Genre pick of the week Cover of The Piano Tuner by Peter Alexander Jobson.

Peter Alexander Jobson

The Piano Tuner

    Peter Alexander Jobson: Musician, Composer, Performer. Ex member of Mercury nominated I Am Kloot. On occasion guitar player for Guy Garvey. On occasion bass player for Nadine Shah.

    Ahead of the release of his debut album in 2022, adopted Mancunian Peter Alexander Jobson brings us this rather wonderful four track EP.

    "I have been writing and recording my debut album for 50 years. It is now complete."

    “When men do great things everyone knows it takes them a very long time”.


    Andy says: Imagine the plaintive beauty of Bill Fay, but with a wicked sense of humour. Or Richard Hawley's classicist vibes but topped with a barstool storyteller. Then you'll get some idea of the sound of PAJ. There's a real poise and deep sense of bruised beauty on display here. It's magnificent.


    Side A
    1. Holiday (Live)
    2. Just ‘Cause I'm Dead
    3. Please Please Please

    Side B
    1. Kesta

    A Place To Bury Strangers


      Hologram is the follow up to their highly regarded fifth album, Pinned, and is a sonic return to A Place To Bury Strangers’ rawest, most unhinged sound. With songs addressing the decay of connections, friendships lost, and the trials and tribulations of these troubled times, Hologram serves as an abstract mirror to the moment we live in. Written and recorded during the on-going global pandemic and in the midst of the decline of civilization, Hologram is a sonic vaccine to the horrors of modern life.


      ACR - EP:A/C/R - Signed Bundle


        is dedicated to Denise Johnson and features the band’s final recordings with Denise, where they used up their final days recording time with a day jamming in the studio with no fixed agenda, the result is something very special.

        EPC is dedicated to Andrew Weatherall. All four tracks on ACR:EPC are collaborations. Emperor Machine is a collaboration with Andy Meecham, also known as Emperor Machine, YOYOGRIP is a collaboration with Maria Uzor from Sink Ya Teeth and Jacknife Lee and Music Control is a collaboration with Chris Massey who remixed Dirty Boy in 2019. The track Guv’nor is inspired by longtime ACR friend Andrew Weatherall and is a collaboration in spirit.

        EPR is the last of a trilogy. Recorded with the internal brief of anything goes, ACR complete their trilogy of Eps with these four tracks, the mesmerising $ouls In The City is made up of Part 2 and Part 1, in that order, followed by the insanely catchy Night People, Big Boy Pants which was named after Joe Biden when he won the US election as it was mixed on the same day and the final track Downtime Vibes, which is a hypnotic piece of repetitive rhythms built up around a set of chimes that Jez found in the back of his car.


        Wonderland (Jam 6)
        Keep It Together (Jam 5)
        Down And Dirty (Jam 2)
        Feel No Fear (Jam 1)

        Emperor Machine (ACR Vs The Emperor Machine)
        The Guv’nor
        YOYOGRIP (Long) Featuring Maria Uzor And Jacknife Lee
        Musik Kontrol (ACR Vs Massey)


        $ouls In The City Part 2 & 1
        Night People
        Big Boy Pants
        Downtime Vibes

        Amyl And The Sniffers

        Big Attraction & Giddy Up

          Amyl and the Sniffers are a punk band possessed by the spirit of seventies Australian rock. Amy Taylor (vocals), Bryce Wilson (drums), Dec Martens (guitar) are former housemates who formed the band, wrote a handful of tunes and released their debut EP, Giddy Up, all in a span of twelve hours. Completing their line up with Gus Romer on bass, the band take their cues from a diverse bunch of legends including AC/DC, Cosmic Psychos, Dolly Parton and Die Antwoord, setting out to have as much fun as possible.

          Their 2nd EP, Big Attraction, was released in February 2017, kicking off a stellar year for these young punks. Growing buzz around their blistering live show made the band a hot tip at Bigsound in Brisbane, while the band was added to festival lineups including Meredith and CherryRock17. The band and were invited to join the Cosmic Psychos on their forthcoming November/December tour and capped off the year with a sellout NYE show at the legendary Tote in their home town of Melbourne.


          Barry says: Amyl And The Sniffers have been a force to be reckoned with on the Australian punk scene (and indeed over here), and this early document of their first two EP's are an absolutely essential purchase. Every bit as incendiary and uncompromising as their LP's, an essential purchase.


          1 I'm Not A Loser
          2 Blowjobs
          3 Mole (Sniff Sniff)
          4 Balaclava Lover Boogie
          5 Westgate
          6 70's Street Munchies
          7 Pleasure Forever
          8 Caltex Cowgirl
          9 Mandalay
          10 Stole My Pushbike

          Aquarian Blood

          Bending The Golden Hour

            With Bending the Golden Hour, the third album from Memphis, Tennessee’s Aquarian Blood, husband and wife team J.B. Horrell (Ex-Cult) and Laurel Horrell (formerly of the Nots) continue the gorgeously stripped-down and atmospheric direction set on their critically acclaimed previous effort A Love That Leads to War.

            While Aquarian Blood has roots as a chaotic punk rock six-piece, the band shifted gears after two raucous cassette-only releases on ZAP Cassettes, a pair of seven-inches, and 2017’s Last Nite in Paradise, released on Goner Records. After drummer Bill Curry broke his arm, the Horrells redefined

            Aquarian Blood, reemerging in early 2018 as the more intimate, mostly acoustic balladeers behind the staccato, fever dream sound of A Love That Leads to War. Like its immediate predecessor, Bending the Golden Hour was recorded at the Horrell's Midtown Memphis home. The band turned over 43 tracks to Goner co-owner Zac Ives, who handpicked 17 songs for the album.

            The final result is shimmering and hopeful; as beautiful and sparse as a Rockwell Kent snowscape. Bending the Golden Hour begins ominously with “Channeling,” which sounds like an outtake from Paul Giovanni’s soundtrack to 1973’s pagan nightmare The Wicker Man. Then the band upshifts for “Time in the Rain,” a sweet duet set to a rigid snare beat. From there, Aquarian Blood zigs to country and zags to psychedelic folk, brooding on one song and soothing listeners with the next. And while the music, feel, and experience is different, Aquarian Blood naturally brings to mind some legendary musical partnerships: Richard and Linda Thompson, Lee Hazlewood and Nancy Sinatra, Johnny and June Carter Cash, Gram Parsons and Emmylou Harris; not to mention similarly-bent-but-beautiful luminaries like Roy Harper, Pentangle circa 1967 -1973, and Jackson C. Frank.

            There’s a big middle ground, like folk-psych, or weirder country music,” he says, reeling off names like Skip Spence and Syd Barrett as stepping stones between the genres of punk and folk.

            Inspirations for Bending the Golden Hour come from myriad sources that document the milestones and minutiae in a family’s full life. Some lyrics name a time or a place; others reflect the fleeting moments that elapse unnoticed. “Come Home,” which is sung by J.B. and his daughter Ava, was written the day Ava got her driver’s license. “Ava took the car out by herself afterwards, and I wrote the song immediately—she sang her part when she got home that evening,” J.B. recalls. Whether or not the listener knows the backstory, the song rings sentimental, with subtle, supportive instrumentation that underscores guitar and vocals. The bewitching “Rope and Hair,” on the other hand, is less sketched out, with lyrics that are simply a recitation of the talismen found on a silver sabertooth charm that J.B. purchased for Laurel at a Latin strip mall in southeast Memphis. That’s all to be said. “Sometimes when you know too much about what the song is about, it takes away the magic,” says J.B. “Alabama Daughter,” says Laurel, is about a place where a childhood friend lived called Castleberry Holler. “It was really rural, just a lot of shacks without electricity—the kind of place you didn’t go to unless you were invited,” she says. “Probable Gods” is a hazy reflection on the struggle of such a strange year. “It’s been very cathartic to put all of this into words and not have it live in my head,” J.B. says.

            TRACK LISTING

            1. Channeling
            2. Time In The Rain
            3. Bolted And Embossed
            4. Waited
            5. Til It Wasn’t Anymore
            6. Spray Them All
            7. Rope And Hair
            8. Bending Time
            9. Come Home
            10. Covering The Past
            11. Hate To Wake You
            12. Alabama Daughter
            13. Night Train
            14. Count My Love
            15. On The Divide
            16. Probable Gods
            17. Boredom Hours

            Julien Baker

            Little Oblivions - Love Record Stores 2021 Edition

              Love Record Stores Edition available instore from 10am on Saturday September 4th, any remaining copies will be available on online from 9pm on the same day.
              Limited to one per person.

              Beach Riot

              Sub Atomic Party Cool

                The debut Beach Riot album is finally here. It’s safe to say that ‘Subatomic Party Cool’ is well worth the wait - a record that’s jam packed with quality songwriting and enormous riffs, one after another, and hits a wide range of musical touchstones along the way. Black vinyl in slip sleeve.

                Full of an infectious energy with more horsepower than the South American farm that guitarist/vocalist Cami left aged just 18 to come to the UK to seek pop stardom (Argentinian horse farming’s loss is Alcopop!’s gain), Beach Riot are a slacker pop force to be reckoned with.

