                                                          TRACK LISTING

                                                                                          1. Davey Kane
                                                                                          2. Days Unknown
                                                                                          3. Knock At My Door
                                                                                          4. Love Affair
                                                                                          5. Something In The Air
                                                                                          6. North End Kid
                                                                                          7. Moments
                                                                                          8. Going Out
                                                                                          9. What's Wrong?
                                                                                          10. What More?

                                                                                          Various Artists

                                                                                          Heavenly Remixes 3 - Andrew Weatherall Volume 1

                                                                                            Andrew Weatherall was Heavenly’s first true friend. By the time the label was born in the spring of 1990, he was already an inspirational sounding board, as well as a fellow traveller on the bright new road that stretched out ahead thanks to the massive cultural liberation of acid house. Back then, every energised meeting could be turned into a fortuitous opportunity in this burgeoning new underground economy. Bored of your job? Start playing records out! Start a club night! Get in the studio! Start a label! Just don’t stand still. Andrew would follow two of those commandments for the rest of his life, and he’d have a hand in the others at various points as well.

                                                                                            At the start of things, Andrew was a regular visitor to Capersville — the pre-Heavenly press office run by friend and label founder Jeff Barrett (soon to become Andrew’s manager). It was there that he famously picked up a copy of Primal Scream’s unloved second album and singled out a track that would later become Loaded, after being given an instruction to ‘fucking destroy’ it by the band’s Andrew Innes; it was there too that the idea to remix the first Heavenly release came about.

                                                                                            Andrew’s mix of that first Heavenly record is very much a product of its time. The World According To Sly and Lovechild is a swirling bass punch topped with a hypnotic marimba line and the kind of ecstatic diva vocal that you’d hear coming out of the speakers all night at post-Shoom clubs like Yellow Book. His take on the label’s next release — Saint Etienne’s Only Love Can Break Your Heart (A Mix of Two Halves) — would set the template for his next three decades of audio exploration. A drawn-out imperial dub, the track builds and builds with a moody intensity (partly down to the melodica played by Weather Prophets legend Pete Astor) that’s far more Kingston JA at dusk than Kingston-upon-Thames at kicking out time. It’s both a dancefloor record to get lost in and headphone psychedelia of the highest order — a perfect example of what he did better than anyone else.

                                                                                            Between 1990 and his untimely death in 2020, Andrew fed more Heavenly bands through the mixing desk than those of any other label. Consistently, he returned visionary music to the office, often in person for (at least) one ceremonial playback — a ritual that would involve the volume cranked up high and Andrew rocking back on his heels, eyes closed, lost in the alchemy of it all.

                                                                                            Each time, he would warp and twist originals into beautiful new shapes — elasticated club records that might evoke Detroit techno one second and Throbbing Gristle the next, before wheel-spinning into something akin to The Fall produced by King Tubby.

                                                                                            Andrew’s studio adventures would always be guided by that early advice to fucking destroy the source material. It’s why he was the first name that came up when remixes were discussed; the first number on the speed dial. Listening back to these remixes now — to thirty years of glorious outsider sounds — it’s more obvious than ever that Heavenly was blessed to have a friend like Andrew Weatherall. 


                                                                                            TRACK LISTING

                                                                                            Sly & Lovechild - The World According To Sly & Lovechild (Soul Of Europe Mix)
                                                                                            Mark Lanegan - Beehive (Andrew Weatherall Dub)
                                                                                            Flowered Up - Weekender (Audrey Is A Little Bit More Partial Mix)
                                                                                            Gwenno - Chwyldro (Andrew Weatherall Remix)
                                                                                            Saint Etienne - Only Love Can Break Your Heart (A Mix Of Two Halves)
                                                                                            Confidence Man - Bubblegum (Andrew Weatherall Remix)
                                                                                            Espiritu - Conquistador (Sabres Of Paradise No. 3 Mix)
                                                                                            The Orielles - Sugar Tastes Like Salt (Andrew Weatherall Tastes Like Dub Mix Pt.1 - Live Bass)

