MAGIC MIX

indie

WEEK STARTING 3 Jul

Genre pick of the week Cover of So When You Gonna.... by Dream Wife.

Dream Wife

So When You Gonna....

    Dream Wife’s rise has been swift and steep from the start. Their self-titled debut album – an 11-track collection of heavy garage-punk riffs and dance party pop, out January 2018 – was released to widespread critical acclaim (five stars and a cover in the NME, positive coverage across BBC Radio 1, The Guardian, The Fader, Dazed, Nylon and more). They soundtracked shows like Orange is The New Black and Trinkets. Supported bands such as Garbage, The Kills and Sleigh Bells. Toured with Sunflower Bean across North America. And during all of this, took their explosive live show and pushed it out further, to an already eager, international audience.

    Now the band – vocalist Rakel, guitarist Alice, bassist Bella – are back with their second album, So When You Gonna… out July 3, 2020. Just like the title suggests, this is a record brimming with adrenaline and playful excitement (“It’s an invitation, a challenge, a call to action,” says Rakel). From the jagged, CSS-like guitar of “So When You Gonna…” to the hooky brightness of album opener “Sports!” and the whip-smart lyrical asides of “Validation”, these are moreish, pumped up, sparkling tracks that feel like newer, dynamic evolutions of debut standouts, like “F.U.U.” and “Hey Heartbreaker.”

    But they often lean into sweeter, softer, more emotional moments too. “With every loss how do you carry through / Know you’re brave to jump back into,” sings Rakel on “Temporary”, her voice floating over melodic, honey-sweet guitar like an indie lullaby. “There are so few songs about miscarriage,” Rakel says, speaking about the lyrics. “People don’t talk about this. And then to not have this as a conversational topic in our society among womxn... you realise, in your later twenties, probably every other one of your friends has experienced an abortion or miscarriage. I think that’s something that needs to be spoken about.”

    Dream Wife have always been outspoken about holding up other womxn and non-binary people in the creative industries, but these aren’t just words or sentiments. With a gender divide in music production currently estimated at around ninety-five percent male to five percent female, the band are proud to have worked with an all-female recording team for So When You Gonna..., including producer and mixer Marta Salogni (Björk, Holly Herndon, FKA Twigs) engineer Grace Banks (David Wrench, Marika Hackman) and mastering engineer Heba Kadry (Princess Nokia, Alex G, Beach House).

    “It was a way of us practicing what we preach,” says Alice, “It felt like an honour to be able to deliver this baby with these three amazing midwives.” “Put your money where your mouth is!” adds Rakel, quoting the lyrics of “Sports!”

    FORMAT INFORMATION

    Coloured LP Info: Indies exclusive neon pink vinyl.

    Grey Dogs

    Outlaw King - A Netflix Original Soundtrack (Love Record Stores Edition)

      OUTLAW KING is the soundtrack album from the intense Netflix medieval action drama ‘Outlaw King’, composed and performed by Grey Dogs with a host of Scotland’s musical talent.

      Grey Dogs is acclaimed producer Tony Doogan (Belle and Sebastian, Mogwai) and the film’s director David Mackenzie (Hell or High Water, Starred Up). Mixing simple beautiful period music with moody atmospheres, plaintive soundscapes and high intensity action score, this is a journey through the misty glens, dark castles and bloody battlefields of Robert The Bruce’s Scotland (whom the film is based on) which somehow sounds both ancient and modern.

      Grey Dogs is an umbrella collective designed to pull in diverse talent for making film soundtracks and other sonic landscape work. Tony Doogan and David Mackenzie are the core and a variety of top musicians come in and out including violinist Greg Lawson (Grit Orchestra) Barry Burns (Mogwai), the Scottish Session Orchestra and sax genius Raymond MacDonald.

      For the end of the film, Tony and David decided to work with the wonderful Kathryn Joseph for her contemporary take on two folk classics - the tragic Land O’ The Leal and the rousing Scots Wha Hae (about Robert the Bruce and his army on the morning of the Battle of Bannockburn).


      King Gizzard & The Lizard Wizard

      Sketches Of Brunswick East (Love Record Stores Edition)

        Love Record Stores Edition available from 9am on Saturday June 20th.
        Limited to one per person.


        Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


        FORMAT INFORMATION

        Coloured LP Info: Brown Vinyl.

        Nirvana

        Bleach (Love Record Stores Edition)

          Love Record Stores Edition available from 9am on Saturday June 20th.
          Limited to one per person.


          Neon Yellow vinyl.

          FORMAT INFORMATION

          Coloured LP Info: Neon Yellow vinyl.

          Various Artists

          Kanine Records Past Present Future (Love Record Stores Edition)

            Love Record Stores Edition available from 9am on Saturday June 20th.
            Limited to one per person.