                Beach Riot cite their influences as ice-cream, weird guitars, PJ Harvey, Mudhoney, 4am mozzarella sticks, dark comedy, dungeons and dragons, and Brighton beach hangover fry-ups. We totally get that.

                “90s fuzz, big riffs and dreamy harmonies - what more could you want?” - LOUDER

                “Great dynamics, tension and killer choruses” - MOJO

                “Gritty indie-pop brilliance” -The iNewspaper

                TRACK LISTING

                Wrong Impression
                Good To Know (That I’m Still On Your Mind)
                Modern Dinosaur
                Unrequited Love
                Medicate For Success
                Sofa Surfer
                She’s A Hurricane
                Serial Scruff

                The Beths

                Auckland, New Zealand, 2020

                  The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

                  As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

                  The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

                  In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

                  “It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

                  The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

                  The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

                  With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

                  Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

                  Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

                  TRACK LISTING

                  1. I'm Not Getting Excited - LIve
                  2. Great No One - Live
                  3. Whatever - Live
                  4. Mars, The God Of War - Live
                  5. Future Me Hates Me - Live
                  6. Introduction
                  7. Jump Rope Gazers - Live
                  8. Uptown Girl - Live
                  9. Bird Talk
                  10. Happy Unhappy - Live
                  11. Out Of Sight - Live
                  12. Thank You
                  13. Don't Go Away - Live
                  14. Little Death - Live
                  15. Dying To Believe - Live
                  16. River Run - Live

                  Jello Biafra And The Guantanamo School Of Medicine

                  No More Selfies

                    Two songs from punk icon’s recent Tea Party Revenge Porn album not included on the vinyl. At last, Jello Biafra And The Guantanamo School Of Medicine have finally delivered the two songs missing from the Tea Party Revenge Porn LP version on vinyl, the instant classics, “No More Selfies” and “The Ghost of Vince Lombardi”! This is very strong stuff. Hear the inimitable Mr. B skewer the place the world’s put itself in, like no one else would or could as he and The Guantanamo School Of Medicine capture the fullpower of the live shows on disc as never before. Only so many artists have a track record of lyrics this good, and back it up with music as good or better. It’s usually one of the other, but rarely this fierce, thanks to the wall of sound production of the mysterious Marshall Lawless, with Kurt Schlegel at the board this time.

                    Co-conspirators now feature both string-titans of longtime AT mainstay Victims Family: guitarist Ralph Spight (also Freak Accident) and wonder bassist Larry Boothroyd (also Triclops,Brubaker); plus drummer / metal percussionist Jason Willer (UK Subs, Nik Turner, Charger, The Mob). Why on a 7” and not on the LP? The high speed “driving tests” Biafra always uses to find the best rockin’ song order for his albums (since the Dead Kennedydays of Fresh Fruit!) meant going “lean, mean (and louder!)” for the LP version, and two more songs in the middle for the CDs and download. These are not outtakes or “bonus tracks”. Theymake quite a strong 45 on their own. So play often! Play loud! And don’t let “Winning is the Only Thing” cloud your judgement! Like it still does a certain clown who used to be president. From Dead Kennedys to Lard to the now-classic albums with the Melvins, DOA, NoMeansNo, Mojo Nixon; and of course, The Guantanamo School Of Medicine, there is no better primal scream therapy than Jello Biafra song

                    TRACK LISTING

                    1. No More Selfies
                    2. The Ghost Of Vince Lombardi

                    The Blinders

                    The Lounge Lizard Sessions - Signed Edition

                      The Lounge Lizard Sessions is a collection of rearranged compositions more suited to socially distanced and intimate performances. The project evolved from a series of stripped-back shows, the band falling in love with their new-found approach and finding themselves wanting to dive into their music and explore its sonic depth via additional instrumentation and experimentation.

                      “When everything went to shit with the Covid pandemic, we realised that if we wanted to continue playing live shows we’d have to drastically change the sound and really roll down the amps,” lead singer Thomas Haywood explains.

                      “We played a few shows at a local hotspot for the modern beatniks of Manchester called the Rose & Monkey Hotel. Musically, it’s the most enjoyment I’ve ever gotten out of playing a collection of songs. The whole thing became a project of ours, and we gradually began increasing the depth of the pieces by bringing in keys and other various parts.

                      “These songs, these arrangements, became our way of getting back to our audience and once again revelling in the communion that we feel when we play on stage. This record was recorded in one take at Parr St. Studios in Liverpool, a place we’ve wanted to work out of for some time. Listening back, as far as keepsakes or souvenirs go… it feels pretty special.”

                      TRACK LISTING

                      1) I Want Gold
                      2) I Can't Breathe Blues
                      3) The Writer
                      4) From Nothing To Abundance
                      5) Black Glass
                      6) Something Wicked This Way Comes
                      7) Lunatic (With A Loaded Gun)
                      8) Where No Man Comes
                      9) Circle Song
                      10) Mule Track 

                      Tim Burgess

                      The Listening Party - Signed Edition

                        The Charlatans' Tim Burgess invites you to the greatest listening party of all time.

                        In 2020 when the world was forced to hit pause on live in-person gigs, Tim Burgess found an ingenious way to bring people together by inviting artists and bands, from Paul McCartney and New Order to Michael Kiwanuka and Kylie, to host real-time album playbacks via Twitter. Relive 100 of the most memorable listening parties here with stories from bands and fans, rarely seen backstage images, and unique insider info from those who created these iconic albums.

                        "Hey Twitter, let's all say a big thanks to Tim for these brilliant events this year! We really needed them. So much great music being talked about.'" - Sir Paul McCartney

                        "Twitter being used for something really positive." - Mary Beard


                        Magnifier EP

                          Cassia make music to take control of their emotions. When the Macclesfield trio (Rob Ellis - lead vocals/guitar, Lou Cotterill - bass and Jake Leff - drums) first formed, they used song writing to embellish reality, covering up dull days with colourful tunes. Now they're crafting powerful, intentional songs that cut straight to the heart: drifting through their daydreams and daily anxieties as if in real time, giving space to doubts, fears and self-reflection. The result is empowering, for the band as much as the listener.

                          The last twelve months have been a time of deep introspection for the trio, who have been holed up together in Berlin, living, writing and recording in the same house. Stranded far from their loved ones, and with their joyful live shows on hold, they've playfully dubbed it 'Casa de Cassia'. The stillness and focus is worlds apart from their life as a band until now. In their airy top-floor studio, dislocated from all that's familiar, Cassia have found real fulfilment in writing about the every-day: no more covering up.

                          'Magnifier', and its sister record, February's 'Powerlines' EP, are the first releases that Cassia have made, start to finish, without anyone else in the room. "We've worked with amazing engineers and producers in the past," acknowledges Rob, "but this time it feels entirely ours. It sounds exactly how we want it to sound." Stay tuned for more new music and information on its release to follow.

                          TRACK LISTING

                          SIDE A
                          1. Slow
                          2. Right There

                          SIDE B
                          1. Vitamins
                          2. Gotta Get Through Til Monday

                          Jon Coley is something of an underground figure in Manchester's music scene. Combining soul and folk with intelligent original songwriting, and admired for his unique guitar playing (taking influence from performers such as Nick Drake, Bert Jansch, Wizz Jones and especially John Martyn) and for his passionate vocal performances, reminiscent of Van Morrison and Amos Lee.

                          "If All I Ever Wanted Was All I Ever Needed" is his strikingly pure, heart-wide-open debut album. Opening with the Tracey Chapman-esque, "Higher Ground" it's obvious from the start there's a warm and healing magic to Jon's voice; the mere sounding of the record certain to rekindle forgotten memories of happy times like flames around a campfire.

                          Jon's guitar and voice seem unseperable throughout; symbiotically elevating each other beyond their instrument's solo limitations. And his vocal range - wow! - I mean, Jon where were you hiding such an angelic falsetto?! Like golden honey flowing over polished leather, the slight gravly inflections like proplis in this sonic royal jelly.

                          Accompanying Jon, a beautifully intimate team of backing muscians and vocalists (all credited on the record's sleeve) which add finedrawn, unforced dynamics to this otherwise one-man operation which in parts drifts in to Mazzy Star-esque depths of emotion.

                          If you're looking for a charismatic and heart warming troubadour to keep you company over the coming Autumn months then look no further! Highly recommended by us all here at Piccadilly Records.

                          Jon has played alongside John Renbourn, Blind Boy Paxton, Michael Chapman, Ralph McTell, Jon Gomm, Wizz Jones, Dylan LeBlanc, Chance McCoy and shared a stage and billing with many more, including Foss Patterson and Danny Thompson of John Martyn's band at venues as varied as New York's Bitter End Club, and Liverpool's Echo Arena. 

                          STAFF COMMENTS

                          Matt says: Whispering sweet nothings like warm treacle across a rich tapestry of English Americana; the only drinking partner you need this Autumn! Manchester's Jon Coley is an absolute joy on the ears. Debut album from this star destined for supernova status.

