MAGIC MIX

indie

WEEK STARTING 20 Sep

Genre pick of the week Cover of Chastity Belt by Chastity Belt.

Chastity Belt

Chastity Belt

    Chastity Belt talks a lot about intention these days—how to be more present with each other. The four piece—Julia Shapiro (vocals, guitar, drums), Lydia Lund (vocals, guitar), Gretchen Grimm (drums, vocals, guitar) and Annie Truscott (bass)—is nine years deep in this, after all. It seems now, more than ever, that circuit is a movement of intentionality, one that creates a space inside which they can be themselves, among themselves. It’s a space where the euphoria of making music with your best friends is protected from the outside world’s churning expectations. It’s a kind of safe zone for the band to occupy as their best selves: a group of friends who love each other.

    Their fourth record, Chastity Belt, comes out of that safe space. After a restorative few months on hiatus in 2018, each member worked on solo material or toured with other bands. “So much of the break was reminding ourselves to stay present, and giving ourselves permission to stop without saying when were gonna meet up again,” says guitarist Lydia Lund. “It was so important to have that—not saying, ‘we’re gonna get back together at this point,’ but really just open it up so we could get back to our present connection.”

    Their experience navigating adult life within the strange seasons of the music industry has Chastity Belt orienting themselves towards whatever gets them to feel the most present with each other, in any part of the band grind. With the luxury of spending several weeks in the studio with Jay Som’s Melina Duterte, Chastity Belt was able to experiment. The new self-titled album is the work of the band playing “old songs, and trying new things on top of it,” like adding more dynamic harmonies and violin, says bassist Annie Truscott. Lydia, Gretchen, and Julia all share lead vocals on different tracks on the album. The result is their most sonically developed and nuanced record yet; one that’s not only a product of, but a series of reflections on what it means to take what you need and to understand yourself better.

    Many of Chastity Belt’s signature dynamics, from the silly to the sincere, have read as feminist gestures: the Cool Slut DGAF-iness, the shrugging off of the “women in rock” press gargle, the fundamentally punk act of creating music on your own as a woman, and being lyrically forthright. What the making of Chastity Belt reveals is that the band has tapped into a deeper tradition of women making art on their terms: the act of self-preservation in favor of the long game. In favor of each other. In this cultural moment, taking space like this to prioritize the love over the product seems progressive. Chastity Belt’s intentions have resulted in an album deeply expressive of four people’s commitment to what they love most: making music with each other.

    STAFF COMMENTS

    Barry says: We were big fans of 2017's 'I Used To Spend So Much Time Alone' here in the shop, and this newest outing is sure to generate even more of a buzz. Slightly less driven, and a little more meditative, this LP retains all of the thoughtful beauty of their previous work but with a more mature and weathered outlook. Gorgeous stuff.

    FORMAT INFORMATION

    Coloured LP Info: 400 copies on UK Light Green Transparent vinyl.

    Angelina

    Last Cigarette

      Opening doors from her home village in Ryde, Isle of Wight to Berlin’s biker bars and mountaintop cabins in France, Angelina’s debut album took her to places beyond imagination. Visceral second coming Last Cigarette, sees the self-taught songwriter stride further from isolation, to embrace collaboration whilst embarking upon a deeply-cleansing journey through swampy voodoo blues and a wildly unchained vision.

      “Last Cigarette’s spark emerged from a vision of Bessie Smith roaring around on a burnt-out motorbike, in some God forsaken desperate town…” she reveals. “A place where you live by your wits, the streets are full of memories that burn your heart, gates swing on rusty hinges, you choke on diesel fumes and witness apparitions of jujitsu vigilante gangs riding the wall of death with balls of fire belching out of exhaust pipes.”

      Capturing the sound and truth of her blues heroes Blind Willie Johnson, Ma Rainey, and Charlie Patton, Last Cigarette takes the old-time influence of Angelina’s critically acclaimed debut LP Vagabond Saint, and sees a tougher, meaner artist emerge. Anguished vocals tell tales of dangerous highways in smoky transit vans, a coal miner from Paul Benny’s night paintings, or any day that has turned to rat shit. Through raw riffs and crying lines of frustration, its hefty rock stomp could dislodge loose floorboards as she navigates dark clouds to unleash her own wildly turbulent tempest; “It’s lyrically weathered, bereft by lost love and darkness… migrating through anger, acceptance, relief and strength,” she says. “Many of the lyrics are a heart-torn reaction to a relationship breakup; it was a slow death, a tough but realistic chapter.”

      Music as therapy is a well-worn cliché but writing for self-preservation can offer the perfect distraction from life’s turmoil. Following a disciplined routine, Angelina quit her day job, sights set on perfecting her solo performance and exercising her emotional demons. Taking to her local coffee bar with acoustic guitar in tow, filled with fury and hot chocolate, she grew in creativity and confidence. “I wrote day and night as a detox; I changed my diet. I painted my house a different colour… I have a “Do Not Disturb, I’m Writing” notice pinned to my front door and just get on with it. Most songs were written in one draft, simple thumping blues chords. My voice led the way…I let it go where it wanted.”

      Riding the coastal breeze of her seaside dwellings, Angelina’s music is where nature and nurture meet. Growing up she’d listen to sea shanty bands, gospel, 20s jazz singers like Billie Holliday and the country blues of Mississippi Fred McDowell or Blind Willie Johnson favoured by her Chinese mother and English father. Yet, circumstance will always lend itself to creative opportunity. Vagabond Saint’s success lead to a European tour support for Duke Garwood, recording with Blow Monkeys’ Dr.Robert, and being invited to join Wonderful Sound and Monks Road Records’ Down the Willows collective (Angelina’s track ‘Golden Day’ is a favourite of BBC Radio’s Gary Crowley). Reuniting with Rupert Brown (drums percussion, auto harp, B.V’s) Last Cigarette is bolstered through engineering duo Boe Weaver (guitar, bass, keys), Barrie ‘Little Barrie’ Cadogan (electric and slide guitar), and The James Hunter Six’s Jason Wilson (double bass). Session players Joe Glossop (Keys) and Gary Plumley (Flute) plus 5 singers of the Peoples Choir of St. Louis, also feature.

      Between the distressed wood and velvet curtains of Boe’s boutique Studio Humbug on The Island – a golden-era space within an old water tower on the outskirts of Queen Victoria's Osbourne House estate - its glam cabin interior offered the perfect hideout for Angelina’s own band of outlaws to hatch their master plan. “Humbug is an apothecary of potions and spells, a laboratory where words and emotions conceive sound,” Angelina tells. “We breathe thoughts in and out like magic smoke rings, the air smells like an old leather suitcase. Sharing in the intense depths of musical thought and decision-making was like witnessing a mirage of genies moving round a Ouija board like whirling dervishes. I didn’t want the recordings to finish or to ever leave.”

      Last Cigarette is fierce. These songs have been stirring deep within, waiting for the right moment and have now awoken Angelina’s inner voice. Knowing her mind and living for music as seriously as her heroes, she is about to ‘Throw Petrol At The Sun’ and set it on fire.

      “In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

      Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it. 

      I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated - brought to life by humankind. Violent - insurmountable and wild beyond our control. Mild - delicious.
      This is perhaps the most concise body of work I have written to date. Having worked extensively throughout my musical life with dramatics, narrative, and ‘melody against all odds’, these tracks are the most direct and honest yet. The level of articulation in these tracks surpasses anything I have utilized before.”
      - Benjamin John Power.

      STAFF COMMENTS

      Barry says: Huge lurching arpeggios and cavernous percussion snaps glitch their way around a solid core of 16-bit reductions and skittering vocal shards. Drawing a flawless line between game soundtracks, rawkous EDM and the slowly building electronics of dancefloor trance or the incremental atmospheric accentuation of 70's prog. Indescribably mad, but thoroughly addictive.

      FORMAT INFORMATION

      Dinked Edition LP Info: • Exclusive numbered edition of 500 units only.
      • Exclusive pink coloured vinyl.
      • Exclusive tote bag.
      • Exclusive Sticker.
      • Exclusive print.