            We spent the last year working on this promotion and planning it with a local Brooklyn artist named Kelly Jelly. He has become a bit of a cult artist around Brooklyn for his FLOWER designs. Some of his work has been used in indie films, wrapping paper and clothing companies, and sold in various art shows for over $150,000 a piece. And he does them all out of his tiny studio in Brooklyn.

            When we first caught glimpse of his Flower paintings it grabbed our attention instantly as we wanted a design that captured the indie vibe from the late 80’s / early 90’s C86 indie pop / twee pop days. When indie was truly indie. And Indie Labels captured that sound perfectly. Sarah Records, Teenbeat, and Postcard Records are a huge inspiration to Kay and I, so when starting this project we wanted to try and emulate that aesthetic with the packaging design. Kanine Records has always had a strong love of that early 90’s sound, and you can still hear that long lost era of indie in each of Tallie’s songs that bring strong comparisons to The Sundays and The Smiths.

            Although Kanine Records might have a range of sound throughout its history 2003-present, one thing stands the same. Our artists all started as independent musicians and their sound from the records that we released has reflected that spirit. When listening to this compilation you will hear the beginning days of Grizzly Bear’s dreamy lo-fi pop, the hazy shoegaze pop of The Deprecation Guild, the quickness of Garden Centre’s mind twisting art pop, the sunshine indie pop of Honey Cutt, the swirling guitars of Honey Lung’s love of The Smashing Pumpkins ‘Gish era’, along with a modern take on the RIOT Girl sound via Weeping Icon. Each of these twelve bands on the compilation has created their own little sound in their own scene and universe, but what combines them all together is their love of music with putting out records with a strong independent spirit.

            These super limited edition Vinyls DO NOT have a download code, as we want them to be enjoyed on your turntables in your record store, at home, or in your office. This vinyl compilation is an one time pressing of only 1,000 copies. This is a special GIFT from Kanine Records to all of you for supporting our releases throughout all of these years. We truly would not be here if it wasn’t for all of your love in INDEPENDENT ARTISTS and LABELS. So Thank You and please enjoy this vinyl treat.

            Tons of Love,

            Lio and Kay (Kanine Records). 


            Masaki Batoh

            Smile Jesus Loves YOU

              Masaki Batoh’s solo career continues to rise up with his 5th solo album, and second in the last two years, Smile Jesus Loves YOU.

              As long time listeners of Ghost and The Silence are well aware, Batoh’s music is of the world and for the world . . . it exists as part of the conundrum of the world, for us to hear and form thought or feeling. We have no way of knowing it, other than to listen. The defiance of a fixed notion in Batoh’s world and music is made clear, as with the ambiguities of last year’s mortality meditation Nowhere, by the title of his new album. This shouldn’t be taken at face value. It might be a politically bitter statement. It might not be political at all, in this time of insane corrupt leaders who clearly believe in nothing except what they can use. It is a question for anyone who believes, or doesn’t believe. Listeners must come up with their own understanding, based on their own sentiment and where they find themselves in their evolving form.

              Following the mostly solitary activity of making’ Nowhere’, Batoh has invited several guests to play with him for parts of ‘Smile Jesus Loves YOU’. Like family members, collaborators from The Silence and Ghost make guest appearances, including, for two songs, ex-Ghost and legendary percussionist Hiroyuki Usui (Fushitsusha).

              For the journey of this new album, Batoh takes us a great distance, singing in Japanese, English, Spanish and Latin, including an amazing cover of one of his heroes, Atahualpa Yupanqui, with lyrics translated from Spanish to Japanese, giving them a haiku-like feeling.

              Batoh plays a variety of stringed instruments throughout, as well as mellotron and shanai, supported at times by the playing of others on flute, piano, lap steel, saxophone, contra bass and drums. The songs expand amoebically, with music styles of the world shifting and merging to form their whole. Through phases of dark and light, including some new musical discoveries in Batoh’s world, we travel through the multipart epic title track to salvation.

              This world is a difficult place, whether or not the gods will come to save us, but there is a happy ending for us if we accept and make it so. As with all of Batoh’s recent releases, Smile Jesus Loves YOU is a 100% analogue recording of absolutely human playing, with no digital copying and pasting. This allows us to hear and feel the air around the recording as if it is our own.

              BDRMM

              Bedroom

                Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It’s a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year’s If Not, When? EP. Musically, there are nods to The Cure’s Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints’ The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. “The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs… basically every cliché topic that you could think of,” reveals frontman Ryan Smith. “But that doesn’t mean they ever stop being relevant. It’s a fucker growing up, but I’m lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I’ve ever met.”

                And that band name, in case it needs explaining, is pronounced the same way as the album title. “I never thought I’d get to the stage where I would have to explain it so much,” says Ryan. “We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We’re all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title.” He’s right. The perfect title for the perfect debut album.

                FORMAT INFORMATION

                Coloured LP Info: Exclusive red vinyl edition.