                          TRACK LISTING

                          Side A
                          Higher Ground
                          Sympathy For Juda
                          Sweeter State Of Mind
                          Can't Blame A Boy For Trying
                          Last Words On A Caged Mocking-Bird
                          In The Night Time 

                          Side B
                          Beat Up Inside
                          Watch The World Burn
                          You Can't Make It Rain
                          The Easy Life
                          Only Call Me When You're Ready
                          Bigger Than Both Of Us
                          Blue Eyes, Whiskey And Wine

                          Sarah Davachi


                            It was once said that listening to Antiphonals was, “like listening to a progressive rock album except it’s just the keyboard parts.” As the second full-length LP on Late Music, Davachi offers here a slow and sedate solo affair composed with the various horns and woodwinds of the mellotron alongside organs, pianos, harpsichord, and more quiet delights. All tracks composed, performed, recorded, mixed, and produced by Sarah Davachi (SOCAN), February - December 2020 Mastered by Sean McCann

                            STAFF COMMENTS

                            Barry says: Antiphonals is a wonderful juxtaposition of gothic gloom and slowly morphing drones, somewhere along the lines of a classical, short-form Sunn0))). It's beautifully dense and immediate, experimental but deeply listenable. Impeccable.

                            TRACK LISTING

                            A1 - Chorus Scene - 2:47
                            A2 - Magdalena - 10:19
                            A3 - First Cadence - 5:57
                            A4 - Gradual Of Image - 3:09

                            B1 - Border Of Mind - 5:53
                            B2 - Abeyant - 7:12
                            B3 - Rushes Recede - 6:35
                            B4 - Doubled Flutes - 2:19



                              Brian Borcherdt (aka Dusted) is the founding member of Holy Fuck as well as LIDS which includes members of Metz and Constantines, and has a single due out this year on Sub Pop.

                              The new album is the follow up to the acclaimed 2018 release BlackOut Summer and will provide a welcome musical shot in the arm for fans who have anxiously waited three years for new music from Dusted.
                              ‘The album's process began with Borcherdt finding a long forgotten favourite song, coming back to him in a dream. ‘’That same morning, I found a demo of it, along with countless others, on an old laptop,’’ said Borcherdt. ‘’It was a joyful moment, hearing long lost songs as if I was never part of them. I was a third-party listener thus allowing them to be innocent and unjudged. I added a handful of the favourites to a current set list, which became the inspiration to go into the studio, to lay everything down, live off the floor, simply to preserve them, to keep them from being forgotten again.'

                              Dusted’s 2012 album ‘’Total Dust’’ was selected for the Polaris Prize Long List in 2013. The support from filmmaker Jean-Marc Vallee earned Dusted two songs in his most recent film Demolition and a cameo role in Wild. With Holy Fuck, Borcherdt has been making music for 15 years and has released 5 albums. Holy Fuck has seen their music played on major TV shows like Breaking Bad and Mr Robot as well as ranking over 200K monthly listeners on Spotify and accumulating over 5 million career streams to date. Borcherdt has been releasing solo music since 2002. Previously to Holy Fuck, he was part of By Divine Right whose past band members count Feist and Broken Social Scene’s Brendan Canning. 

                              TRACK LISTING

                              1) Not Offering
                              2) Baseball
                              3) Cedar Tree
                              4) The Don’t Know You
                              5) Little More Time
                              6) Mountain Top
                              7) Bide My Time
                              8) Wash My Hands Away
                              9) Erik
                              10) Recovery Cone
                              11) Clouds
                              12) Palmer

                              Everything But The Girl

                              Eden - Half Speed Remastered Edition

                                Everything But The Girl's best-selling debut album, 'Eden' is the latest re-release from the duo to benefit from half-speed remastering at Abbey Road Studios by Miles Showell, and a fresh 180gm vinyl pressing.

                                Originally released in May 1984, the album spent almost six months on the official UK album chart peaking at number 14 and spawned the UK Top 40 hit, Each and Every One. The label wanted further singles but the duo preferred the album to grow by word of mouth. 'Eden' achieved gold album status in the UK and has gone on to sell more than 500,000 copies worldwide.

                                Ben Watt and Tracey Thorn met at the University of Hull in 1981; they formed Everything But The Girl initially as a side-project, as both had already established themselves on the UK independent music scene as teenagers - Tracey with her lo-fi minimal girl group, Marine Girls (later name-checked as one of Kurt Cobain's favourite bands); Ben as a young guitarist and singer-songwriter, collaborating with alt-folk icon Robert Wyatt on his debut EP.

                                In the summer of 1983 the pair - having each gone on to to release debut solo albums - decided to pool their new songs for 'Eden'. It was recorded with producer Robin Millar (chosen for his work with Weekend and The Pale Fountains) at his Power Plant Studios in Willesden, North West London.

                                "All the songs were written on guitar in Hull in early 1983. We were living in one room with a shared kitchen on Pearson Park," recalls Tracey. "Power Plant seemed very glamorous by comparison. Sade was recording downstairs. We were upstairs."

                                The sessions featured a band handpicked by Ben and Tracey: Working Week's Simon Booth on second guitar, This Heat’s Charles Hayward on drums, and South American musicians Chucho Merchan (double bass) and Bosco D’Oliveira (percussion) plus a clutch of top horn players from the English jazz scene. The line-up was part friends from London, part musicians Ben admired from trips to the Bull's Head jazz room with his dad when growing up, in particular Peter King (alto sax).

                                "We were intent on being non-rock," says Ben. "No clichés. No snare drums, no solid body electric guitars or electric bass. We wanted soft horns, Gretsch guitars, no fuss, a lightness of touch. We were into pop, latin, torch songs, sharp lyrics."

                                The album was released on the newly-formed imprint Blanco Y Negro (co-run by Mike Alway and Rough Trade's Geoff Travis) through Warner, and signalled Everything But The Girl’s move from an independent - Cherry Red - to a major label.

                                The artwork by Marine Girls band member Jane Fox was delivered as a three-dimensional collage of hand-drawn art and torn paper. Warner (who were marketing and distributing the record) didn’t really know what to do with it. The original version didn’t even have the name of the band on it. In the end it was photographed and printed on ‘reverse-board stock’ - unusual for a major release at the time.

                                TRACK LISTING

                                Each And Every One
                                Tender Blue
                                Another Bridge
                                The Spice Of Life
                                The Dustbowl
                                Even So
                                Frost And Fire
                                I Must Confess
                                Soft Touch

                                The Felice Brothers

                                From Dreams To Dust

                                  From Dreams To Dust, the latest studio album by The Felice Brothers was recorded in the fall of 2020 in an old one room church in Harlemville, NY.

                                  Produced by The Felice Brothers and mixed by Mike Mogis. The record ranges over a variety of topics and themes, including isolation, the world of dreams and delusions, environmental collapse, and the inward and outward chaos of modern life.

                                  TRACK LISTING

                                  Jazz On The Autobahn
                                  To-Do List
                                  All The Way Down
                                  Money Talks
                                  Be At Rest
                                  Celebrity X
                                  Land Of Yesterdays 
                                  Blow Him Apart
                                  We Shall Live Again


                                  The More I Am / Overflowing

                                    After the release of their outstanding debut album ‘From A View’, Melbourne four-piece Floodlights deliver their new 7”, ‘The More I Am / Overflowing Cup’ on Tiny Town Records. Featuring two tracks, the release is a limited UK edition with a bonus ‘Floodlights Postcard’.

                                    Floodlights are Louis Parsons (vocals / guitar), Ashlee Kehoe (guitar / vocals / harmonica), Joe Draffen (bass) and Archie Shannon (drums). Floodlights make honest, catchy rock music that melds ‘80s alternative rock with ‘90s New Zealand jangle-pop.

                                    ‘The More I Am’ grasps the idea of continually greeting everyday happenings with cynicism and negativity, and how that can lead to a tinted view of life. It is an energetic beginning to the release, with the addition of baritone saxophone that creates a post-punk energy while still obtaining a warmly familiar Floodlights’ sound.

                                    'Overflowing Cup' is a narrative, exploring the way in which perspectives and opinions developed over a lifetime can impact your ability to see things from another point of view.

                                    The 7” follows the band's debut album ‘From a View’, which came out just shy of one year ago on Spunk Records and Woo Me!


                                    Liminal EP

                                      The new EP from Brighton four-piece ĠENN .

                                      "Six tracks across a little over 20 minutes means ‘Liminal’ is a record that gallops rather than canters. Not so much bridging the gap between psych and post-punk, as occupying the murky waters beneath said bridge, each track on offer differs aesthetically somewhat from the next, something that maintains the record’s pace, even with some tracks getting caught in their own distinct hypnotic grooves." - Dave Beech, DIY

                                      TRACK LISTING

                                      1. Feel
                                      2. Mackerel's Funky Mission
                                      3. 23rd March
                                      4. Catalyst
                                      5. Just Another Sad Song
                                      6. Falling Out

                                      Visionary artist John Glacier combines punk and grime informed poetry with futuristic, glacial electronics and warped, poppy hooks. It's a singular and unique sound which although the sole owner of its author, would find company and sympathy with acts such as GFOTY, Hype Williams and AJ Cook as much as it could be found next to a Lil Simz, DISCHI or Tyler The Creator track on a mixtape. Her slack but inspired rhyming shuns old tradition, hanging loose with benzo-rap, Princess Nokia and Blackhaine like they're all just friends on the school bus.