      Coloured LP Info: Indies only green vinyl.

      Boo Radleys

      Wake Up!

        The Boo Radleys’ third album Wake Up! reached the number one spot in the UK album charts. Although their previous albums received critical acclaim, this was the album which opened the doors to a much bigger audience. One of the factors was the release of the sunny Britpop Top 10 single “Wake Up Boo!”. It became their biggest hit internationally and it was the most-played song on the UK radio in 1995. The second an third single, “Find The Answer Within” and “It’s Lulu”, also charted in the UK Top 40. Different styles of British pop can be found in their music, but most of the darkness of their previous records are replaced by the grand pop with big choruses and bright melodies. 

        FORMAT INFORMATION

        Coloured LP Info: Wake Up! is available as a limited edition of 1000 individually numbered copies on 180 gram, audiophile, turquoise vinyl.

        Jeff Buckley

        Grace - 25th Anniversary Edition

          Originally released in 1994, Jeff Buckley's solo debut "Grace" is now considered by many to be one of the best albums of the 90s. "Grace" displays a dazzling array of influences from an artist still developing his craft.

          FORMAT INFORMATION

          Coloured LP Info: Very limited exclusive gold coloured vinyl.

          Wild Billy Childish & CTMF

          Marc Riley Session 2019

            In April CTMF recorded a session for Marc Riley's BBC 6Music show. We're releasing the recordings on a new 7” EP. TRACKLISTING 1 – When You Stop Loving Me 2 – Hurt Me 3 – My Love Was Felled4 – Pretend “'When you Stop Loving Me' was a 45 for Thee Headcoats on Sub Pop Records in the '90s.In my view it's a top tune that hasn't been played live for going on 20 years so we took this opportunity to re-introduce it. 'My Love Was Felled' - this track nearly made it onto the new LP but didn't fit the running order I wanted. 'Hurt Me' is a great track by Thee Headcoatees. For some reason I never sang a version. I decided to travel back in time and give it a shot. In my view I do a great job! 'Pretend' is another track of Thee Headcoatees that I thought we could have a shot at. Despite being brought up on Sgt. Pepper and the Jimi Hendrix Experience we don't record much psychedelic stuff but here's our splendid rendition of another hit tune.” Billy Childish 

            Brian Crook With The Renderers

            The World Just Eats Me Up Alive

              While recording a group of songs that would end up being part of
              This World Just Eats Me Up Alive, Brian Crook took a break outside
              with his bandmates. A small girl nearby ran up to a woman saying
              “Mommy, mommy! There’s a vampire here!” The mother asked how
              the girl knew it was a vampire, and the girl said, “He talks like this,”
              and proceeded to do a growling impression of a New Zealand accent.
              At the time, Brian was in a dark suit and had super long hair, and was
              playing badminton….

              Crook’s new solo album comprises eight years of recording, so
              perhaps his undead appearance is not surprising; it comprises a span
              of inspiration that seems almost vampiric, with themes suggested
              by Greek mythology, a favorite 1960s author, to the abstract
              electronics of Aphex Twin and Arca as influences. The album came
              together in parts, slowly assembled with various contributors and
              recording locations, the earliest trace having lyrical origins from 1991,
              and was done during during sessions for The Terminals, Crook’s
              other band (you can also add NZ legends Scorched Earth Policy and
              Flies Inside The Sun to that list).

              A near decade provides a lot of material for reflective songwriting.
              In Crook’s revelations about life in New Zealand and his tenebrous
              lyrical style there is more than a touch of comedy, albeit of a blackly
              humorous, “South Island New Zealand” nature. The lyrics and music
              come from a similar place as New Zealand painters Bill Hammond
              and Tony de Latour, evoking a kind of ceremonial primitivism.

              Efterklang

              Altid Sammen

                Altid Sammen (meaning “always together”) is deep and sonorous, steeped in the sonic experimentation that has long been their trademark since Tripper, the Danes’ 2004 debut. As bold and ambitious in scope as their last collection of songs, Piramida, Casper Clausen (vocals), Mads Brauer (synths, electronics) and Rasmus Stolberg (bass) have taken another creative U-turn, this time fusing baroque instrumentation with their signature expansive sound.

                Efterklang’s last release, Piramida, centred around a ghost town in the Arctic, was a grand and all-encompassing project that spawned a movie, live album and a series of unforgettable shows (including a live debut at the Sydney Opera House). Their final performance in Sønderborg – the southern Danish town where the band grew up – marked a closing of a chapter, for Piramida and for Efterklang.

                “We needed a break from the album and touring routine, and we needed a break from Efterklang,” says Clausen. “After the Sønderborg show, things felt very exciting – and a bit scary too. We could think freely, and move in new directions again, just focusing on the things that excited the 3 of us.”

                That break saw the trio explore projects outside of the group’s confines. Together they co-wrote and performed an opera with friend and composer Karsten Fundal (LEAVES, The Colour Of Falling) as part of the Copenhagen Opera Festival. Meanwhile, Clausen, Brauer and Stolberg reunited with Efterklang’s touring drummer Tatu Rönkkö for a new band, Liima. In sharp contrast to Efterklang, they scaled down the music process, creating songs in a day, and released two records of icy, grand electronic pop, ii (2016) and 1982 (2017).

                What lured them back as Efterklang was another off-kilter collaboration, this time with B.O.X, a Belgian ensemble founded by lute player Pieter Theuns that performs new music with baroque orchestration. Initially invited by Theuns to compose music for a joint performance, the experience inspired and invigorated the trio to return to the studio for a new Efterklang album proper. For perhaps the first time in the band’s history, they took a less-is-more approach to Altid Sammen, engaging on a more primal and emotional level. The album also sees the trio break from tradition with Clausen singing in his mother tongue some of his most personal lyrics thus far.

                “Altid Sammen’s songs are about belief and togetherness,” Clausen says. “Not in a religious way – none of us are believers of a defined religion. The words are searching for meaning in intimate relationships, in nature, in death and eternity. The bonds we create; to gather, hold hands, sing or share a moment together. We’re all connected, across nations, age, sex and gender. We come together with all of our backgrounds, and we move apart in all sorts of directions, always together.”

                STAFF COMMENTS

                Barry says: I've loved Efterklang for some time now, and it really has been fascinating to see the trajectory of the core band and their former members (Peter Broderick being one of them!). Their newest outing takes the morose poppy melodies of Piramida with some of the electronic scree of their earlier work, and it's a perfectly measured and completely brilliant electronic pop LP. Superb as ever from Clausen & co.

                Floating Spectrum

                A Point Between

                  Floating Spectrum is the moniker for Taiwan-born, Berlin-based composer and audio technologist, Mei-Fang Liau. Her debut album as Floating Spectrum, A Point Between - crafted from a combination of synthesizers, everyday household objects, and unique software synthesizers made by Liau herself - is truly a sound and vision unlike any other. To complete the album, Liau relied heavily on a self-made, fractal-inspired software synthesizer called Polyphylla, which simulates the way in which nature creates very complex and organic forms just by repeating slight variations of a simple form.

                  It allowed Liau to create slowly evolving textures and sounds with complex dynamics, and thus the driving influence for the whole of A Point Between. The lone outlier is "Eruption," for which Liau built a generative sound system that turns visual data into sound. In this hybrid system, sensitively fluctuating analog signals, fine-tuned data analysis, and human intuition perform together as one coherent living being. The technological marvels of Floating Spectrum are, of course, uniquely impressive. But the more astonishing and intangible triumph of A Point Between is its singular ability to collect and shape such abstract sonic organisms into richly textured, immersive works of art. It's that profound resonance that makes A Point Between such an uncanny work of emotional and structural depth

                  FORMAT INFORMATION

                  Coloured LP Info: Limited Crystal Clear with Dark Red Streaks Vinyl.