                                                                                            Various Artists

                                                                                            Heavenly Remixes 3 & 4 - Andrew Weatherall Volumes 1 & 2

                                                                                              Andrew Weatherall was Heavenly’s first true friend. By the time the label was born in the spring of 1990, he was already an inspirational sounding board, as well as a fellow traveller on the bright new road that stretched out ahead thanks to the massive cultural liberation of acid house. Back then, every energised meeting could be turned into a fortuitous opportunity in this burgeoning new underground economy. Bored of your job? Start playing records out! Start a club night! Get in the studio! Start a label! Just don’t stand still. Andrew would follow two of those commandments for the rest of his life, and he’d have a hand in the others at various points as well.

                                                                                              At the start of things, Andrew was a regular visitor to Capersville — the pre-Heavenly press office run by friend and label founder Jeff Barrett (soon to become Andrew’s manager). It was there that he famously picked up a copy of Primal Scream’s unloved second album and singled out a track that would later become Loaded, after being given an instruction to ‘fucking destroy’ it by the band’s Andrew Innes; it was there too that the idea to remix the first Heavenly release came about.

                                                                                              Andrew’s mix of that first Heavenly record is very much a product of its time. The World According To Sly and Lovechild is a swirling bass punch topped with a hypnotic marimba line and the kind of ecstatic diva vocal that you’d hear coming out of the speakers all night at post-Shoom clubs like Yellow Book. His take on the label’s next release — Saint Etienne’s Only Love Can Break Your Heart (A Mix of Two Halves) — would set the template for his next three decades of audio exploration. A drawn-out imperial dub, the track builds and builds with a moody intensity (partly down to the melodica played by Weather Prophets legend Pete Astor) that’s far more Kingston JA at dusk than Kingston-upon-Thames at kicking out time. It’s both a dancefloor record to get lost in and headphone psychedelia of the highest order — a perfect example of what he did better than anyone else.

                                                                                              Between 1990 and his untimely death in 2020, Andrew fed more Heavenly bands through the mixing desk than those of any other label. Consistently, he returned visionary music to the office, often in person for (at least) one ceremonial playback — a ritual that would involve the volume cranked up high and Andrew rocking back on his heels, eyes closed, lost in the alchemy of it all.

                                                                                              Each time, he would warp and twist originals into beautiful new shapes — elasticated club records that might evoke Detroit techno one second and Throbbing Gristle the next, before wheel-spinning into something akin to The Fall produced by King Tubby.

                                                                                              Andrew’s studio adventures would always be guided by that early advice to fucking destroy the source material. It’s why he was the first name that came up when remixes were discussed; the first number on the speed dial. Listening back to these remixes now — to thirty years of glorious outsider sounds — it’s more obvious than ever that Heavenly was blessed to have a friend like Andrew Weatherall. 


                                                                                              TRACK LISTING

                                                                                              Sly & Lovechild - The World According To Sly & Lovechild (Soul Of Europe Mix)
                                                                                              Mark Lanegan - Beehive (Andrew Weatherall Dub)
                                                                                              Flowered Up - Weekender (Audrey Is A Little Bit More Partial Mix)
                                                                                              Gwenno - Chwyldro (Andrew Weatherall Remix)
                                                                                              Saint Etienne - Only Love Can Break Your Heart (A Mix Of Two Halves)
                                                                                              Confidence Man - Bubblegum (Andrew Weatherall Remix)
                                                                                              Espiritu - Conquistador (Sabres Of Paradise No. 3 Mix)
                                                                                              The Orielles - Sugar Tastes Like Salt (Andrew Weatherall Tastes Like Dub Mix Pt.1 - Live Bass)
                                                                                              Audiobooks Feat. Andrew Weatherall - Dance Your Life Away (Andrew Weatherall Remix)
                                                                                              Saint Etienne - Heart Failed (In The Back Of A Taxi) (Two Lone Swordsmen Dub)
                                                                                              Doves - Compulsion (Andrew Weatherall Remix)
                                                                                              TOY - Dead & Gone (Andrew Weatherall Remix)
                                                                                              Confidence Man & Andrew Weatherall - Out The Window (Andrew Weatherall Remix)
                                                                                              LCMDF - Gandhi (Andy Weatherall Remix II)
                                                                                              Espiritu - Bonita Mañana (Sabres Of Paradise Remix)
                                                                                              Unloved - Devils Angels (Andrew Weatherall Remix)