                                      Produced with fellow London-born, LA-based producer Vegyn, it treads the radioactive, post-hip-hop badlands where genres, identity and culture blur and interact.

                                      John has confessed that the album's content is incredibly personal and poignant, opening up her heart and soul to the listener whilst keeping up a streetwise, asphalt-hardened front, the product of a world and society in which weaknesses can be exploited by the greedy and malevolent.

                                      It's striking, instantly arresting and rather quite special. An intimate and seductive journey that you'll want to play from start to finish every time. 

                                      TRACK LISTING

                                      1. If Anything
                                      2. Icing
                                      3. Cryptomnesia
                                      4. Trelawny Waters
                                      5. Timing
                                      6. Senseless
                                      7. Boozy
                                      8. Platoon
                                      9. Green Elephants Freestyle
                                      10. Some Other Thing
                                      11. On Formulation
                                      12. No More Left Like It’s Death

                                      José González

                                      Local Valley

                                        Few people have managed to become quite so celebrated worldwide, quite as quietly as José González has. Local Valley, his long awaited fourth album, serves as a relieving reminder that you don’t have to be loud to be heard.

                                        Since his debut single ‘Crosses’ back in 2003, both he and his music have remained dependably quiet and unassuming. Local Valley calmly exhibits his singular ability to communicate with such modesty and power. Beginning with the sun-dappled ‘El Invento’, the first song he’s recorded in Spanish (the native tongue of his Argentinian heritage), and ending with the intimate yet rhapsodic ‘Honey Honey’. Along the way it engages in his signature melodic and metrical hypnotism, showcasing his remarkable fingerpicking skills, while there’s further evidence of his love for music from around the world (he references an inspiring jam session in Gothenburg with Niger artist Bombino) and for the first time, the introduction of a drum machine on a few songs, further widening José´s musical spectrum.

                                        The record, full of his trademark bittersweet pastoralism, includes what González considers “my most accomplished songs to date”. While continuing his tradition of reinterpreting songs by other artists, with ‘Line Of Fire' he picks one written for Junip, the band he formed with friends in 1998. That the original version has now been streamed some 60 million times suggest it, like other songs he’s covered, is now part of the songwriting canon.

                                        Local Valley, González cheerfully acknowledges, “is similar to my other solo albums in sound and spirit, a natural continuation of the styles I’ve been adding through the years both solo and with Junip. I set out to write songs in the same vein: short, melodic and rhythmical, a mixture of classic folk singer songwriting and songs with influences from Latin America and Africa. It’s more outward looking than my earlier works, but no less personal. On the contrary, I feel more comfortable than ever saying that this album reflects me and my thoughts right now.”

                                        TRACK LISTING

                                        A1. El Invento
                                        A2. Visions
                                        A3. The Void
                                        A4. Horizons
                                        A5. Head On
                                        A6. Valle Local
                                        B1. Lasso In
                                        B2. Lilla G
                                        B3. Swing
                                        B4. Tjomme
                                        B5. Line Of Fire
                                        B6. En Stund På Jorden
                                        B7. Honey Honey

                                        The Great Leap Forward

                                        Revolt Against An Age Of Plenty

                                          Former bIG*fLAME singer and bassist Alan Brown returns with his long term solo project The Great Leap Forward, releasing a powerful and trademark new album ‘Revolt Against An Age Of Plenty’.

                                          Vigorous, scintillating and life-affirming, this 13-song album sees Brown reach a milestone birthday, as explored in 'Can You Kanreki?’ - the Japanese concept of second childhood and re-birth. Then there are the trademark political and social vignettes, such as the title song of the album 'Revolt Against An Age Of Plenty' – railing against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – a scathing attack on the lack of openness, honesty and humility of our political leaders.

                                          Brown featured on the legendary and influential C86 NME cassette as singer and bassist with Manchester agit-post-punk trio bIG*fLAME, and recorded nine John Peel sessions for BBC Radio One in the 1980’s with bIG*fLAME (4), The Great Leap Forward (2), A Witness (2) and Inca Babies (1).

                                          Formed by Brown following the disbandment of bIG*fLAME in 1986, The Great Leap Forward is essentially a solo project in which Brown writes all songs and lyrics, and plays / programs all instruments on recordings.

                                          The style and sound is more melodic and accessible than bIG*fLAME, but still with overtly political lyrics and a socialist / humanist ethos: incisive political and social commentary layered over sharp yet melodic guitar pop – and with a touch of electro and humour thrown in for good measure…
                                          Stuart Maconie, writing for NME, summed up the band's sound: "First there's the jagged guitar melodics, sweet but never tacky. Then there's the ferocious rhythmic drive. But best of all there's the stylish and witty use of found voices...snatches and snippets of speech and propaganda that are integral to the songs."

                                          Little wonder that as with McCarthy, The Great Leap Forward were loved by a young James Dean Bradfield.

                                          Brown writes- “This album is the culmination of four year's writing, and it has a much more varied approach than previous releases. Whereas previously I've concentrated on a political approach, this album takes a wider view of the world. Of course I still provide the trademark political and social vignettes - how could I not - such as the title song of the album 'Revolt Against An Age Of Plenty' – named after a collection of works by the English writer Jack Common in which I rail against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – with what I think is a scathing attack on the lack of openness, honesty and humility of our political leaders.

                                          TRACK LISTING

                                          1) Songs To Die For
                                          2) Things That Make Me Happy
                                          3) Revolt Against An Age Of Plenty
                                          4) Losing Faith In The Wall
                                          5) Giving Back Is Good For You
                                          6) DEBRA 2021
                                          7) Words On Fire
                                          8) Can You Kanreki?
                                          9) A Life More Ordinary
                                          10) It’s A Wonderful Life
                                          11) My World Is Not My Own Anymore
                                          12) When Our Kingdom Comes 1
                                          13) Songs To Die To Reprise

                                          Guided By Voices

                                          Isolation Drills - 2021 Reissue

                                            Originally released in 2001, Isolation Drills is the twelfth album by Dayton, Ohio indie rock group Guided by Voices. It was their second and final LP released under TVT Records and their second to feature producer in Rob Schnapf. The album notably features instrumental contributions from Elliott Smith and David Sulzer. This special 20th Anniversary Edition has been remastered and it is included on double gatefold vinyl for the first time. The packaging mirrors the original foldout design from the limited cd digipak.

                                            TRACK LISTING

                                            Disc: 1
                                            1. Sister I Need Wine
                                            2. Fair Touching
                                            3. Want One?
                                            4. Skills Like This
                                            5. The Enemy
                                            6. Chasing Heather Crazy
                                            7. Unspirited
                                            8. Frostman
                                            9. Twilight Campfighter

                                            Disc: 2
                                            1. How's My Drinking?
                                            2. Glad Girls
                                            3. The Brides Have Hit Glass
                                            4. Run Wild
                                            5. Pivotal Film
                                            6. Fine To See You
                                            7. Privately


                                            In Place Of Real Insight

                                              The Great Alternative Boom of the early ’90s had begun to wither on corporate FM barely halfway through the decade, but the ever-changing underground had almost entirely regenerated after two major-label thrifting trips. In the ever-in-flux city of Boston, Karate positioned themselves as a crucial tendril in a sprawling nationwide community. They did so largely by refusing to stick to any single formula from the myriad of styles at their root—slowcore, post-hardcore, and jazz. As if to make a point, Karate’s lineup went through its own shift too. In the lead up to 1997’s In Place of Real Insight, Eamonn Vitt took up the guitar, and Karate compatriot Jeff Goddard entered the fold to become the band’s bassist. Armed with two guitarists, the band got significantly louder, and they smeared punk fury all over their second LP.

                                              At its most intense moments, In Place of Real Insight bestows the kind of rowdiness that elevated hardcore base buried deep within the unconscious of their music—it comes out most vividly when Geoff Farina and Vitt trade throat-searing shouts and bite-sized barks on “New Martini.” So many lesser bands with two guitarists and a copy of In on the Kill Taker at their disposal felt the need to try their hand at being Fugazi, Karate evaded such pratfalls, though Goddard’s compact, quicksilver basswork and Gavin McCarthy’s fractured drumming on the bridge for “New New” contain the same rhythmic electricity that the D.C. legends wielded so well. For the most part, Karate used their larger palette to intensify their already alluring musical sensibilities.

                                              Farina and Vitt’s gentle guitars nearly mirror each other as they carry the drawn-out tension of “The New Hangout Condition” to its equanimous conclusion, though Karate wouldn’t hold that mood for long; they made quick work of disrupting such peacefulness with the needling disquiet that opens “On Cutting,” a rare track that cast a spotlight on Vitt’s understated vocals. Karate emboldened the quiet moments of In Place of Real Insight with the same forcefulness of its archly punk cuts, effectively allowing the tenderness that blankets “Today Or Tomorrow” to coexist alongside their rough-hewn material. Karate made sense of seemingly polarizing styles, and In Place of Real Insight is arguably their best album because they allowed such disparate parts to co-mingle. In a subversive music community oscillating between radical polemics and hair-splitting musical orthodoxy, Karate were a question mark—one that exhibited the scene’s best instincts, because they sounded like few others.