                  Fly Pan Am

                  C’est Ça

                    C'est ça marks the reunion of Montreal avant-rock quartet Fly Pan Am, who released an acclaimed series of albums in Constellation's early years, from 1999-2004. The band's heady collision of motorik repetition, shoegaze maximalism, punk skronk, tape- and electronic-based interventions and audio sabotage, garnered them a cult following among fans of audaciously deconstructed post-rock. Fly Pan Am quietly reunited in late 2017 for purely artistic reasons (needless to say), to explore making new music together after more than a decade spent in pursuit of separate sonic adventures. Within weeks, it was clear the band was firing on all cylinders again, brimming with electricity and eager to pick up where they’d left off with their last album N’écoutez pas back in 2004: pushing further into full-spectrum intersections of noise pop, post-punk, power electronics and musique concrète, while continuing to incorporate shrouded, textural vocals as alternately melodic and visceral components.

                    C'est ça is a welcome return to form - an album of undeniably renewed vitality and experimentation where rock structures underpinned by J.S. Truchy's trademark rapid-fire bass and Felix Morel's disciplined, ascetic drumming are submerged beneath waves of processed guitar by Roger Tellier-Craig and Jonathan Parant, with fluorescent noise treatments and sonic vandalisms wrought by all four. Songs variously nod to key influences like MBV and Husker Du, the intrepid proto-Kosmiche of This Heat and Can, and later style-adjacent torchbearers like Boredoms, Flying Saucer Attack and Trans Am - all the while collapsing into/out of themselves in various ways. But Fly Pan Am have always and reliably been much more than the sum of their influences: C'est ca is terrific new collection of restless, conceptual, viscerally ethereal noise rock that could come from no other band, sparkling with the creative buzz of lifelong artistic intensity, dialogue and friendship

                    STAFF COMMENTS

                    Barry says: I've been listening to C’est Ça for a couple months now and can tell you it is without a doubt the most Fly Pan Am of all of the Fly Pan Am releases. Clashing, punky art-rock, huge cavernous lurches of percussion, distorted guitars and post-punk grooves breaking through when you least expect it. A legendary band, and a truly triumphant return after FIFTEEN YEARS!

                    FORMAT INFORMATION

                    LP Info: 180 gram vinyl, plus 12" x 19" poster.

                    LP includes MP3 Download Code.

                    Neal Francis

                    Changes

                      "I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living - consumed by drugs, alcohol, and addiction - such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n' roll. There is a deep connection between Francis's childhood - his obsession with boogie woogie piano, his father's gift of a dusty Dr. John LP - and the songs he's created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene.

                      The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock 'n' roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: "It's the life I've lived so far." After playing his first live show in November 2018, Francis was signed by veteran agents Joshua Knight and Phil Egenthal of Paradigm Talent Agency. 2019 brought a North American tour supporting Australian band The Cat Empire as well as radio play on KEXP, KCRW's The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band performed at festivals such as Summer Camp and the New Orleans Jazz & Heritage Festival and shared the stage with The Meters and Lee Fields & The Expressions. Francis continues to tour relentlessly to promote his own music. "I'm doing this to fulfill a drive within myself, but also to pay tribute to the gifts I've been given. And it comes from a place of immense gratitude. I've been given so much in my life, especially in the last two years, that this feels like a bonus

                      FORMAT INFORMATION

                      Coloured LP Info: Limited gold vinyl.

                      Liam Gallagher

                      Why Me? Why Not.

                        This month has seen Liam Gallagher make a typically full-throttle return. Super intimate sold-out show at Hackney Round Chapel? Biblical. Premiere and release of the long-awaited ‘As It Was’ documentary? Completed. Featured on the cover of Q, who described him as “rock’s finest frontman”? Naturally.

                        Liam wrote lead single ‘Shockwave’ with two of the key collaborators behind the all-conquering ‘As You Were’ album: Andrew Wyatt, who won the Academy Award for Best Original Song as co-writer of ‘Shallow’ from the film ‘A Star Is Born’, and the multiple Grammy-winner Greg Kurstin who also produced the track. It was recorded in Los Angeles.

                        Liam Gallagher’s debut solo album ‘As You Were’ was a critical and commercial smash. It debuted at #1, out-selling the rest of the Top 10 in the process, and was soon certified Platinum. Liam was back where he belonged, selling out huge outdoor shows and earning major awards from Q, NME and GQ.

                        More details regarding ‘Why Me? Why Not.’ will be revealed imminently. “It’s a better record than As You Were,” promises Liam. “Which is saying something, as that was epic, wasn’t it?”


                        STAFF COMMENTS

                        Barry says: He's back! Liam's newest album sees him co-writing with a duo of talented musician pals, and retains all the charm and momentum of his previous outing, but with more OOMPH. Why not indeed.

                        FORMAT INFORMATION

                        Coloured LP Info: Indies exclusive bottle green coloured vinyl housed in a gatefold sleeve.

                        2xDeluxe LP Info: Collectors edition.
                        Etched 12-inch vinyl with 3 tracks + an exclusive demo not available anywhere else.
                        12-inch vinyl album - 140g yellow pressing.
                        Deluxe CD album housed within the book 20-page hardcover book.
                        2 removeable high quality art prints.
                        Fold out wall poster, 720 X 450 mm.

                        LP Info: 140 gram black vinyl housed in a gatefold sleeve.

                        Deluxe CD Info: Deluxe CD with 3 bonus tracks (14 in total).

                        Ghost Wolves

                        Crooked Cop

                          Third Man Records is excited to release the newest songs from Austin, TX’s Ghost Wolves. Formed in 2011 and hardly taking time to sit since then, the Ghost Wolves create, record and tour at a rapid clip.

                          Blending rock n' roll, punk rock, garage and blues with electronic elements, the duo has earned a reputation as one of the hardest working bands in the modern rock n’ roll underground, touring internationally for almost 8 years straight, with nearly 1000 shows between them in 23+ countries including most of western Europe, the USA, U.K. and Japan.

                          The duo recorded these three new tracks in early 2019 with engineer/producer John Michael Schoepf (bassist for Ray Wylie Hubbard, Night Glitter) in his Austin living room studio. The recording took place during a very dark time for Carley and Jonny, who have been married for 7 years. Jonny’s father received a terminal cancer diagnosis in late 2018. These songs came together while Jonny was tending to his father in Connecticut, with Carley sending demo songs to him from Texas. When his father stabilized somewhat, Jonny returned to Austin to take a break and they both therapeutically recorded these songs. As can be heard, these recordings are darker, more intimate and more pressing than previous material.

                          Giant Sand

                          Recounting The Ballads Of Thin Line Men

                            It’s 33 and a third years since the seminal Giant Sand and its country cousin The Band Of… Blacky Ranchette entered the studio to lay down their second albums. Yes. Both bands had recorded their second albums each. Two sides of the multi-faceted hyper-productive Howe Gelb. “I was turning 28,” he recalls, “and had been wanting to make and release albums since my early 20s, but only recently had figured out how. It was time to make up for lost time.”

                            Time was of the essence. That thin line between then and now has seen journeymen Giant Sand release 27-ish albums, their latest, ‘Recounting The Ballad Of The Thin Line Men’ turning the clock back to 1986’s ‘Ballad Of A Thin Line Man’, picking over the bones and making a whole new soup. All these years on, the latest incarnation of Giant Sand: Howe Gelb (guitars, piano) Tommy Larkins (drums) and Thøger Lund (bass), have dusted off the old vinyl and re-imagined those heady days – they’ve polished these buried gems, reignited some truculent tirades and rekindled an ageless angst. The revamp re-orders the tracks, drops a couple and adds ‘Reptillian’, a previously lost song hailing from their album’s 25th anniversary re-issue, a tune that opens proceedings and basks in all its crinkly glory. There’s also two takes of ‘Tantamount’. The unique thing about Giant Sand’ is they make it all their own, they sound like no-one else. The songs remain the same, but somehow completely different. Howe: “We were a fine storm. The greatest storm in terms of tumultuous velocity and pelting bluster. It proved unstoppable... for a minute”.