                                                                                              Various Artists

                                                                                              Heavenly Remixes 4 - Andrew Weatherall Volume 2

                                                                                                Andrew Weatherall was Heavenly’s first true friend. By the time the label was born in the spring of 1990, he was already an inspirational sounding board, as well as a fellow traveller on the bright new road that stretched out ahead thanks to the massive cultural liberation of acid house. Back then, every energised meeting could be turned into a fortuitous opportunity in this burgeoning new underground economy. Bored of your job? Start playing records out! Start a club night! Get in the studio! Start a label! Just don’t stand still. Andrew would follow two of those commandments for the rest of his life, and he’d have a hand in the others at various points as well.

                                                                                                At the start of things, Andrew was a regular visitor to Capersville — the pre-Heavenly press office run by friend and label founder Jeff Barrett (soon to become Andrew’s manager). It was there that he famously picked up a copy of Primal Scream’s unloved second album and singled out a track that would later become Loaded, after being given an instruction to ‘fucking destroy’ it by the band’s Andrew Innes; it was there too that the idea to remix the first Heavenly release came about.

                                                                                                Andrew’s mix of that first Heavenly record is very much a product of its time. The World According To Sly and Lovechild is a swirling bass punch topped with a hypnotic marimba line and the kind of ecstatic diva vocal that you’d hear coming out of the speakers all night at post-Shoom clubs like Yellow Book. His take on the label’s next release — Saint Etienne’s Only Love Can Break Your Heart (A Mix of Two Halves) — would set the template for his next three decades of audio exploration. A drawn-out imperial dub, the track builds and builds with a moody intensity (partly down to the melodica played by Weather Prophets legend Pete Astor) that’s far more Kingston JA at dusk than Kingston-upon-Thames at kicking out time. It’s both a dancefloor record to get lost in and headphone psychedelia of the highest order — a perfect example of what he did better than anyone else.

                                                                                                Between 1990 and his untimely death in 2020, Andrew fed more Heavenly bands through the mixing desk than those of any other label. Consistently, he returned visionary music to the office, often in person for (at least) one ceremonial playback — a ritual that would involve the volume cranked up high and Andrew rocking back on his heels, eyes closed, lost in the alchemy of it all.

                                                                                                Each time, he would warp and twist originals into beautiful new shapes — elasticated club records that might evoke Detroit techno one second and Throbbing Gristle the next, before wheel-spinning into something akin to The Fall produced by King Tubby.

                                                                                                Andrew’s studio adventures would always be guided by that early advice to fucking destroy the source material. It’s why he was the first name that came up when remixes were discussed; the first number on the speed dial. Listening back to these remixes now — to thirty years of glorious outsider sounds — it’s more obvious than ever that Heavenly was blessed to have a friend like Andrew Weatherall. 


                                                                                                TRACK LISTING

                                                                                                Audiobooks Feat. Andrew Weatherall - Dance Your Life Away (Andrew Weatherall Remix)
                                                                                                Saint Etienne - Heart Failed (In The Back Of A Taxi) (Two Lone Swordsmen Dub)
                                                                                                Doves - Compulsion (Andrew Weatherall Remix)
                                                                                                TOY - Dead & Gone (Andrew Weatherall Remix)
                                                                                                Confidence Man & Andrew Weatherall - Out The Window (Andrew Weatherall Remix)
                                                                                                LCMDF - Gandhi (Andy Weatherall Remix II)
                                                                                                Espiritu - Bonita Mañana (Sabres Of Paradise Remix)
                                                                                                Unloved - Devils Angels (Andrew Weatherall Remix)


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