                                              TRACK LISTING

                                              1. This, Plus Slow Song
                                              2. New Martini
                                              3. Wake Up, Decide
                                              4. It's 98 Stop
                                              5. New New
                                              6. The New Hangout Condition
                                              7. On Cutting
                                              8. Die Die
                                              9. Today Or Tomorrow


                                              Something Good Will Happen

                                                ‘Something Good Will Happen’ marks another defiant chapter for MarthaGunn, who consistently prove they are worth their weight in gold through honest and conscientious song-writing, partnered with pristine pop melodies that have caught the attention of tastemakers CLASH, Independent, Dork, The Line of Best Fit, BBC Introducing Track of The Week and John Kennedy (Radio X). This is the sound of a band ever evolving their euphoric sound, where nuanced production and kaleidoscopic samples lift them into the stratosphere.

                                                If there’s one goal MarthaGunn want to achieve with their music, it’s connection. Whether it’s Abi giving a voice to her contemporaries via her Songwriters Circle on Instagram live, where she invites her favourite songwriters for a Q&A about their process, guests including Another Sky, Katy J Pearson, Willie J Healey, Flyte and Buzzard Buzzard Buzzard, or setting up a virtual tour in light of having shows cancelled and playing a special live set including a locally sourced cover - her and her band want to remind people that they’re not alone and that, at end of the day, we’re all human and we all have that in common.

                                                “I want to connect with people. The beautiful thing about songs is that you don’t have to know someone, but you can connect with them through the same song without saying anything. I want this album to be able to help people in some way, and give people courage to leave a situation they know isn’t right for them, or for the other person. To go after the person they love and to know no matter how bad things may seem, it’s just a chapter. Things always get better.”

                                                TRACK LISTING

                                                Side 1
                                                1. Undone
                                                2. Caught Up & Confused
                                                3. Giving In
                                                4. It’s Over
                                                5. Raising Hell

                                                Side 2
                                                1. Lost In The Moment
                                                2. Minute Of My Time
                                                3. I Had To Let Go
                                                4. Holding The Fire
                                                5. See You Again
                                                6. The Nights Are Long 

                                                Mild High Club

                                                Going Going Gone

                                                  Mild High Club makes a long-awaited comeback with Going Going Gone, the band’s first solo album since 2016’s cult favourite Skiptracing.

                                                  An album that speaks directly to the times we live in, Going Going Gone sees Mild High Club blending the psychedelic pop of earlier albums Skiptracing and Timeline with influences from around the world, especially Brazilian avant-garde music from the ‘70s and ‘80s.

                                                  Songs from Skiptracing and Timeline have hundreds of millions of streams. Mild High Club recently had viral success with single ‘Homage’ on TikTok, with over 50k videos posted and millions of likes. An active Reddit community dedicated to the band boasts thousands of members.

                                                  The band has played at such iconic festivals and venues as Coachella, Le Bataclan in Paris, and Brixton Academy in London. In 2017, they released an album with King Gizzard and the Lizard Wizard, Sketches from Brunswick East. 

                                                  STAFF COMMENTS

                                                  Barry says: Mild High Club return for their newest outing, mixing the hazy indie guitars and swooning progressions of yesteryear but with a more crystalline, loungy production aesthetic. As wonderfully evocative as their previous outings, but even more beautifully varied.

                                                  TRACK LISTING

                                                  Side A

                                                  1. Kluges I
                                                  2. Dionysian State
                                                  3. Trash Heap
                                                  4. Taste Tomorrow
                                                  5. A New High (feat. Winter)
                                                  6. It's Over Again

                                                  Side B

                                                  1. Kluges II
                                                  2. I Don't Mind The Wait
                                                  3. Dawn Patrol
                                                  4. Waving
                                                  5. Me Myself And Dollar Hell
                                                  6. Holding On To Me

                                                  Moon Duo

                                                  Circles - 2021 Reissue

                                                    Circles is the product of a long winter’s isolation in the Rocky Mountains, though the road to its fruition stretched over six months and several locations. The groundwork for the album was laid at the band’s home in Blue River, Colorado in the early months of 2012, where all songs were written, and the preliminary tracks recorded. For two weeks in early April, Moon Duo moved into a small apartment above Lucky Cat Recordings in San Francisco for an additional recording session with engineer Phil Manley (Trans Am, Life Coach). Like it’s predecessor, the album was mixed and tweaked at Kaiku Studios in Berlin.

                                                    Inspiration for many of the songs themes, as well as the title Circles, came from Ralph Waldo Emerson's 1841 essay by the same name, on the symbol and nature of "the flying Perfect." From the opening lines: "The eye is the first circle; the horizon which it forms is the second; and throughout nature this primary figure is repeated without end." And so it goes. Rust never sleeps.

                                                    STAFF COMMENTS

                                                    Andy says: Do you like The Stooges and Suicide and driving, hypnotic grooves? Then you will love Moon Duo's beautiful third album proper. Now on glorious green vinyl.

                                                    TRACK LISTING

                                                    A1. Sleepwalker
                                                    A2. I Can See
                                                    A3. Circles
                                                    A4. I Been Gone
                                                    A5. Sparks
                                                    B1. Dance Pt. 3
                                                    B2. Free Action
                                                    B3. Trails
                                                    B4. Rolling Out

                                                    Moon Duo

                                                    Mazes - 2021 Reissue

                                                      Formed in San Francisco in 2009 by Wooden Shijps guitarist Ripley Johnson and his partner, Sanae Yamada, Moon Duo’s first two critically acclaimed EPs, Killing Time (2009) and Escape (2010), fused the futuristic pylon hum and transistor reverb of Suicide or Silver Apples with the heat-haze fuzz of American rock ‘n’ roll to create tracks of blistering, 12-cylinder space rock. Now their debut album Mazes, recorded in San Francisco and mixed in Berlin during 2010 as the band prepared to move to the mountains of Colorado, explores a far broader, lighter, sound.

                                                      That’s most clear on the dreamy organ and skipping riff of the title track, which recalls the Velvet Underground, or the handclaps and swinging organ bloops over the potent shredding and guttural riff delivered by Johnson in When You Cut. Throughout, Mazes is the sound of Moon Duo carving out their own identity, looking to the horizon, and moving forward.

                                                      Ripley says that, as a guitarist and songwriter, delineating between Moon Duo and Wooden Shijps “happens naturally. I focus on one project at a time, and the way the two bands operate is very different. And there are certain limitations that Moon Duo is forced to accept, not having a drummer for example, and I really like that. I like the creative challenge of working with limitations. Having done so much home recording cultivates that. Working with one other person is much different from working with four.”

                                                      This meant a vastly different recording process to Moon Duo’s first two EPs, which were recorded fast and at home. Mazes was a more drawn-out process, involving proper recording studios for the first time including the trip to Berlin to mix and re-record certain parts and the track ‘Run Around’. “The working title was Die Blumen [the flowers], so going into the mix sessions we kind of felt like it was becoming our ‘Berlin record’, but in the end it retained the stamp of San Francisco and we liked Mazes title better anyway.” And ultimately, Mazes is a definably American record, recorded against the backdrop of the Johnson and Yamada’s move from the Californian coast to the heights of Colorado. “I think a lot of our music has something to do with the mythology of the road,” muses Moon Duo’s Sanae Yamada. And if Mazes is a quest, a journey through American landscape and music, Johnson concludes that its key is “finding one's place in the world; moving forward, and the different paths one takes moving through life, trying to reach various goals, literally moving; love; pain; change. Or just getting by, and making sense of things”.

                                                      STAFF COMMENTS

                                                      Andy says: Stripped to a two-piece and featuring keyboards and a drum machine, there's still plenty of roving Ripley guitar lines to keep the Shijps-heads happy on this, their second album.


                                                      Cure For Pain - 2021 Repress

                                                        Low-rock” and “Fuck-rock” are two descriptors enigmatic Morphine front man Mark Sandman used to describe his band’s beat-inspired blues-jazz-rock holy racket. Along with Sandman’s baritone vocal delivery and oddball two-string bass styling, co-founder Dana Colley played a saxophone as his lead instrument of choice instead of the expected guitar, creating a quirky and burning sensibility. Original drummer Jerome Deupree, who was replaced by percussionist Billy Conway during the recording of 1993’s Cure For Pain, flushed out the unorthodox trio. Hailed by the alternative college-rock community in the mid-1990s after motion picture soundtrack placements in Spanking The Monkey and the MTV animated series Beavis and Butt-head, such commercial endorsements did little to distract from Cure For Pain’s deep soul. Released on vinyl as the second title in Light In The Attic’s Modern Classics series (following a reissue of Mercury Rev’s seminal Deserter’s Songs) we’re happy to make this album accessible to music lovers the world over.

                                                        Do you have a spare $225? Neither do we, but that seems to be the average out-of-reach price for an original vinyl copy of Cure For Pain these days. Oddly, the LP has only been available as a vintage limited run Brazilian pressing. Featuring the essential songs “Buena,” “Sheila,” “Candy,” and the moving title-track “Cure For Pain,” this is the album’s first-ever US vinyl issue. Modern Classics’ Cure For Pain features lovingly re-mastered audio, 180-gram wax, deluxe “tip-on” gatefold jacket with original album art, and liner notes insert containing interviews with surviving band members.