                            FORMAT INFORMATION

                            Coloured LP Info: Pink vinyl.

                            Indies Exclusive LP Info: Indies exclusive purple vinyl edition.

                            Adam Green

                            Engine Of Paradise

                              Adam Green is an artistic polymath -- a songwriter, filmmaker, visual artist, and poet. As part of New York’s downtown antifolk scene at the end of the nineties, Green made up one half of The Moldy Peaches, who later enjoyed mainstream success via the 2007 Grammy-winning Juno soundtrack.

                              As a solo artist, Green has recorded 10 albums, many of which have become cult hits. His songs have been performed by artists as diverse as The Libertines, Carla Bruni, Kelly Willis, Dean & Britta, and Will Oldham. His 2005 record Gemstones went Gold in Europe.

                              Green’s paintings and sculptures have been the subject of exhibitions in America, Asia and Europe, including a 2016 solo-show at the prestigious Fondation Beyeler Museum in Basel, Switzerland. Green first combined his visual aesthetic, psychedelic writings and musical compositions in the The Wrong Ferarri (2010), the first feature film shot entirely on an iPhone. The “screwball tragedy” was described by Rolling Stone magazine as “Fellini on Ketamine” and went on to feature in the curriculum of NYU’s Tisch Film School.

                              His second feature film, Adam Green’s Aladdin (2016) -- an immersive fantasy film starring Macaulay Culkin, Natasha Lyonne, Alia Shawkat, Jack Dishel and Francesco Clemente and shot entirely on papier-mache sets -- was described by Buzzfeed.com as “the trippiest movie ever made,” while RogerEbert.com called Aladdin “a movie that belongs inside a museum.” An instant cult hit, the movie was screened theatrically in a midnight movie context, at over a hundred of Green’s concerts around the world, as well as the Andy Warhol Museum in Philadelphia.

                              After first publishing a bilingual volume of his poetry with Suhrkamp Verlag, Green’s newest book War and Paradiseis a graphic novel that combines his lyrical and visual vocabulary. The satirical war epic is about the clash of humans with machines, the meeting of spirituality with singularity, and the bidirectional relationship between life and the afterlife. Green’s 10th solo album, Engine of Paradise, is a musical exploration of these same themes. Recorded in Brooklyn, New York, by Loren Humphrey, the forthcoming album reimagines the baroque orchestral style of his early 2000s era records and f eatures performances by James Richardson (MGMT), Florence Welch (Florence and the Machine) and Jonathan Rado (Foxygen).

                              Richard Hawley

                              Coles Corner - Coloured Vinyl Reissue

                                Critics were almost unanimous in their praise for Coles Corner, originally released on 5 September 2005.

                                Richard's third solo album (his fourth if you include the self titled mini album). It was recorded at Yellowarch Studio in his hometown of Sheffield and is a beautiful album, filled with nostalgia, emotion and romance. Its orchestral splendour sits alongside earthy rock and roll, with songs that are by turns intimate and soaring.

                                The title immortalises the legendary Sheffield landmark Coles Corner, a popular meeting place of old and new lovers.

                                The album was nominated for the 2006 Mercury Music Prize for best album.

                                FORMAT INFORMATION

                                Coloured LP Info: 1500 copies on transparent amber vinyl.

                                Hiss Golden Messenger

                                Terms Of Surrender

                                  Describing the Durham based Hiss Golden Messenger is like trying to grasp a forgotten word: It’s always on the tip of your tongue, but hard to speak. Songwriter and bandleader M.C. Taylor’s music is at once familiar, yet impossible to categorize: Elements from the American songbook the steady, churning acoustic guitar and mandolin, the gospel emotion, the eerie steel guitar tracings, the bobbing and weaving organ and electric piano provide the bedrock for Taylor’s existential ruminations about parenthood, joy, hope, and loneliness. And then there’s an indescribable spirit and movement: Hiss Golden Messenger’s music grooves. There’s nothing else quite like it. For over ten years, Taylor has spearheaded this prolific, perpetually evolving group. He’s toured and recorded relentlessly, earning devotees along the roads, deep in festival pits, and across the seas.

                                  “The work that I do requires me to be in a certain emotional place,” says Taylor. “My music depends first and foremost on being in a heightened emotional state and putting my vulnerability on display.” This vulnerability is also central to Taylor’s steadily growing fanbase, which continues to discover universal themes in his deeply personal work. The critical acclaim and attention for Hiss Golden Messenger and barn-burning performances on Late Show with David Letterman and Late Night with Seth Meyers affirm the emotional power of Taylor’s work.

                                  This raw emotion is especially apparent on Hiss Golden Messenger’s new album, Terms of Surrender. Terms follows Taylor’s journey through a tumultuous year of trauma and psychological darkness, hoping and working towards redemption and healing, and the conflicting draw of home and movement. “Another year older,” Taylor sings on album opener “I Need a Teacher.” “Debt slightly deeper. Paycheck smaller. Goddamn, I need a teacher.”

                                  Later, Taylor tracks the complex dynamic between father and grown son on “Cat’s Eye Blue,” singing, “Is this wicked word too bad to be spoken? You let the heart attack in. One taste and it’s broken.” He later pivots towards his relationship with his own daughter on “Happy Birthday, Baby.”

                                  Taylor says that he wanted to make Terms of Surrender “a wandering record. I wanted where we recorded it to mirror the searching spirit of the music.” Having written upwards of 40 songs in motel rooms, his studio in Durham, and a secluded cottage outside of Charlottesville, Virginia, 10 songs were chosen. Includes regular collaborators Phil and Brad Cook, Josh Kaufman, and Matt McCaughan and new friends like Jenny Lewis and Aaron Dessner (of The National).

                                  Hiss Golden Messenger songs create feelings to which devoted listeners attach their own meanings and memories with each repeated spin. Throughout Terms of Surrender, those feelings range from fearful to celebratory. But perhaps the title track with its refrain of “I’m gonna give it/ but don’t make me say it/ It’s one thing to bend it, my love, but another to break it” best summarizes the nature of Taylor’s work as a musician, father and spouse, and cultural communicator on this album.

                                  STAFF COMMENTS

                                  Barry says: I was just having a discussion with Dave about how i'm obviously getting a little bit older, and my tastes are changing, veering more towards slightly miserable Americana ballads, but my appreciation for HGM has remained throughout regardless of my advancing years. It's a testament to his skill as a songwriter that he can continue to smash out such beautiful LP's without veering too far from the formula, but keeping things as transportive and dreamy as they are on 'Terms Of Surrender'.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Pressed on coke-bottle clear vinyl & includes a 22.75" x 33" foldout poster insert.

                                  Brittany Howard

                                  Jaime

                                    Eagerly anticipated debut solo album on Columbia Records, from lead vocalist/guitarist of Grammy Award winning ALABAMA SHAKES. ‘History Repeats’ is as much a personal song as it is a song about us as a human species,” says Howard. “Our times of success may propel us forward, but our repeating failures hold us back from evolving into harmony.”

                                    Howard’s band on Jaime includes Alabama Shakes bassist Zac Cockrell, jazz keyboard player Robert Glasper and drummer Nate Smith. It was recorded at engineer Shawn Everett’s LA studio.

                                    Jaime is named after Howard’s sister, who taught her to play the piano and write poetry, and who died of cancer when they were still teenagers. “The title is in memoriam, and she definitely did shape me as a human being,” Howard says. “But, the record is not about her. It’s about me. I’m pretty candid about myself and who I am and what I believe. Which is why I needed to do it on my own.”

                                    FORMAT INFORMATION

                                    Coloured LP Info: Sandstone coloured heavyweight vinyl, RSD indie store exclusive with 7".