                The Charlatans

                Between 10th & 11th (Expanded Edition)

                  Beggars Arkive is excited to announce the reissue of Between 10th and 11th, the second album by The Charlatans.

                  Available on double clear vinyl and double CD, the reissue contains the original album plus remastered tracks from the oft-bootlegged live show from Chicago in 1991, known as Isolation 21.2.91, a holy grail amongst fans.

                  Between 10th and 11th was originally released in 1992 and feature the UK Top 20 hit (and biggest US single) “Weirdo”, as well as singles “Tremolo Song” and “I Don’t Want To See The Sights”

                  “A certifiable classic” - PopMatters.

                  FORMAT INFORMATION

                  2xColoured LP Info: Double clear vinyl.

                  Empress Of

                  I'm Your Empress Of

                    Under the name Empress Of, Honduran-American songwriter, musician and producer Lorely Rodriguez creates introspective, self-empowering pop music centered around her impressive, acrobatic vocals. On her 2015 debut album, Me, she established a danceable, spontaneous sound that embraced whimsicality and percussiveness. With her 2018 sophomore album, Us, Rodriguez wanted to facilitate a more equal exchange of energy between herself and her listeners, to create a community. Now she's gearing up to release her third album - I'm Your Empress Of comes on the heels of touring with Lizzo, Blood Orange, Maggie Rogers and Mura Masa and follows her collaborations with Khalid, MØ, DJDS and her song "Wild Girl" with KITO. Lorely shares, "After writing three albums, no process has been the same. This record wasn't written in a remote location. It wasn't written in a collaborative effort. It was written in my small studio in Highland Park, Los Angeles over two months in between touring the world. Music is magic. Something that possesses me, shows me things about myself that aren't easy to see. It's called I'm Your Empress Of because I've always felt that once a song is done, and the emotion is there and it's not inside me anymore, it belongs to the world."

                    The Fiery Furnaces

                    Down At The So And So On Somewhere

                      "This is the first new music from The Fiery Furnaces in ten years," the band says. "The songs were recorded in New York City and a few hours north of New York City on February 3 and February 10 - 12, 2020. 'Down by the So and So on Somewhere' is a regretful song about having regrets. Now it seems even more sad than we thought it was back then: 'Will you meet me,' etc. Matthew was happy to use a Soviet drum machine. Eleanor was happy to play real drums. 'The Fortune Teller's Revenge' is another sad song. We cut out the lines from the first and third verse: 'with me; just kidding' and 'leave everything to me.' Matthew likes hearing Eleanor sing 'I'm sorry to say I've never made a mistake.' Eleanor likes that you can't quite tell who's singing what, when."

                      Eleanor and Matthew Friedberger formed The Fiery Furnaces in New York City in 2000. Their debut album Gallowsbird’s Bark (Rough Trade Records) was released to critical acclaim in 2003. In the following seven years, they released eight more albums and toured extensively throughout North America, Europe, Australia and Japan. The band’s last performance was nearly a decade ago at the Primavera Sound Festival in Barcelona.In the meantime, Eleanor and Matthew have released eight solo albums, collectively. They are very pleased to return to the stage in their hometown Chicago, at Pitchfork Music Festival.

                      Eleanor: Someone comes up to me at every show and asks: “How’s Matt? What’s happening with The Fiery Furnaces?” And I say, “He’s fine” and “Nothing at the moment.” I’m so happy to finally have some news: “He’s fine” and “We’re playing in July at the Pitchfork Festival.” We didn’t break up; this isn’t a reunion. We’re just playing the next show.

                      Matthew: For the last three and a quarter years I’ve been listening to Fiery Furnaces records every day. I think I finally get it.

                      A O Gerber

                      Another Place To Need

                        "To me, this record is about fantasy," explains A.O. Gerber of her debut LP, Another Place To Need. "It’s about fantasy and loneliness, and about how living in the fiction of your own head can make you lonely." The Los Angeles-based artist will peak interest from fans of Angel Olsen and Big Thief thanks to her thought-provoking songwriting, as punchy and inspiring as it is intimate and deft. The A.O. Gerber story is just beginning and with Another Place To Need she is aligning herself as one of the most captivating indie newcomers to appear this year.

                        Holy Wave is an experimental dream-pop band originally from El Paso, Texas. After seeing a life-altering performance by My Bloody Valentine in 2008, the band moved to Austin to pursue their own vision of Texas psych, their sweet melodies dyed in carefully constructed noise.Over the course of four albums, the band have cemented themselves as a staple force in the international indie scene, with key performances at Levitation, Desert Daze, and nearly every psych gathering on the planet. They’ve toured the world, and shared the stage with heroes such as Slowdive, Spiritualized, Hope Sandoval and The Black Angels. Their body of work has received critical acclaim from Pitchfork, Consequence of Sound, Paste Magazine and countless others, and in 2020 they are prepared to release their latest body of work.