                                                        Tragically, Morphine honcho Sandman passed away on-stage at an Italian gig with the group in 1999, leaving their devoted audience with five engaging albums and a lifetime of musical memories. Today, the group is hailed as one of the great band’s of the last 25 years and was recently profiled in the feature-length documentary Cure For Pain: The Mark Sandman Story (2011). Light In The Attic are extremely proud to help spread Morphine’s Cure For Pain, a longtime personal favorite. We hope you enjoy the album’s dream-like state on black virgin vinyl. So turn the power on, set the mood, and get ready to feel alright. To quote Cure For Pain, “Let’s Take A Trip Together.”

                                                        180-gram LP housed in expanded gatefold jacket with 4-pg insert featuring interviews with surviving band members.

                                                        Mountain Movers

                                                        World What World

                                                          New Haven quartet ’s eighth album (third for Trouble In Mind). Guitarist Kryssi Battalene also leads the band Headroom. Mountain Movers arguably are the perfect band for all the true “heads” out there. The New Haven quartet have been at it for 15 years, and the “newest” lineup (now at it for well over a decade; vocalist/guitarist Dan Greene, bassist Rick Omonte, guitarist Kryssi Battalene and drummer Ross Menze) have firmly grasped what it takes to fry brains; achingly beautiful melodies buoyed by a life raft of white-hot guitar scree and mind-melting feedback.

                                                          “World What World” is the band’s eighth album and third for Trouble In Mind Records. “World What World” is the newest chapter of the group’s continued explorations and efforts to refine their sound. The lyrics of “World What World”s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener “I Wanna See The Sun” and “Final Sunset” lay out what’s in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties.

                                                          The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through “Then The Moon” when the tune’s lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic “Haunted Eyes” - beckoning you with a mournful sidelong glance. Side Two opens with “Staggering With A Lantern”, an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group’s guitarists. The sticky lyrical hooks and sideways jangle of “Way Back To The World” and “The Last City”s midnight-hour, mellow singe come next, before concluding “World What World”s journey with “Flock of Swans”. The song is the perfect closer and culmination of the album’s mission statement. The subjects that populate Greene’s songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, fighters, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section’s otherworldly chemistry and Battalene’s masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.

                                                          TRACK LISTING

                                                          1. I Wanna See The Sun
                                                          2. Final Sunset
                                                          3. Then The Moon
                                                          4. Haunted Eyes
                                                          5. Staggering With A Lantern
                                                          6. Way Back To The World
                                                          7. The Last City
                                                          8. Flock Of Swans


                                                          And Then Life Was Beautiful

                                                            While Nao's previous project propelled the singer-songwriter into a new stratosphere with its cosmic, coming-of-age themes, the songstress is now entering a brand new chapter with ‘And Then Life Was Beautiful’ - where ‘Saturn’ untangled the knots of late twenties soul-searching, ‘And Then Life Was Beautiful’ goes a step further by setting out a clarified sense of purpose. Now a mother of a young daughter, NAO is more confident in herself and her voice than ever. A pandemic album, written and recorded throughout never-ending lockdowns, the project celebrates life’s ups and downs, reaching out a hand to guide listeners through what hurdles may confront them next. It includes previously released tracks ‘Antidode’, featuring Nigerian superstar Adekunle Gold, ‘Woman’, featuring Lianne La Havas, which she recorded with her new-born daughter strapped lovingly to her chest, as well as ‘Messy Love’, a stunning offering loaded with strummed guitar grooves and drum rhythms rooted in 90s R&B.  

                                                            Other notable stand-out tracks include ‘Wait’, a stripped-back track which takes an intimate look at how you make mistakes to develop a relationship, and ‘Postcards’, highlighting a gorgeous vocal interplay of NAO and serpentwithfeet, who features alongside her on the track. For ‘Good Luck’, R&B crooner Lucky Daye jumped on board.

                                                            She says: “Life isn’t perfect; we still go through ups and downs, but it can be beautiful as a whole. I do think it’s a hopeful album, in an honest way – it’s not shiny or all ‘isn’t this great!’ and ‘party party party.’ But it’s hopeful in that through every rough patch, every dark patch or struggle we always come out again. That’s what life is. You keep going. But most of all you try and step into a place of gratitude so that you can see life in all of its beauty.”

                                                            STAFF COMMENTS

                                                            Barry says: A silky smooth mix between soaring synth pop and grooving R&B, wonderfully bringing together Nao's gorgeous vocals and a distinctly modern mash-up of styles into a cohesive and jubilant whole.

                                                            TRACK LISTING

                                                            1. And Then Life Was Beautiful
                                                            2. Messy Love
                                                            3. Glad That You’re Gone
                                                            4. Antidote (feat. Adekunle Gold)
                                                            5. Burn Out
                                                            6. Wait
                                                            7. Good Luck (feat. Lucky Daye)
                                                            8. Nothing’s For Sure
                                                            9. Woman (feat. Lianne La Havas)
                                                            10. Better Friend
                                                            11. Postcards (feat. Serpentwithfeet)
                                                            12. Little Giants
                                                            13. Amazing Grace

                                                            Piccadilly Records

                                                            Logo T-Shirt - Autumn 21: Spearmint / Guava

                                                              This shirt features a guava pink print on a spearmint green Gildan Softstyle Rinspun t-shirt.

                                                              Primal Scream

                                                              Screamadelica - 30th Anniversary Picture Disc Edition

                                                                Primal Scream had been fragile, 60s obsessed  dreamers, influenced by Love and (particularly) The Byrds (85-87) but in 1989 they were NY Dolls leather-clad rockers with the odd Big Star slowie or Stonesy ballad thrown in for good measure. Then BANG acid house and ecstasy hit  and in the spirit of the day, Andy Weatherall took one of those Stones style heartbreakers and made the hit single "Loaded" . Indie-Dance was born, anyone remember?!But this LP is much, much bigger than that. It goes up, it comes down, and covers all the magic in between. There's blues, soul, gospel, house, dub and yes a beautiful Stonesy ballad ("Damaged"). No songs are fillers, it's a perfectly realised musical statement. With the Orb, Andy Weatherall and even the Stones'Jimmy Miller to help them, they created one of the best albums of the 90s that still resonates today. Higher than the sun.

                                                                The ‘Screamadelica’ double-vinyl picture disc featuring the album’s iconic artwork pressed onto vinyl. This represents the first ever official ‘Screamadelica’ picture disc.

                                                                STAFF COMMENTS

                                                                Andy says: Who doesn't love a picture disc? It helps, of course if the record in question is a bona fide classic and also features artwork which defined a whole era but twisted it into something deep and beautiful. Looks amazing, sounds even better.

                                                                TRACK LISTING

                                                                Side A
                                                                Movin' On Up
                                                                Slip Inside This House
                                                                Don't Fight It, Feel It
                                                                Side B
                                                                Higher Than The Sun
                                                                Inner Flight
                                                                Come Together

                                                                LP 2
                                                                Side A
                                                                I'm Comin' Down
                                                                Side B
                                                                Higher Than The Sun (A Dub Symphony In Two Parts)
                                                                Shine Like Stars

                                                                Multi-instrumentalist, vocalist, producer, and songwriter Jordan Rakei returns with his fourth studio album, "What We Call Life’". Diving even deeper into his sound world, merging electronic with acoustic, and rugged grooves with ambient atmospheres, to create something richer, more detailed, and more textural than before. Rakei, already a practitioner of meditation and mindfulness, was curious about the potential of using therapy for further self-discovery. During the process, he began to learn more about his behaviour patterns and anxieties, and addressed his long-standing irrational phobia of birds – a fear often associated with the unpredictable and the unknown, and something explored in the album’s creative direction and visuals.

                                                                ‘What We Call Life’ is Jordan Rakei’s most vulnerable and intimate album to date. Its lyrics concern the lessons that the New Zealand-born, Australia-raised, and London-based artist learned about himself during therapy, a journey that began two years ago when he started reading about the ‘positive psychology’ movement. These themes manifest on songs like lead single “Family”, which Rakei says is “the most personal” he’s ever been with his lyrics. “I wanted to hit my vulnerability barrier and be really honest. It’s about my parents’ divorce in my mid-teens but still having love for them no matter what,” he explains.

                                                                Artwork was created by Canadian-born, Los Angeles-based visual artist Justin Tyler Close (who has worked previously with the likes of Laura Marling), who resonated with the themes on Rakei’s album. The image was created in a remote photo shoot, with Rakei sending images over the internet that were projected onto a sheet and photographed by Close. The melancholic images reflect the title of the record, a question that Rakei would sometimes ask himself during a period of his childhood in which he suffered a great deal of anxiety: Is this what we call life? Rather than accepting defeat, the title is today a commentary on the more happy, confident, and assured person and artist that Jordan Rakei is today

                                                                STAFF COMMENTS

                                                                Millie says: Jordan Rakei fourth album is highly anticipated here at Piccadilly, the album explores themes worn close to Rakei’s sleeve. Personal and moving, the track ‘Family’ is so beautiful and soulful.