                                    David Kilgour And The Heavy Eights

                                    Bobbie's A Girl

                                      "It's moody - as in low, subdued," says David Kilgour of his new album, Bobbie's a girl. David Kilgour’s 11th solo album, Bobbie’s a girl is a quieter affair than fans may associate with the pioneer of New Zealand indie rock. “I tended to shy away from too much guitar playing for a point of difference and to mix things up for myself a little,” Kilgour continues. The style set in at the beginning of sessions, as he and the Heavy Eights (i.e., longtime collaborators Thomas Bell, Tony de Raad, and Taane Tokona) headed to Port Chalmers Recording Services with producer Tex Houston. “We have worked on these songs for a number of years now, so that’s different because I usually can’t wait to get them out,” Kilgour says. Why the delay? Like with the themes of the album, Kilgour doesn’t want to elaborate too much.

                                      “Everything’s related to the music and mood,” he says, “but I’d rather not say how. I like a little mystery.” Largely missing the jangly distortion of Kilgour’s other work, the album’s ten songs exude a hazy warmth, with a light psychedelia that recalls the ’60s outfits like The Byrds and The Velvet Underground. Opener “Entrance” floats wordlessly on acoustic guitar, whose ringing chords slightly mask the deft fingerpicking beneath it. “Smoke you right out of here” picks up the pace, but “Crawler” rolls in like a storm, its organ and fingerpicked guitars creating an ominous sound until a chorus of “aaaahs” lightens the mood. Only four songs have lyrics. “I kind of wanted a rest from verbalizing everything, like listening to yourself going, ‘Blah blah blah blah…,” Kilgour says. The guitar quietly shimmering between channels, the music seems to speak more than the words. “Ngapara,” the closing track of Bobbie’s a girl, is his favorite song on the album. It’s a loping instrumental carried by thickly distorted guitars and heavy reverb. Like the rest of Bobbie’s a girl, it feels both a part of Kilgour’s previous work, and just outside of it

                                      FORMAT INFORMATION

                                      Coloured LP Info: Clear with opaque yellow & red swirl vinyl.

                                      Life

                                      A Picture Of Good Health

                                        Whereas the band’s debut album ‘Popular Music’ was broadly political, the new album takes a more personal approach with beguilingly honest and brave lyrics that are bold in both sound and feeling, whilst also retaining the core DNA of their previous material.

                                        Going on to speak about the album Mez says “A Picture of Good Health is not a collage of work but rather a snapshot of time; our time and the time of those around us. It’s political, but in a personal way. It’s a body of work that explores and examines the bands inner-selves through a precise period; a period that has brought pain, loneliness, blood, guts, single parenthood, depression and the need for survival and love. It is the sense and need for belonging that is the resounding endnote!”

                                        FORMAT INFORMATION

                                        Coloured LP Info: Indies exclusive orange vinyl.

                                        M83 mastermind Anthony Gonzalez released Digital Shades Vol. 1 in 2007 as a compendium of unused ambient tracks for diehard fans to enjoy rather than letting these works disappear into the void. It was a way to breathe life into songs that normally would not see the light of day as well as a vehicle for Gonzalez to explore areas of musical creativity separated from the pop-leaning M83 studio albums. Gonzalez credits Brian Eno’s ambient collections as a primary inspiration for the creation of the Digital Shades series. Now, more than a decade later, M83 has returned with the latest installment of Digital Shades - one that adopts a grander nature and seeks to transport listeners to another time and place entirely. DSVII is influenced heavily by early video game soundtracks, ‘80s sci-fi/fantasy films and analog synth pioneers such as the aforementioned Brian Eno in addition to Suzanne Ciani, Mort Garson and John Carpenter.

                                        STAFF COMMENTS

                                        Barry says: I have to admit to being mildly (not mildly) confused when I saw the video for 'Temple Of Sorrow' but then remembered, this is pretty much what Gonzalez does. Massive, operatic instrumental music, euphoric dream-state rock and absolute ego dissolving lysergic 'tron. Mental, but thoroughly brilliant.

                                        FORMAT INFORMATION

                                        2xColoured LP Info: 180g pink vinyl with a galaxy/candy floss effect in gatefold sleeve.

                                        Melvins

                                        The Maggot & The Bootlicker

                                          On 1st April 1999 Ipecac Records was formed to release Fantômas debut release (a band featuring Mike Patton, Dave Lombardo, Trevor Dunn and Buzz Osborne from Melvins). During that time, Buzz said, “We told Greg that if they wanted to start a label then the Melvins would love to be involved. We asked if he would be interested in doing a trilogy of releases within one year and they said no problem.” That year the Melvins released The Maggot, The Bootlicker and The Crybaby via Ipecac. Now for Ipecac’s 20th Anniversary, they're reissuing two-thirds of the infamous “trilogy” by packaging The Maggot & The Bootlicker together. Since then, Melvins have gone on to release almost thirty releases on Ipecac, and continue to tour the world every year, most recently in support of their 2018 release, Pinkus Abortion Technician.

                                          FORMAT INFORMATION

                                          2xColoured LP Info: Gatefold package with disc one on white vinyl and disc two on doublemint green vinyl.

                                          Thurston Moore

                                          Spirit Counsel

                                            SPIRIT COUNSEL is a collection of three extended compositions recorded between 2018-19. This collection represents a period of reflection on spiritual matters, collective musical friendships, and a time and space universally, without words or languages to distract from meditation.

                                            CD 1: ‘Alice Moki Jayne’ is a new composition from noise guitar explorations honouring Alice Coltrane, Moki Cherry, and Jayne Cortez. These female partners of jazz musicians brought spirituality into the lives and music that has most inspired Thurston Moore.
                                            12-string electric guitar army: Thurston Moore, James Sedwards, Jen Chochinov
                                            Baritone bass truth and soul: Deb Googe
                                            Magick drums: Jem Doulton
                                            Electronic Wobbly love: Jon Leidecker
                                            Engineer: Christophe Albertijn Recorded in Brussels, Belgium in 2019

                                            CD 2: ‘8 Spring Street’ is a personal hommage to Glenn Branca, the title an address is in New York City, the apartment where Thurston first visited his mentor to rehearse.
                                            Electric guitar Thurston Moore
                                            Engineer: Syd Kemp
                                            Recorded in London, UK in 2019

                                            CD 3: ‘Galaxies’ is an orchestral piece of music, with Moore as conductor and composer. Twelve guitarists are arranged as if one instrument, exploring the vast emotional depths present in twelve strings. Taking inspiration from a poem by Sun Ra ‘Galaxies’ ponders our place in the universe as we stare into imagery offered by satellites via space agencies.
                                            Guitar Army: Thurston Moore, David Toop, Susan Stenger, James Sedwards, Deb Googe, Alex Ward, Jen Chochinov, Jonah Falco, Rachel Aggs, Joseph Coward, Eugene Coyne & James McCartney
                                            Guitar technicians: Beetmol Troy and Matt Tag
                                            Recorded in London, UK in 2018

                                            Book: ‘SPIRIT COUNSEL’ is an artist book edited by Thurston Moore which includes photographs compiled during the process of creating the accompanying musical works and is available exclusively within this boxset.

                                            Mudhoney

                                            Morning In America

                                              Morning in America consists of 7 songs that were recorded during the sessions for Mudhoney’s 2018 album, Digital Garbage (“…an astute, politically relevant and commendably fired-up garage punk belter of an LP,” – The Quietus). The tracks include "Let's Kill Yourself Live Again" (an alternate version of the Digital Garbage stand-out “Kill Yourself Live,” and the bonus track for the Japanese CD version of that album), "One Bad Actor" (a new version of Mudhoney’s track on the limited-edition, and now very sold-out, SPF30 split 7” single w Hot Snakes), album outtakes “Snake Oil Charmer,” “Morning in America” and “Creeps Are Everywhere,” plus "Ensam I Natt" (“So Lonely Tonight,” a Leather Nun cover) and "Vortex of Lies" from a very limited EU tour 7". The songs were mixed at Johnny Sangster’s studio Crackle & Pop!


                                              FORMAT INFORMATION

                                              Coloured LP Info: Limited, indies exclusive loser edition, silver vinyl.