                        Interloper sees the band adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on their most esoteric and thought-provoking themes. “I’m Not Living in the Past Anymore” is a mantra about breaking the cycle of the mundane, “Escapism” is a dream-like meditation. “Interloper” serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward, to blissed-out moments on album opener “Schmetterling”, the saccharine haze of “R&B”, and the freak-out catharsis of live favorite “Buddhist Pete”.

                        With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

                        FORMAT INFORMATION

                        Coloured LP Info: White vinyl edition.

                        Coloured LP 2 Info: Indies exclusive tangerine vinyl.

                        I Am Kloot

                        Gods And Monsters - Coloured Vinyl Edition

                          I Am Kloot released their third album Gods And Monsters in 2005. They chose once again to stay true to themselves and to their sound, delivering this perfectly crafted album, which reached #74 in the UK Album Charts. Formed from the ashes of The Mouth, I Am Kloot stood up and released some very successful releases.

                          Gods and Monsters is available as a limited edition of 1000 individually numbered copies on orange marbled vinyl. The package includes an insert.

                          FORMAT INFORMATION

                          Coloured LP Info: • 180 GRAM AUDIOPHILE VINYL.
                          • GATEFOLD SLEEVE.
                          • INSERT.
                          • LIMITED EDITION OF 1000.
                          • INDIVIDUALLY NUMBERED COPIES ON ORANGE MARBLED VINYL.

                          Kidbug

                          Kidbug

                            Kidbug is Marina Tadic (Eerie Wanda), Adam Harding (Dumb Numbers), Thor Harris (Swans) and Bobb Bruno (Best Coast), also featuring Dale Crover (Melvins) on album closing track “Dreamy”. Born from the romance of Tadic and Harding, together with Harris and Bruno they make self-described "cuddlebug sludge", the harmoniously spiky offspring of Harding's fuzzy guitar grunge-gaze and Tadic's dreamy left field pop. Kidbug's roots date back to December 2018. While at Joyful Noise Recordings' Indianapolis label headquarters for their annual holiday party, Australian transplant Adam Harding was first introduced to the Croatian-born, Netherlands-based artist Marina Tadic.

                            "We all convened at Postal Recording in Indianapolis to record Christmas songs for the label, and it just sort of grew from there," Harding explains. When Tadic learned that Harding was also an accomplished video maker, she asked if he would make a video for Eerie Wanda before she was due to leave town. According to Tadic, the creative sparks started flying immediately, inspiring a series of long-distance musical love letters. The initial results were raw, personal, and naked in their emotional honesty, with a purity of expression that Tadic and Harding were eager to preserve. "We made a pact that whatever came out, we wouldn't second guess it," says Harding. Adds Tadic: "We were inspired by the honesty and purity of John and Yoko singing love songs to each other.

                            We wrote these songs for each other, and there was no reason to overthink them or purposefully obscure the lyrics, which made both the writing and recording process really fun and spontaneous." To achieve full cohesion, strong rhythmic components were required: Best Coast's Bobb Bruno was recruited for bass and additional guitar, and 2019 Joyful Noise Artist in Residence Thor Harris was tapped for drums and percussion. "Thor was the glue that brought everyone together. He was our first and only choice for a drummer," Harding emphasized. The album was recorded in 3 3 days at Postal Recording in Indianapolis, with Tadic once again flying out from the Netherlands, and Thor Harris coming up from his home in Austin, Texas.

                            Melvins' legend Dale Crover makes a special guest appearance behind the kit on the album's closing track "Dreamy." Kidbug's debut LP is fueled by a deeply charged electrical love, and the band hopes to return that magical energy to listeners. "This album is a celebration of love. All of my songs with Dumb Numbers have been about endings, but Kidbug is about beginnings," Harding shared. "We hope to bring love into the world with this album," Tadic adds. "We dig love."

                            FORMAT INFORMATION

                            Coloured LP Info: Loomer Pink Vinyl.

                            Coloured LP includes MP3 Download Code.

                            Ray Lamontagne

                            Monovision

                              Grammy Award winning artist Ray LaMontagne is set to release his eagerly anticipated, eighth studio album 'MONOVISION' via Columbia Records.

                              The 10 track album sees Ray not only writing and producing the album once again but also includes added duties of engineering as well as performing all the instruments for the tracks. 

                              Lithics

                              Tower Of Age

                                RIYL: Deerhoof, Bush Tetras, Kleenex/Liliput, Delta 5, Pylon, Y Pants, Liquid Liquid, Sex Clark Five, Grass Widow, Palberta. After introducing themselves to the world with 2016's "Borrowed Floors" (Water Wing) and throwing down the gauntlet with 2018's "Mating Surfaces" on Kill Rock Stars, Lithics make the jump to Trouble In Mind for "Tower of Age". "Tower of Age" bristles with invention, wedging lyrical Dadaism into right angles of rhythmic minimalism. This is music in ellipses. A circular communication and a fusion of decades worth of musical insight into a singular refraction of thought & sound. Guitars plunk and scratch, and rhythms pulse and syncopate tightly wound around an imagist's philosophy to "use absolutely no word that does not contribute to the presentation." The band's austere approach to composition and wordplay elevates them above and beyond bands seeking similar sounds; it's not that they use less; it's HOW they use less. 