                                                                TRACK LISTING

                                                                A1. Family
                                                                A2. Send My Love
                                                                A3. Illusion
                                                                A4. Unguarded
                                                                A5. Clouds
                                                                B1. What We Call Life
                                                                B2. Runaway
                                                                B3. Wings
                                                                B4. Brace
                                                                B5. The Flood

                                                                Saint Etienne

                                                                I've Been Trying To Tell You

                                                                  Can it be that it was all so simple then? Or has time rewritten every line?
                                                                  Marvin Hamlisch was not yet 30 when he wrote those words for the mouth of Barbra Streisand. Even then, Hamlisch was acutely aware that as a narrator of our own stories, the human memory is at best unreliable and at worst mendacious. That same awareness resonates through every bar, beat and breath of I've Been Trying To Tell You, the tenth studio album by Saint Etienne.

                                                                  The album is made largely from samples and sounds drawn from the turn of the new century, a period that was topped and tailed by Labour's election victory and the terrorist attack on the Twin Towers. “It's about memory,” Bob explains, “and how it can fog and play tricks on you. Specifically, it's about the late Nineties, and current nostalgia for the Nineties.”

                                                                  Formed in Croydon in 1990 by music journalist Bob Stanley with childhood friend Pete Wiggs, and soon joined by singer Sarah Cracknell, Saint Etienne arose within the context of the indie- dance movement of that era but created a unique sound which – albeit accidentally – paved the way for what would later become known as Britpop.

                                                                  Their earliest albums – 1991 debut Foxbase Alpha and its 1993 successor So Tough – tapped into the collective consciousness by using an accretion of disparate elements - Long Wave football commentary, a snatch of Four Tops vocals or a sample of Dusty Springfield strings, some dialogue from Billy Liar, a melody from a long-forgotten perfume ad – to create a richly evocative memory-world which was specifically British, even when the component parts themselves were not.

                                                                  The resulting emotion, of course, is bittersweet. Saint Etienne's music has always captured the feeling that the Portuguese call saudade, the Welsh call hiraeth and the Germans call sehnsucht: a combination of homesickness and longing, a melancholy yearning for a time, a place, a person or a mood that can never be revisited.

                                                                  It's what the Scottish comedian Brian Limond was driving at with the heartbreaking Limmy's Show sketch in which he visits a travel agent and shows them a blurred colour photograph of himself and his friends on a teenage holiday in the Ayrshire resort of Millport. “Can you tell me how I get there?”, Limmy asks the confused agent, who initially tries to sell him a ticket to Millport. “No, not the place,” Limmy replies. “The feeling.” Saint Etienne's 2002 single “Action” expresses a similar desire: “Cos I've been searching for all the people I used to turn to, and all the people who knew the answer... Let's get the feeling again...”

                                                                  Another constant in Saint Etienne's music has been their understanding of the power of dreams. There's a strand of pop which stretches from The Beach Boys' SMiLE through Saint Etienne to The Avalanches' Since I Left You and beyond which defies the reductive term 'dreampop', and instead evokes the genuine sensation of dreaming: blissful, yes, but also unsettling and disorienting. Saint Etienne's early career masterpiece “Avenue” conjured that realm for seven minutes, and I've Been Trying To Tell You inhabits it entirely. The album ties together these two Saint Etienne threads – memory and dreams – and tells us directly something which has always been implicit in Bob, Pete and Sarah's work: that memory is a dream.

                                                                  “I spent a lot of last year thinking about optimism for the future,” says Bob, “and the almost total lack of it at the moment. That got me thinking about the last time there was a general optimism in the country and I thought about May 1997, the window between then and September 2001, which it's easy to look back on as some kind of innocent golden age, even if it didn't feel like one at the time. In reality, of course, there was good and there was bad.... Primary schools and art galleries and hospitals were built versus we bombed Belgrade and introduced PFI!”

                                                                  Reflecting upon that era, and upon the collective (mis)remembrance of it, led to this new Saint Etienne album. “We thought, if you used samples from the late Nineties - the supposedly promising bit between Labour winning the election and September 11th - what would the music be and what could you do with it? Modern nostalgia culture often draws on corporate American Nineties mall culture, but what about British BBC radio culture? Could those sources be used to actually sound like the era, but through the fog of memory?”

                                                                  Two decades on, a combination of False Memory Syndrome and collective amnesia has grown up around those early New Labour years. The first Blair administration is nowadays viewed variously as a lost golden age, or a period of naïvete, delusion and folly, and a million different shades in between. “YouTube has so many nostalgic clips of slowed-down grainy footage of shopping malls,” says Bob, “often tagged 'liminal spaces' or something like that, post-Burial, post-Mark Fisher, with vaporwave-like music made by people younger than me who see the Eighties and Nineties as a simpler time. I find this fascinating. What you choose to remember or choose to forget... ASBOs and paediatricians getting death threats in Wales... those bits get forgotten.”

                                                                  Even at the time, a complacent illusion about the Nineties had taken hold, filtered down from Francis Fukuyama's The End Of History, that benign liberal democracy had triumphed forever and there were no struggles left to be fought. And, even at the time, an equal and opposite sense of disillusion had taken hold of Bob Stanley. On the first anniversary of Blair's election victory, Bob went to the Granita restaurant in Islington, where Blair and Brown had famously struck their power-sharing deal, and felt a sense of emptiness which he later described in the first verse of “Heart Failed In The Back Of A Taxi”: “Took a trip down Granita way/Had to go on the 1st of May/Didn't have much to celebrate...”

                                                                  Saint Etienne have always understood that pop music is the nearest thing we have to time travel, the closest we can get to breathing the air of a different time. On this album, they take that theory to its logical conclusion. I've Been Trying To Tell You uses sounds and samples from 1997 to 2001, evoking the folk memory of the period by using and twisting recordings from the time, re- working them into new songs. “They're all by people you'd have heard on daytime Radio 1 or 2 at the time,” Bob clarifies, “not Boards of Canada or anything.” Opening track “Music Again”, for example, begins with some gorgeously poignant electric harpsichord from a long-forgotten R&B hit.

                                                                  For the first time, Saint Etienne didn't record together in a studio. The album was completed remotely, in Hove (Pete), Oxford (Sarah) and Bradford (Bob, in collaboration with film and TV composer Gus Bousfield, who contributes to a number of tracks). Communication was handled via Zoom meetings and emails. “We had the idea for the album before the pandemic, and it was surprisingly straightforward.” The results are exceptional. “I'm really excited about the way the album has turned out,” says Bob. “It feels like something brand new.”

                                                                  I've Been Trying To Tell You has an internal unity, its heartbeat always at the low end of mid- tempo/high end of downtempo, landing at the approximate pace of Tricky's Pre-Millennium Tension (an album released on the very cusp of the era in question). This helps sustain the dream-state.

                                                                  That hypnagogic sensation is enhanced here and there by the eerie sound of seagulls and garden birds. It's like falling asleep listening to Minnie Riperton's “Lovin' You” and coming a- dreamwake in Kew. This, it turns out, is another turn-of-the-millennium reference. “In the early series of Big Brother,” Bob explains, “when Channel 4 used to broadcast live from the house in the daytime, they'd dip out the sound whenever the housemates talked about real life people, or swore or whatever, and they'd replace the sound with quite avant-sounding field recordings of birdsong.”

                                                                  The lyrics, too, obey the fractured logic of dreams. Sarah Cracknell sings in short phrases - “here it comes again”, “never had a way to go”, “ruby dust”, “a love like this again” - looped and repeated, rather than a traditional verse-chorus-verse structure. “They are all snatched phrases that could have been used at the time,” Bob explains, “from news items, or songs, or magazines.” The album's centrepiece is arguably “Little K”, the fourth track of eight, a six-minute oneiric ocean which ends with the sound of lazily lapping waves. The words that filter through the haze are ones which define the album: “No reason to pretend. In my reverie, the mind will carry me...”

                                                                  The reverie has interludes with no words at all, at least not sung. “Blue Kite”, made from backwards strings and synths and bassy beats from the room next door, is entirely instrumental, as is “I Remember It Well” apart from snatches of mysterious voices which evoke childhood holidays. Some tracks, like some dreams, are simply too strange for analysis: the inscrutably- titled “Penlop” (a Tibetan term which translates loosely as 'governor') has a refrain which appears to run “I don't really know you/But I'd like to show you/Chester town/We went all around...”

                                                                  The accompanying film, which premieres at the NFT in the first week of September and will also be available as a DVD with the album, came about when Bob Stanley contacted Alasdair McLellan after the latter had used Saint Etienne's “Nothing Can Stop Us” in a Marc Jacobs commercial. They met a few times, pre-pandemic, in a cafe under Shipley clocktower. “Alasdair understood the album straight off,” says Bob. “We talked about youth, and the A1, and British identity, and memories of the recent past. He's really made a beautiful film, and it perfectly complements the album. Alasdair's film also taps in to the way we think of our youth, and sense of place, and where we come from.”

                                                                  McLellan's film – a still from which adorns the album sleeve - is a slow-motion travelogue that takes in “a lifetime's worth” of locations, including Felixstowe, Blackpool, Portmeirion, Avebury, Southampton, Doncaster, Grangemouth, as well as London. It its vignettes, we see a couple breaking up on a Westminster bench, a man skimming stones across the water from an oil terminal, a ballet dancer rehearsing, a raver dancing in the headlights of a Ford Cortina, youths playing in a Yorkshire waterfall, teams meeting in caffs. The album dovetails immaculately with the visuals. When we do hear anyone speak, it's only to recite lyrics from classic Saint Etienne songs, all taken from the Nineties.