                                              No Sister

                                              Influence

                                                Continuing the band's interest in experimenting with the post-punk song, No Sister's upcoming release is an acknowledgement of an elemental, unavoidable creative facet: influence.

                                                While Tiarney Miekus sings 'Burning News', she took influence from band member Mino Peric's childhood experience of clearing out an old, family house in suburban Tokyo. When Mino's family lit a backyard bonfire, burning newspaper floated into the sky, covering the neighbourhood in small black specks. Musically and aesthetically, the song was especially influenced by Phil Collins' 'In The Air Tonight' and the Prophet 5 synthesiser, alongside a desire, at the song's finale, to attempt to capture a moment of overwhelming, largely cinematic awe.

                                                No Sister's new EP draws from a variety of influences including writers Sheila Heti and Anne Boyer, and musicians ranging from David Sylvian, Ryuichi Sakamoto, Prince and other 80s fascinations - the band endeavor to expand their post-punk sound to include influences from both sides of the Atlantic (and Pacific). Influence was recorded by John Lee and Pat Telfer at Phaedra Studios (Beaches, Love of Diagrams, Lost Animal, Stonefield), mixed by Mino Peric and mastered by David Walker at Stepford Audio. Opposite Number will release the EP in UK + Europe to partner with the bands self-release in Australia.

                                                One Eleven Heavy

                                                Desire Path

                                                  One Eleven Heavy on this recording are Nick Mitchell Maiato, James Toth (Wooden Wand), Dan Brown (Royal Trux) and Hans Chew. Naming their band after a short story about a plane crash might have been a mistake. Because, for transatlantic, country-infused rockers One Eleven Heavy, it’s been two years of trials and near-death experiences. One Eleven Heavy is lucky to be alive.

                                                  And you only need to listen to the music on this, their brilliant second album “Desire Path” to understand that’s how the band feels. Because it’s a wry, occasionally biting, but always joyful celebration of human endurance and the ability to overcome. The musicianship is a step up from their raggedy, but already accomplished, debut, too.

                                                  The album is laced with lush three-part vocal harmonies and two-part harmonized guitar licks, recalling those classic Allman Bros runs at the same time as it brings to mind timeless classics by Hendrix, the Stones and, of course, the Dead. For One Eleven Heavy, being miraculous is a goal worth striving for. And the only route to it is by the “Desire Path.” Take it.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Indies exclusive opaque sky blue vinyl.

                                                  One True Pairing

                                                  One True Pairing

                                                    The musical touchstones of Tom Fleming, former Wild Beasts songwriter, vocalist and multi-instrumentalis, were Bruce Springsteen, Don Henley, Tom Petty alongside Depeche Mode and Swans. He wrote and played everything himself and then brought in Ben Hillier (Nadine Shah, Graham Coxon) on mixing and production duties.

                                                    One True Pairing is an album shaped by class frustration and self-despair and there is a continuation of the exploration of masculinity that made Wild Beasts so unique. As well as being deeply personal, OTP has a wider political resonance. "This country is going through a terrible moment and if you listen to the art nobody seems to give a shit,” Fleming says emphatically. He believes that class is entirely discounted from the current conversation about inclusivity and privilege. In its 11 songs of discordant guitar and aggressive synth Fleming channels his discontent with Britain in 2019 and a “feeling of directionless rage and cheatedness which hasn't gone away."

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Indies exclusive deluxe edition on heavyweight crystal clear vinyl.

                                                    Coloured LP includes MP3 Download Code.

                                                    Reverend And The Makers

                                                    Best Of

                                                      With six Top 20 albums under their belts, Reverend and the Makers release the ‘Best of Reverend & The Makers’ Sept 20th. The album spans the bands career so far and includes singles and fan favourites from their debut release ‘Heavy Weight Champion Of The World’ to their latest single ‘Black Flowers’. Rounding off both albums are two new songs, especially recorded for this compilation, ‘Elastic Fantastic’ (featuring Rich Westley from The Moonlandingz) described by The Reverend (Jon McClure) as “ a fantasy about killing Donald Trump with a bow & arrow” and ‘Te Quiero Pero.’ To coincide with the release there will be a full headline tour - watch this space. Jon says this about the track 'Te Quiero Pero. When we did this I was thinking about a town I once visited on the Rio de la plata in Uruguay called colonia . It’s a real Gaucho, South American cowboy town and still has the colonial architecture and stuff. I kind of wanted to make a song that sounded like that place looks. I envisaged myself riding through it on a horse. In my mind it’s from some mad Sergio Leone or Tarantino Mexican western although critics might say its more Antonio banderas’ zorro.'

                                                      Roxy Girls

                                                      A Poverty Attention

                                                        Recorded with David Brewis of Field Music their new record sees Roxy Girls expand on previous material, stripping down the post-punk format and remodelling it for current generation. Whilst their vernacular might make The Futureheads an easy (albeit apt) comparison, there is an added breathless intensity and intricacy to their instrumentation that calls to mind the likes of Omni or Gang of Four. This is interwoven with indie-pop sensibilities and hooks that are reminiscent of XTC, Television and Modern Lovers, which is driven largely by the surreal and often dry humour that permeate frontman Tom Hawick’s vocals with lyrics that centre around the tropes of modern living.

                                                        Speaking about the new material the band says “Everyone knows how it feels to be a little lost or to be stuck in a seemingly inescapable rut. Trials and Tribulations does what it says on the tin really... We get bored when we're on our own and letting other people into our lives can rescue us from this impending insanity”

                                                        Roxy Girls have gone from strength-to-strength at an astonishing rate and with a vast array of critical acclaim, renowned live shows and their recent signing to Moshi Moshi Records, the new single and mini-album is a thrilling prospect and a huge statement of intent, which is not to be ignored.


                                                        Royal Trux

                                                        Pink Stuff

                                                          5 song remix EP by Ariel Pink - limited edition double 7" - 500 copies only.

                                                          Rubella Ballet

                                                          Day-glo Daze

                                                            Day Glo Daze collects all the singles released by Rubella Ballet commencing
                                                            with Ballet Dance originally released in 1979.

                                                            Many of the singles are highly collectable and are now extremely difficult to find. In addition to providing the definitive collection of the group’s A-sides, the album also includes all the B-sides.

                                                            All tracks have been remixed by the group’s founding mainstay, Sid Truelove,
                                                            enabling the material to be heard in the manner in which it was originally
                                                            intended.

                                                            Now celebrating their fortieth anniversary, Rubella Ballet have been hailed as
                                                            “a unique sensory phenomenon who transcended their Anarcho punk roots to
                                                            explore and define postpunk, goth and dance”.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: 300 only on purple vinyl.

                                                            Molly Sarlé

                                                            Karaoke Angel

                                                              From the cliffs of Big Sur to the North Carolina backwoods - Molly Sarlé (one third of Mountain Man) brings open-hearted, unflinching songwriting perfect for late-night karaoke comedowns, plaintive morning walks and conjuring the spirit world. West Coast incantations with a warm, Appalachian glow.

                                                              The work on ‘Karaoke Angel’ began in a trailer on a the pacific coast and continued with stints in Los Angeles and Durham, NC. Recorded in a church-turned-recording studio in Woodstock, NY with production by Sam Evian, a minimal but carefully assembled palette of guitar, bass and percussion form the foundation; an orchestra of unrecognizable atmospherics bounce off the high ceilings - but Molly’s delicate, expressive voice is always at the centre.

                                                              For fans of Laura Marling, Lucy Dacus, Wye Oak, Big Thief, Angel Olsen, Phoebe Bridgers, Molly Burch, Jessica Pratt, Julia Holter, Joni Mitchell, Weyes Blood, Tiny Ruins, Aldous Harding, Cate Le Bon.

                                                              FORMAT INFORMATION

                                                              LP includes MP3 Download Code.

                                                              Edward Sharpe & The Magnetic Zeros

                                                              Up From Below: 10th Anniversary Remastered Edition

                                                                The 10 year anniversary remaster of ‘Up From Below’, the rousing, anthemic and wildly adventurous debut album from California’s Edward Sharpe & The Magnetic Zeros featuring the hit single ‘Home’.