                                FORMAT INFORMATION

                                Coloured LP Info: Limited white, black & yellow “tri-color” vinyl version is for Indies only.

                                Little Kid

                                Transfiguration Highway

                                  After six days Jesus took with him Peter, James and John the brother of James, and led them up a high mountain by themselves. There, he was transfigured before them. His face shone like the sun, and His clothes became as white as the light.”(Matthew 17:2).

                                  Based out of Toronto, Little Kid’s Kenny Boothby finds himself inspired by this idea of transfiguration - a complete change of form or appearance into a more beautiful or spiritual state. Far-ranging in both its sonic palette and its subject matter, the band’s forthcoming album, Transfiguration Highway is a record of unusual depth and clarity from a songwriter who has spent the better part of a decade honing his craft and a lifetime building the perspective his songs so deftly express. These are personal songs that look outward, that seek to tie together the bigness of the world and the smallness of the everyday with both subtlety and humility. For years Boothby and Little Kid have been quietly building a devoted following, but their Solitaire debut is a beautifully formed introduction to the wider world for an artist who will undoubtedly be recognized as a uniquely gifted songwriting voice.

                                  Operating since 2011, and now joined by Megan Lunn (banjo, keys, vocals), Paul Vroom (bass & vocals), Liam Cole (drums) and Brodie Germain (drums, guitar, percussion), Little Kid has built a cult audience with a series of idiosyncratic home recordings, self-released in short cassette runs that range from more traditional albums and EPs, to 2019’s Botched Restorations - on which Boothby sold out a run of one-of-a-kind 60 minute cassettes that each contained 10 songs from his discography, chosen by the purchaser and recorded live to tape in his bedroom.


                                  FORMAT INFORMATION

                                  Dinked Edition LP Info: • 180g Clear with Baby Blue, Opaque Orange and Opaque Gold Splatter Vinyl*
                                  • Foil numbered sleeve*
                                  • ‘Le Cycle Liturgique’ A3 folded poster*
                                  • Dinked orange obi-strip*
                                  • Download card
                                  *Exclusive to Dinked Edition

                                  Ltd LP includes MP3 Download Code.

                                  Melt Yourself Down

                                  100% YES!

                                    After a few years out to perfect their jaw-dropping new album 100% YES,  Melt Yourself Down are back. Thanks to collaborations with production legends Youth and Ben Hillier, the band have reimagined themselves and  created a bruising re-up of their signature sound with added synths, lyrics, anthems and epic joyrides. They took their sweet time crafting this new sound and it was worth it - 100% YES is the band at their finest.

                                    Denai Moore

                                    Modern Dread

                                      Denai Moore is a British- Jamaican artist who rose to prominence as a guest vocalist on SBTRKT's 2014 album ‘Wonder Where We Land’. Moore was born in Spanish Town, Jamaica, where she started to learn to play keyboard from her father. Her family moved to Stratford, London when she was 10. 

                                      Piccadilly Records

                                      Logo T-Shirt - Summer 20: Cream / Burgundy

                                        This shirt features an burgundy print on a cream Gildan Softstyle Rinspun t-shirt.

                                        FORMAT INFORMATION

                                        S Info: To fit chest 28"/30".

                                        M Info: To fit chest 32"/34".

                                        L Info: To fit chest 36"/38".

                                        XL Info: To fit chest 40"/42".

                                        Women's L Info: To fit chest 36"/40"

                                        "I feel like 'Home' is a second part of the same book, that the start was in 'Esja', a musical prelude to a real plot. I feel Home is a story with an ending, so the next book can tell a totally different one. I am constantly looking for new ways of expression. I am curious where 'Home' will lead me and my music". — Hania Rani

                                        Hania Rani is a pianist, composer and musician who, was born in Gdansk and splits her life between Warsaw, where she makes her home, and Berlin where she studied and often works. Her debut album 'Esja', a beguiling collection of solo piano pieces on Gondwana Records was released to international acclaim on April 5th 2019 including nominations in 5 categories in the Polish music industries very own Grammys, the Fryderyki, and winning the Discovery of the Year 2019 in the Empik chain's Bestseller Awards and the prestigious Sanki award for the most interesting new face of Polish music chosen by Polish journalists. Rani also composed the music for her first full length movie "I Never Cry" directed by Piotr Domalewski and for the play "Nora" directed by Michał Zdunik. Her song "Eden" was used as a soundtrack of a short movie by Małgorzata Szumowska for Miu Miu's movie cycle "Women's Tales"