                                                                  The dreamlike mood of the album, and the film, is a statement in itself: namely that memory is a largely fictionalised product of the human mind, rather than a reliable record. I've Been Trying To Tell You – the album, and the film – sifts through those Hamlischian misty watercolour memories of the way we were, and poses the question: was it all just a dream? Saint Etienne have always known the answer. They've been trying to tell you.

                                                                  Simon Price, 2021

                                                                  STAFF COMMENTS

                                                                  Barry says: While Saint Etienne are well known for pulling together a host of influences into their own particular clever brand of indie, their latest outing is perhaps the most confidently nostalgic tribute yet, crafted from found sounds and snippets of samples from the early 00's, leading to an evocative and wonderfully realised triumph.

                                                                  TRACK LISTING

                                                                  1. Music Again
                                                                  2. Pond House
                                                                  3. Fonteyn
                                                                  4. Little K
                                                                  5. Blue Kite
                                                                  6. I Remember It Well
                                                                  7. Penlop
                                                                  8. Broad River


                                                                  Songs Of Praise - Love Record Stores 2021 Edition

                                                                    Love Record Stores Edition available online from 9pm on Saturday September 4th.
                                                                    Limited to one per person.

                                                                    Smoke Bellow

                                                                    Open For Business

                                                                      Transcontinental, experimental duo Smoke Bellow have been at it since 2012, relocating from Australia to Baltimore, MD & back again and then BACK AGAIN (now firmly settled in Baltimore). The duo released the "Blooming/Middling" LP in 2014, followed by "Isolation 3000" in 2018 (both on Baltimore label Ehse Records) After a line-up shuffle, they eventually recruited one of their favourite drummers and dear friend, Emmanuel Nicolaidis (Thank You, Oh Hang), which found the duo refining of their sound into a dizzyingly attractive mixture of kosmiche serenity, minimalist composition, test-card psychedelia, and highlife guitar. With "Open for Business" the three members set out to create a set of songs more immediate and bare than previous outings. The album title itself is a cheeky reference to Maryland governor Larry Hogan's less than inspired motto "we're open for business". Half of the songs were written in a room together and the second half via email (for obvious reasons).

                                                                      At the time they were listening to a lot of post punk and were struck with the partnership of drums and bass as propulsive instruments. The trio started writing songs around that idea - with the rhythm as a brace to hang their decorations. Sonically, Smoke Bellow are inspired by disparate sources. The heyday of Compass Point studios' famed rhythm section of Sly and Robbie sustained them for months. Others included good old VU, ESG, guitar hero Zani Diabate, The Raincoats (especially their under-appreciated second album, Odyshape), the frenetic sound collisions of the Flying Lizards, the ever warm blanket of Yo La Tengo, the evolving repetition of Stereolab, the understated genius of Asa Osborne, as well as Philip Glass and Steve Reich. The David Byrne/ Robert Wilson "Knee plays" reminded them of the joy of the spoken word set to music. Lyrically, Best & McHugh drew from life in Baltimore, from isolation (again), memories of life in Melbourne, their friends and each other. "We wanted to talk about resilience and resistance." Says Best. Recording and mixing took place between a remote cabin in the Smoky Mountains and Tempo House in Baltimore with Jared Paolini. "Maybe Something" includes cello from Owen Gardner (Horse Lords). Words on "Night Light" by Daniel Stephensen.

                                                                      TRACK LISTING

                                                                      1. Fee Fee
                                                                      2. Hannan
                                                                      3. Anniversary
                                                                      4. Night Light
                                                                      5. Furry Computer 2
                                                                      6. Fuck On
                                                                      7. Maybe Something
                                                                      8. Wrong Size
                                                                      9. Take The Line For A Walk


                                                                      Source Crossfire

                                                                        Source Crossfire is a searing, brooding collection that documents the recorded output of Sofa one of Montreal's most shadowy, notorious, captivating underground art-rock ensembles of the mid-90s, and the first band to be released on Constellation charting the quartet’s febrile evolution through sonic palettes of North American post-hardcore and slowcore admixed with early UK post-punk, goth and dark lounge. In the words of one music writer of the era: "Like Slint and Big Black meeting for a Joy Division reunion."

                                                                        Source Crossfire rounds up Sofa’s 1997 album Grey (the only full-length from Constellation’s early years yet to be given vinyl reissue treatment) along with selections from the band’s two prior self-released cassettes. What began as a straightforward Grey vinyl re-issue project soon evolved into an opportunity for something just a little more considered than “album plus-bonus-tracks”. Record #1 reimagines Grey with vinyl in mind, newly sequenced to create distinct loud/fast and soft/slow sides. Record #2 mirrors this, with four tracks of louder
                                                                        (and mostly faster) pitch-black material on Side One and three signature examples of the band's sombre early balladry on Side Two all culled from the Town Unsafe and Record cassette material from 1995.

                                                                        Anchored by the raw metronomics and pummelling syncopation of Keith Marchand (drums) and Scott Clarkson (bass), Sofa was one of the city's tightest and most kinetic bands, always seeking uncharted pathways in the cracks between established punk/rock sub-domains. The bi-amped SG Firebrand of guitarist Ian Ilavsky relied on 2 rudimentary pedals (distortion; overdrive), combining with the singspeak of vocalist/lyricist Brad Todd to paint a twitchy, frenetic sonic foreground of controlled chaos. The band was also known for its heterodox and unapologetic slow-tempo alter ego, with Marchand playing behind the beat in jazz tinged torchsong swingtime and Clarkson weaving deft melodious lead lines on bass, as Todd switched gears from rapid-fire glossolalia to gentle baritone croon.

                                                                        Jace Lasek (The Besnard Lakes, Breakglass Studios) and Harris Newman (Greymarket Mastering) teamed up with Constellation co-founder (and Sofa guitarist) Ian Ilavsky to give all these cuts some thorough remastering attention. Sofa recorded everything live off the floor, and in the case of the cassette material, an entirely live mix direct to two-track with rudimentary effects dialed into the signal path and zero post-production. Grey was similarly tracked in a weekend, with minimal overdubs and effects, and using only analog tape compression. The remastering treatments work solely from the original stereo mixes but nonetheless bring this largely unsung band’s music to renewed life.

                                                                        Source Crossfire aptly names the unique mix of genres and influences distilled in Sofa’s cauldron a special treat for fans from the era, for those who've discovered Sofa since, and for anyone interested in the fertile crosscurrents of UK + US post-punk, post-hardcore, slowcore, goth, indie and art rock that spawned such a diverse slate of unsung bands with distinct energies, personalities, and hybrid sonic identities across so many local scenes at the dawn of the 1990s.

                                                                        TRACK LISTING

                                                                        1. Ch2Chi
                                                                        2. Stress
                                                                        3. Comma
                                                                        4. The Fence
                                                                        5. Monotone
                                                                        6. 80000
                                                                        7. Current
                                                                        8. Travel
                                                                        9. Medicine Hat
                                                                        10. Arclight
                                                                        11. City Of Laughter
                                                                        12. Just A Walk
                                                                        13. Regret
                                                                        14. Radio One
                                                                        15. So Around
                                                                        16. String Of Lights

                                                                        Avey Tare

                                                                        Down There

                                                                          ‘Down There’ is the debut solo album from Animal Collective member Avey Tare.

                                                                          Recorded in 2010 at the Good House, an old church in upstate New York, with fellow Animal Collective band member Deakin.

                                                                          ‘Down There’ is a world of nine songs from Avey Tare. His first official solo full length carries you through a murky world of sound, an alien death world of soul grooves that is both honest and otherworldly.

                                                                          Take a ride on this haunted boat and let yourself be guided through deep sloshy rhythms, waterlogged bass and moonlit breaks in the canopy that reveal a crisp crystalline pop buzz.

                                                                          TRACK LISTING

                                                                          Laughing Hieroglyphic
                                                                          3 Umbrellas
                                                                          Oliver Twist
                                                                          Glass Bottom Boat
                                                                          Ghost Of Books
                                                                          Heads Hammock
                                                                          Heather In The Hospital
                                                                          Lucky 1

                                                                          Unknown Mortal Orchestra

                                                                          II - Love Record Stores 2021 Edition

                                                                            Love Record Stores Edition available instore from 10am on Saturday September 4th, any remaining copies will be available on online from 9pm on the same day.
                                                                            Limited to one per person.

                                                                            The Weather Station

                                                                            All Of It Was Mine - 2021 Reissue

                                                                              The Weather Station's 2nd LP from 2011, now available from Fat Possum Records.

                                                                              TRACK LISTING

                                                                              1. Everything I Saw
                                                                              2. Came So Easy
                                                                              3. Traveller
                                                                              4. Trying
                                                                              5. Chip On My Shoulder
                                                                              6. Know It To See It
                                                                              7. Yarrow And Mint
                                                                              8. Running Around Asking
                                                                              9. Nobody
                                                                              10. If I've Been Fooled

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