                                                                Drenched in choral psychedelic folk rock, it was recorded onto used 2 track tape using a 24 track tape machine made in 1979.

                                                                Available on 180g black double vinyl with embossed gatefold sleeve and 16-page deluxe booklet including never before seen photos and stories.

                                                                Sheer Mag

                                                                A Distant Call

                                                                  Sheer Mag return with their sophomore album, A Distant Call. They’re still writing about surviving our current hellscape, but this time around, the politics get extra-personal. The album verges on being a concept piece, and the protagonist resembles frontwoman, Tina Halladay herself. The songs document a particularly alienating time in her life when she was laid off from a job. Broke and newly single, her father passed away, leaving her with more wounds than felt possible to heal. It’s heavy power-pop so sleek it gleams. “We’ve been waiting to write these songs since we started the band and we were able to take these experiences and build a story out of them,” Halladay says.

                                                                  A Distant Call makes an argument for socialism on an anecdotal level. We’re talking about how late capitalism alienates and commodifies whatever is in its path without using the term ‘late capitalism.’” Palmer and Halladay’s new approach to lyricism extended to the recording process, too. Once the Seely brothers had laid down the tracks, Halladay recorded vocals with producer Arthur Rizk (Power Trip, Code Orange). 

                                                                  The new album from Joel Wästberg a.k.a sir Was, “Holding on To a Dream”, is a mesmerising twisting of genres - from classic soul and old-school hip-hop, to beautifully fresh pop structures. The new record is dense with ideas and adventurous, a sonic-leap forth. “I was interested in having a lusher sound, more rich,” Wästberg says. “With the first record I had this idea that I wanted it to sound like an old vinyl record. I wanted this lo-fi, old-school sound. When I realized that I was actually making another album, I felt a bit scared of the whole thing, but it didn’t take me that long to realise that the only thing I could do was to make something that felt really right in my body and soul. I’ve realised that there’s nothing to be afraid of. I’m ready to explore so much more.”

                                                                  The sense of exploration resonates throughout the record and can be defined by its start and end points. Opening track ‘Fly Away’ begins the expedition, a gleaming reflection of past insecurities as a jump-off point for the next chapter, all subtle beats and stark bursts of guitars that leap out of the mix. Elsewhere, ‘No Giving Up’ is a tender recollection of a past relationship, set to an equally affectionate composition, a glowing example of Wästberg’s growing songwriting skills, while ‘The Sun Will Shine’ showcases another side of Joel’s skillset, a playful production full of inspired ideas and nuances; a Les Fleurseque mellow breeze in the heat of the summer.

                                                                  The record’s boldest moment is reserved for ‘Deployed’, a collaboration with Little Dragon’s Yukimi Nagano. “Me and Little Dragon go way back. I’ve been hanging out with them for many years, and they were very supportive with my first album,” Wästberg explains. “I remember that Yukimi was always asking me if I was making my own music. One day I was working in my small studio room, and Little Dragon were one floor up. Yukimi knocked on the door and asked if she could listen. I played her some of my songs and she said, “This is great, go out and talk to the world!”. That was before my first album. So having Little Dragon as a feature here makes so much sense.” Beautifully bright and sincere, ’Deployed’ is a perhaps the most vivid pop song that sir Was has released to-date. A heartfelt accounting of relationships, of knowing when to let go and when to fight for them, ‘Holding On To A Dream’, is a dreamy, groovy, lustrous treat of a record. 

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Indies exclusive limited edition 180g transparent orange vinyl.

                                                                  Coloured LP includes MP3 Download Code.

                                                                  Smog

                                                                  Knock Knock - 20th Anniversary Edition

                                                                    Hey, it’s the 20th Anniversary half-speed master vinyl edition of the Smog classic, ‘Knock Knock’, by Smog. Placing this LP on your turntable, you find yourself drawn ever-deeper into the sound - and it’s not just the eternally-stunning co-production from Callahan and Jim O’Rourke, it’s the incredible focus brought by the half-speed mastering work done at Abbey Road, bringing out the highs, lows and even mids that OG fans of this album have taken for granted for too many years. The fresh fullness of the sound now stands as a tribute to the ol’ familiar Smog sensation of being somehow completely unfamiliar.

                                                                    Back in 1999, Bill was staking out new territory. Issued in the wake of the game-changing ‘Red Apple Falls’, ‘Knock Knock’ upped the ante of the game, pairing his naked portraiture with increasingly delicate nuances in song and arrangement. The people responded in kind, turning out in ever-increasing numbers to shops and venues alike. They weren’t quite singing along with ‘Cold-Blooded Old Times’ yet - that’s a happy post-millennial development - but there was a lot of excitement in the air back in those final old-century days.

                                                                    ‘Knock Knock’ was enough of a tour de force that staging a re-look these twenty years later was a cool no-brainer. With production values at an all-time (for then) high and a team of Chicago-based studio rats (as well as a carefully vetted-and-compensated singing children’s choir) on the case, ‘Knock Knock’ was the most colourful of Smog albums; a record that played like a real-life opera, a story told in song. Today, songs like ‘Held’, ‘River Guard’ and ‘Hit The Ground Running” are still called for at concerts. Meanwhile, the 20th Anniversary half-speed remaster of the LP allows us to perceive the expansive spaces in tunes like ‘Sweet Treat’ and ‘Left Only With Love’.

                                                                    It wouldn’t have been the 90s without a CD version and the label are re-releasing that in original, non-remastered form. Also, in tribute to where it all came from (but where it definitively wasn’t at the time), they have a cassette version of ‘Knock Knock’ for the neo-lo-fi heads to appreciate.

                                                                    Sweet Williams

                                                                    Where Does The Time Come From

                                                                      Rumbling, angular post-punk FFO: The For Carnation, Lungfish, The Breeders, My Bloody Valentine, Hey Colossus. "it's the ugliness of this that makes it beautiful to me" - Jon Hillcock, BBC 6 Music // The Sweet Williams on new album Where Does The Time Come From is one Thomas House, a South coast native guitarist and songwriter whose bands have a habit of dissolving. This latest LP contains ten post-punk infused songs of an almost brutalist nature, House's music in its purest form, performed almost entirely by himself.

                                                                      The first single is 'Ride A Gold Snail', a rumbling post-rock juggernaut that sets a backwards drum beat to a filthy, holding pattern bassline, with guitar amps on the verge of burning out and elliptical, elusive lyrics. "It's probably my most romantic song," says House. The video was shot and assembled in Zaragoza, Spain, the town House calls home since October of 2018 In 2016, the Sweet Williams line-up responsible for the open, organic sound of that year's album 'Please Let Me Sleep On Your Tonight' dissolved in a potent formula of work, babies, babies and work. Armed with a clutch of new songs and no time to break in a new band, House repaired to Agricultural Audio in the heart of rural Sussex with trusted producer Ben Hampson and set to work. The resulting recordings reflected House's fascination with, and horror for, busted mechanics; in place of the live band's fluid, entropic interplay, structured patterns lurch and correct, a crowbar jammed in every gear. "It doesn't represent a performance," he explains. "It represents the songs as I hear them in my head." However, the record was not conceived in a bathysphere.

                                                                      These compositions could be seen as the culmination of twenty-plus years playing in countless bands, from the incandescent fury of House's old vehicle Charlottefield, to the discipline honed on guitar in post-punk stalwarts Joeyfat, to a newfound confidence in vocal texture and melody in Haress. Lyrical themes cover love, dread, betrayal, bliss, injustice, death, sex, the end of the world. You might struggle to ascertain the narrative. House takes an impressionistic approach to his subject matter. "My dad read me Elidor and The Owl Service when I was sick as a kid. And his own made up stuff. There's another world behind this one." After the bracing opening two tracks, the celebratory 'Stop It I'm Killing You' and its stinging hangover 'Stunt Freeze', the album proceeds to its dusky heart. By the time of 'Two Golden Sisters', House's hands barely brush the strings of his guitar as he croons to the memory of a long lost love.