                                        If the compositions on Esja were born out of a fascination with the piano as an instrument, then her follow-up, the expansive, cinematic, 'Home', finds Rani expanding her palate: adding vocals and subtle electronics to her music as well as being joined on some tracks by bassist Ziemowit Klimek and drummer Wojtek Warmijak. The album reunites her with recording engineers, Piotr Wieczorek and Ignacy Gruszecki (Monochrom Studio) and the tracks were again mixed again by Gijs van Klooster in his studio in Amsterdam and by Piotr Wieczorek in Warsaw ( Ombelico and Come Back Home). Home was mastered by Zino Mikorey in Berlin (known for his work on albums by artists such as Nils Frahm and Olafur Arnalds).

                                        For Rani, 'Home', is very much a continuation of the work she started on 'Esja', "the completion of the sentence" as she puts it. The album offers a metaphorical journey: the story of places that become our home sometimes by chance, sometimes by choice. It is the story of leaving a place that is familiar and the journey that follows it. Home opens with the fragment of the short story "Loneliness" by Bruno Schulz, which can be seen as a parable of a journey that does not necessarily mean going beyond the physical door but can signify going beyond the symbolic limits of our knowledge and imagination.

                                        "One can be lost but can find home in his inner part - which can mean many things - soul, imagination, mind, intuition, passion. I strongly believe that when being in uncertain times and living an unstable life we can still reach peace with ourselves and be able to find 'home' anywhere' This is what I would like to express with my music - one can travel the whole world but not see anything. It is not where we are going but how much we are able to see and hear things happening around us". — Hania Rani

                                        Home is also about the inevitability of change. We never find places exactly how we left them. Time flies and life with it. Just like art and music. Once you started the trip, you will never be back really to the place where you started with. It is a sentiment that is at the heart of Home, not just its themes, but at the heart of Rani's music too. Following the success of Esja it would have been easy for her to stick to the same solo piano formula, but while Rani expresses her surprise and gratitude for the success of Esja, "I wasn't sure how this album - based on Piano and silence - will be received by the audience. The reception was a big surprise to me" it has also given her the confidence to express more of herself as an artist. On Home Rani steps into more of a producer's role, adding strings, bass and drums where needed, exploring the sounds of synths and electronica, but also creating textured layered songs made from acoustic samples, mostly from piano recordings. "I try to explore new genres and discover new artists, I don't want to be stuck in things that I know, I want to learn about things that are still new to me". But perhaps most notable is her singing, Rani has a fragile, beautiful voice, both pure and expressive. Long a feature of her live shows she uses it as another instrument, adding extra layers of melody and emotion to her already deeply expressive music.

                                        "I consider voice as another instrument. Maybe if I wasn't so often alone on the stage, I would take another instrument to play the melody that I have in my mind. But while I am alone, singing allows me to have more possibilities at the same time. The human voice has a real magic, nothing carries emotions as easily and powerfully as the voice, and I think being able to bring this atmosphere on stage opens up new possibilities of expression for me". — Hania Rani


                                        Home also features Rani's new band, bassist Ziemowit Klimek and drummer Wojtek Warmijak who appear on some of the albums stand out tracks, the beguiling single 'Leaving', the title track 'Home', atmospheric 'Tennen' and the beautiful 'I'll Never Find Your Soul'. After working and touring alone Rani begin to feel stuck with her own ideas and thoughts, and sounds. It was a prolific period for her compositionally, writing the music on Home, but also a film score and music for the theatre, but she felt that someone else's vision might bring new ideas to things that she already knew. Shortly before she was about to record Home she attended a concert of the young Polish jazz trio, Immortal Onion, in Gdańsk, her hometown. She liked what she heard and sked the double bassist and a drummer if they wanted to meet and something clicked. They spent most of the next week improvising and jamming on her music. This gave a whole new insight for some of the songs and brought new ideas for arrangements. And having enjoyed working together on the album Rani is looking forward to touring with the boys.

                                        "Touring with band is a totally different thing, way more challenging technically, but it also brings a new energy and new sound possibilities. I am very curious how we will manage to bring the album to life. I would like to keep the show balanced - mixing the new textures of Home with the atmosphere of minimalistic songs from Esja." — Hania Rani

                                        For Rani, this sense of exploring is a key part of her art. But it isn't only the music, Rani is keenly interested in art and architecture (as anyone who follows her exquisitely curated Instagram feed will know) and how her music works in the wider world.