                                                                      FORMAT INFORMATION

                                                                      LP includes MP3 Download Code.

                                                                      Warish

                                                                      Down In Flames

                                                                        Imagine if Incesticide-era Nirvana were crossed with Static Age-era garage-punk Misfits—a sinister low-budget horror rock with a visceral, twisted weirdness and bludgeoning riffs. Some might call it nightmarish, Riding Easy call it Warish. Warish is a very newly-minted SoCal trio formed in early 2018 that has wasted no time making its presence known. The band formed when guitarist / vocalist and pro-skater Riley Hawk (son of skating legend Tony Hawk) and drummer Bruce McDonnell decided they wanted to try their hand at something more distinct than they’d done previously. “We wanted to do simpler riffs and a fun live show,” Riley explains. “A little more punk, a little bit of grunge... a little evil-ish.”Their sound takes cues from a variety of cool underground sounds and twists it all into an energetic and exciting fist-to-the-face of dark fury. Hawk’s effect-laden vocals hearken to early Butthole Surfers and David Yow’s tortured caterwaul in Scratch Acid. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Cobain’s and Buzz Osbourne’s wiry contortions. The rhythms bash and pummel right through it all with aggressive force ensuring that nothing gets overly complicated and the horrors keep coming throughout the band’s warlike assault.

                                                                        “Remember when indie rock sounded all grimy, corroded and metal-sludgy-the last thing you’d hear in a commercial or being played at an arena show? Warish do. It’s music to the ears of anyone who wants to damage their ears.” - Rolling Stone.

                                                                        “Warish totally rules... An awesome mixture of punk energy, biker rock fuzz, and grunge growl.” —Kerrang!

                                                                        Alexis Zoumbas

                                                                        A Lament For Epirus

                                                                          The first collection of recordings from Alexis Zoumbas the Greek folk violinist whose music translates despair and devastation. Faithfully remastered from the original 78s and released by Third Man Records.

                                                                          Alexis Zoumbas was one of the most sublime musicians to ever cast a shadow across the face of the Earth and no one has been able to translate the emotions of despair—of devastation—through an instrument as effectively as Zoumbas. Years of research and obsession have resulted in this, the first collection of recordings by the legendary and masterful Greek folk violinist Alexis Zoumbas. Very few Pre-War musicians have tapped deeper into the human soul than Zoumbas and this volume presents his most profoundly hypnotic and unearthly pieces. A deep set of notes based on Christopher King’s pioneering research from 2012 is accompanied by previously-unpublished photographs as well as original artwork by R. Crumb.

                                                                          Originally issued in 2014 for Record Store Day, the limited release of the LP immediately went out of print. Faithfully remastered from the original 78s, Christopher King’s original version of the LP has been enhanced for Third Man Records by the inclusion of an EP featuring two previously unissued and unheard alternate takes of the masterpieces Epirotiko Mirologi and Doina. Amanda Petrusich (New Yorker, Pitchfork) says "Alexis Zoumbas' expressions of longing are so raw and unmediated that I suspect anyone who has ever yearned for anything -- who has ever gazed dolefully out a window, or sighed audibly over a cup of whiskey, or felt subsumed by a certain kind of ache -- will feel these songs like a club to the back of the knees. They are immediate, destructive, and stunning. That Christopher King was able to collect and contain them for us is an extraordinary gift."

                                                                          Various Artists

                                                                          The New Testament

                                                                            Sick of wimpy indie kids prodding limply at pedal boards? Into hard drugs and cannibalism? Wanna punch a cop? Well kids we’ve got the record for you! Dirty Water Records have corralled 6 of the most rabid and dangerous rock ’n’ roll bands currently stalking the planet onto one piece of bubbling wax and let em off the leash!! From the blistering opening riffs of Up All Night to the thunderous wah-wah burn out of Too High To Die, this mother pumps like a two dollar hooker in a KFC parking lot!! A 12 pack of extra crispy RnR tunes fills out this disk of delinquency, with each group frying up one unreleased track and one old favourite.

                                                                            Thus these prophets of thee party provide both a banquet of new and strange delights and a guaranteed recipe for all night partying and vandalism!! Yes that’s right pilgrim! This is a doctrine for the new world order! And no matter where you dig that underground bunker there’s no escaping the new rock ’n’ roll gospel cause these zealots come from all over pal!! From fromage fried France: LES LULLIES!! From sangria-soaked Spain: NAVE NODRIZA!! From jungle jivin’ Japan: THE FADEAWAYS!! From prozac usin’ USA: BLACK MAMBAS!! From nuclear New Zealand via lugubrious London: THE CAVEMEN!! And from maniacal Mars: The SCANERS!! Yep! Like it or not this sonic pestilence has gone global so do yourself a favour: grab a six-pack, pick yourself up a copy and study it like the bible cause this is the NEW TESTAMENT baby and the end times are near!! 

                                                                            Various Artists

                                                                            Jobcentre Rejects Vol. 2: Ultra Rare NWOBHM 80-85

                                                                              The second volume of Jobcentre Rejects is here. Prepare yourself for a NWOBHM fest beyond control. Ten tracks licensed from rare and hard to find New Wave Of British Heavy Metal records originally released in England 1980-1985. Kind of a Nuggets, Pebbles or Killed By Death for NWOBHM.

                                                                              Set the volume control to maximum level and knock yourself out with obscure but brilliant sounds from bands like Omen Searcher, Bashful Alley, Sapphire and Panza Division.

                                                                              File under: ”beyond essential listening for any rock’n’roll fan”. When putting together the first volume of Jobcentre Rejects (and for that reason started On The Dole Records) we initially thought it would be a thing of interest only to a few of our closest music loving and record buying friends. But sales took off in a massive way and rave reviews and orders from all over the world quickly made being On The Dole Records a full time job. There’s enough totally great and rare NWOBHM for many further volumes of Jobcentre Rejects. There’s so many great tracks just waiting to be heard by more people. Jobcentre Rejects Vol 2 will appeal to all metal fans, but also to punk fanatics, garagerock-maniacs, DIY-lovers and maybe even to a few powerpop aficionados. Jobcentre Rejects is for everyone into rock music history and anyone interested in British music- and culture history.

                                                                              Iron Maiden, Def Leppard, Judas Priest and Saxon all got signed by majors and sold records galore, meanwhile bands in every village across England formed. Inspired by the energy and DIY attitude of the punk scene these acts recorded and released their records all on thieir own. The music heard on Jobcentre Rejects Vol 2 have so far been treasured only by NWOBHM connoisseurs. Jobcentre Rejects Vol 2 clearly shows that it is music far too good to be buried in the past. It’s music that deserve to be heard not only by the most die-hard record collectors. Remastered and restored sound. Extensive liner notes by Kieron Tyler (Mojo Magazine). Richly illustrated with many rare photos.

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Limited to 300 copies on blue vinyl.

                                                                              Various Artists

                                                                              Ryley Walker Presents Imaginational Anthem Vol. Nine

                                                                                Tompkins Square label's very first release in 2005 was the acoustic guitar compilation, Imaginational Anthem Volume One. The concept was to showcase new talents alongside first-gen American Primitive guitar legends, a formula that stuck across the first three volumes. Volume Four, released in 2010, featured all contemporary players, giving many folks their first taste of William Tyler, C Joynes, Chris Forsyth and Tyler Ramsey. The label then started farming out curation duties to others : Sam Moss for Volume 5, Chris King for Volume 6 (Origins of American Primitive Guitar), Hayden Pedigo for Volume 7, and Michael Klausman & Brooks Rice for Volume 8 (The Private Press). Tompkins Square recruited label alum Ryley Walker to compile Volume Nine. Given his deep Rolodex and exquisite taste, it's no surprise that this comp is probably the most diverse of the series. Nine of the eleven artists were previously unknown to us, so we get to discover new artists just like our label fans do. 


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