                                        "I try to keep my eyes and ears wide open. What I want to master in my art is how to build the right atmosphere on stage, in recordings. To do this you need to be aware of many aspects - not only music, but also the full range of gestures, acoustics, visual aspect. I want to learn how to bring particular atmosphere and bring people to a specific space. I observe how music works in different contexts, how the feeling of sound changes in different acoustics, space, light conditions. The same thing happens with artwork that I share. I feel like everything of what I am bringing to the the world and sharing with others has an impact of reception my music. If we are an inseparable part of the ecosystem, then the music should be considered similarly." — Hania Rani

                                        The album's distinctive cover artwork was designed by the architect Łukasz Pałczyński, who combined his sketches with the stills from the music video for the song Leaving shot by her regular collaborators Mateusz Miszczyński and Jakub Stoszek in Greece and together with Rani's music and vision it is this sense of collaboration that gives Home it's power as Rani starts to give full expression to her own unique vision and perhaps the most exciting thing is that it is just another step on her journey, one that we are all lucky to be a part of!

                                        FORMAT INFORMATION

                                        2xColoured LP Info: Limited 500x only edition on Clear vinyl, printed in reverse board wide spine sleeve with printed insert

                                        2xLP Info: Double black vinyl, printed in reverse board wide spine sleeve with printed insert

                                        Polly Scattergood

                                        In This Moment

                                          Following two critically acclaimed solo albums and an exciting side project collaboration entitled ‘onDeadWave’… Polly Scattergood is returning with her fourth studio album in early 2020, entitled ‘In This Moment’. Sonically, the album is powerful and cinematic, scattered with moments of raw intimacy and delicate soundscapes. Encompassing grief and joy in equal measure, the album documents various snap shots of life including her journey towards motherhood.  Each song is a snapshot of a moment in time. Like a soundtrack to a compendium of photographs, it is a collection of experiences that come together to create an album. In part documenting Polly’s journey towards motherhood, encompassing grief and joy in equal measure, some moments are older than others, but all are now reflected upon from a slightly new perspective.

                                          Polly began recording this album shortly after having her first child, and on a very human level felt this massive sense of freedom, peace, and also wonderment which opened her up artistically to writing again. Sonically, she loves music which feeds her, hearing new things on each listen, and so tried to create many layers and textures within the sounds…fires crackling…breathing. She even had a few field recordings of bells and the sea from time living in Fuerteventura a few years ago. Polly and her producer, Glenn Kerrigan, weaved them into the soundscape very subtly, so occasionally you will catch glimpses of them. Worlds within worlds.


                                          Sparks

                                          A Steady Drip, Drip, Drip

                                            Brothers Ron and Russell Mael are releasing their 24th studio album ‘A Steady Drip, Drip, Drip’. Since storming into the charts, minds and airwaves in 1974 with “This Town Ain’t Big Enough For Both of Us” from their 3rd album ‘Kimono My House’, the musically vital pop pioneers have created a unique legacy both on record and in their live performances. ‘A Steady Drip, Drip, Drip’ follows Sparks’ 2017 album ‘Hippopotamus’, an extraordinary record which saw them return to the Top 10 and was universally acclaimed with many critics declaring it to be one of the finest albums of the year and the pinnacle of the band’s career - until now.

                                            FORMAT INFORMATION

                                            2xPicture Disc Info: Picture Disc 2LP + 12” Booklet.

                                            Deluxe CD Info: Casebound book CD edition.

                                            Jessie Ware

                                            What's Your Pleasure

                                              Fourth studio album by the English singer-songwriter, featuring collaborations with Shungudzo Kuyimba, Kindness, Clarence Coffee Jr., Metronomy and former Badbadnotgood sound whiz Matthew Tavares.

                                              FORMAT INFORMATION

                                              Coloured LP Info: Limited Edition White Vinyl.

                                              Paul Weller

                                              On Sunset

                                                With a creative peak that continues to shoot skyward, Paul Weller releases his 15th studio album “On Sunset” on June 12th on Polydor Records.
                                                On Sunset features ten classic yet modern Paul Weller songs. On Sunset is a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s. 

                                                Weller started work on “On Sunset” soon after finishing 2018’s masterpiece “True Meanings”. Opening track “Mirror Ball” was from the TM sessions and originally slated as a b-side. Thankfully it was rescued for On Sunset as it’s shimmering opener. 

                                                As ever, Weller retains a rigorous forward-looking focus when it comes to seeking out the best contemporary sounds and music. But lyrically, Weller – back on his old home, Polydor Records for the first time since the Style Council days – is also starting to look back on the past with the insight of age especially on songs like “Old Father Thyme”.

                                                Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band - Ben Gordelier appears on all tracks and Andy Crofts on most whilst Steve Cradock pops up with his guitar on 4 songs. An eclectic and sometimes surprising gathering of guests appear on On Sunset including Slade’s Jim Lea contributing violin to the Bonzos-esque “Equanimity”, and Paul’s old Style Council chum Mick Talbot adds his signature Hammond Organ sound to 3 tracks. The beautifully lush “More” features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019) as well as the return of The Strype’s guitarist Josh McClorey. English folk trio The Staves contribute backing vocals for 3 tracks. Once again Hannah Peel sprinkles her magic over the album with string arrangements and The Paraorchestra were invited to add their expertise to 4 tracks.

                                                FORMAT INFORMATION

                                                2xColoured LP Info: Indies exclusive solid purple coloured vinyl.
                                                Heavyweight gatefold double vinyl.

                                                2xLP Info: Heavyweight gatefold double vinyl.

                                                Deluxe CD Info: Hardback book version with additional tracks.
                                                *Please note additional tracks in Deluxe tracklisting below.

                                                A. A. Williams

                                                Forever Blue

                                                  Making her stage debut in April 2019 and selling out her first headline show at London’s prestigious Southbank Centre less than a year later, A.A. Williams has hit the ground running. Similarly, the acclaim for her performances and her music has been unanimous from the start. After one self-titled EP and the 10” vinyl collaboration Exit in Darkness with Japanese post-rockers MONO, the London-based singer-songwriter has signed to Bella Union and made a stunning debut album, Forever Blue.

                                                  A rapturous blend of post-rock and post-classical, Forever Blue smoulders with uncoiling melodies and haunted atmospheres, shifting from serenity to explosive drama, often within the same song. Williams is a fantastic musician as well as songwriter, playing the guitar, cello and piano, and her voice has the controlled delivery of a seasoned chanteuse whilst still channelling the rawest of emotions.

                                                  Forever Blue is named after a song that didn’t make the album’s final cut, “but it still encapsulated these songs,” Williams explains. “It sounded timeless and in the right place.” The album’s threads encapsulate the anxieties and addiction of love and loss with haunting detail, for example ‘Glimmer’(“I wasn’t meant to see the sun washed out and pale / I wait undone / I wasn’t meant to be the one hollow and hurt and meant for none”), though Williams admits the theme was shaped more by her subconscious than any grand plan.

                                                  “The lyrics come at the end, they fall into place, rhythmically, and link together,” she explains. “And then it’s my job to decipher what I’ve written! I want the words to get my point across but still let the listener map on their own experiences. I find it really therapeutic.”

                                                  Therapy is intrinsic to Williams’ approach: to not just express and unpick her feelings of longing and loss but to work through them. “Verbalising something, you feel a weight has been lifted,” she says. The transition can be mirrored in the dynamic shift from ‘quiet’ to ‘loud’, as on ‘Glimmer’ and arguably at its most euphoric on ‘Melt’. “There’s something very satisfying and elating about songs that have that drop in them, to stomp on the guitar pedal on and let it all out.”

                                                  It’s testament to Williams’ skills, and those of husband and bassist Thomas Williams, that Forever Blue’s commanding sound was largely captured at the couple’s two-bedroom flat in North London. Drums by Geoff Holroyde were added at engineer Adrian

                                                  Hall’s studio in South London, with guest vocals from Johannes Persson (Cult Of Luna), who adds his deep-trawling growl to ‘Fearless’ (“he sounds like Tectonic plates moving” Williams feels), Fredrik Kihlberg (Cult Of Luna) on ‘Glimmer’ and Tom Fleming (ex-Wild Beasts) on ‘Dirt’.

                                                  Williams can scarcely believe she’s in such exalted company, or that her band has toured with Cult Of Luna, Russian Circles, Explosions In The Sky, Nordic Giants and Sisters Of Mercy, whilst performing with MONO at their 10th anniversary show. It’s not because she doesn’t trust her own worth but that Williams only became a singer-songwriter by chance.

                                                  Having taken music lessons from the age of six and been immersed in classical music, Williams’ life was forever changed when she discovered Deftones in her mid-teens, “and after them, all things heavy,” she recalls. “It was music that made me feel included, that tapped into me.”

                                                  Yet it was only years later, when she found a guitar in the street with a note attached, “please take me, just needs work,” that Williams started playing guitar, and only started writing songs as a way of learning how to play. “I wrote in different styles to find a sound I was comfortable with,” she says. “Likewise, with singing. I’d never before thought of singing with a microphone in front of other people. It’s been quite a journey.”

                                                  That journey was thrown off course by the Coronavirus lockdown, but Williams’ response has been the ‘Songs From Isolation’ video project, solo renditions of songs suggested by her fans. At the time of writing, she has performed Radiohead’s ‘Creep’ (“to take on a song like that, you either have to be brave or dumb, and I thought, let’s be brave!”), Gordon Lightfoot’s ‘If You Could Read My Mind’ and Nick Cave’s ‘Into Your Arms’.

                                                  As ‘Songs From Isolation’ keeps posting intimate messages from a place of solitude, Forever Blue will spread the news of A.A. Williams’ extraordinary talent far and wide - and once lockdown is over, she and her band will be taking the next steps on her journey by touring the record. She’s already come so far but this story is only just beginning. 


                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Silver vinyl.

                                                  Coloured LP includes MP3 Download Code.


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