Notably the release includes standout single "Bloom" which has been certified platinum in the U.S.A, Canada, Australia, Italy & the Netherlands.

It melds earthy instrumentals to create a perfect backdrop for the band's trademark harmonies that have garnered them a dedicated audience and over 1 billion streams across their catalog.

TRACK LISTING

1. Bloom
2. Woodland
3. Featherstone
4. Halcyon
5. Willow Tree March
6. The Mortal Boy King
7. A Maker Of My Time
8. Leopold Street
9. When Our Legs Grew Tall
10. Paint
11. Kiss The Grass

Abracadabra is the second album on Stones Throw from leftfield indie pop artist Jerry Paper. Jerry Paper has previously collaborated with Tyler, The Creator; Weyes Blood; Charlotte Day Wilson, and BadBadNotGood.

TRACK LISTING

1.  Quicksand
2.  Cholla
3.  All I Need
4.  Spit It Out
5.  Memorial Highway
6.  Trash Can
7.  Drunk Man Talk
8.  Game Night
9.  The Imposter
10.  Body Builder On The Shore
11.  Slow Down, Buddy
12.  Apologist
13.  Puppeteer

Free Time is the new album by Jerry Paper – a synth-pop, weird-rock, bizarro-muzak masterpiece.

This playful and joyous album captures Jerry Paper’s unique persona and tells the story of their self-discovery as a nonbinary artist.

Jerry Paper has previously collaborated with Tyler, The Creator, Weyes Blood, Charlotte Day Wilson, Kari Faux and BadBadNotGood, and they recently supported Flying Lotus live.

TRACK LISTING

1. Kno Me
2. Just Say Play
3. Second Skin
4. Shaking Ass
5. Myopitopia
6. Duumb
7. Second Place
8. DREEMSCENES
9. Gracie III
10.Flower, A Square

Papercranes is the musical home of Rain Phoenix. Born as a studio project in L.A.,Papercranes quickly grew into a band splitting time between Florida and New York City. After a self-released EP in 2003 and debut album "Vidalia" in 2006, Papercranes played frequently, touring the US with their folk-tinged psychedelic sound. In late 2009, with the help of some of Rain's longtime friends, musicians, and writers she began work on Papercranes sophomore album, "Let's Make Babies in the Woods".

The recording sessions were experimental, allowing no rest or retakes as an exercise in 'stream of consciousness' writing - a recurring theme for Papercranes. Due to the intensity of the sessions and the non linear production style she favoured, there's a rawness to this record untapped in Papercranes earlier works. Recorded in a garage studio in Los Angeles, the resulting nine-song collection delves into much darker themes. This is evident in songs like "Shell", "Synapses" and "Dust Season" where desolate imagery meet rebellious melody and angry rhythms. Whereas tracks like "Warrior", "Headphones" and "Long Way" seem almost biographical with observances that are poetic yet accessible.

Featuring members of the widely acclaimed (and now sadly defunct) Red Sky and current members of Nemo, Papercut Homicide create a devastating attack on the senses, with influences drawn from the entire spectrum of extreme music. Imagine a lethal concoction of Cephalic Carnage, Dillinger Escape Plan, Pig Destroyer and Acid Bath and you can soon see that this is one record that will floor anyone within a ten mile radius.

It’s a rare to come across an artist who’s equally skilled in songwriting, singing and production but lone-arranger Jason Quever, better known as San Francisco’s Papercuts, is a master of all trades. That the pocket-sized symphonies of brand new album ‘Life Among The Savages’ are set to see the light of day is through nothing but meticulous focus - due to his whizz-kid knack for instrumental arrangement, Quever often finds himself a sought-after musical collaborator.

As with each Papercuts album to date - 2004’s ‘Mockingbird’, 2007’s ‘Can’t Go Back’, 2009’s ‘You Can Have What You Want’, and 2011’s ‘Fading Parade’ - Quever recorded his latest offering on his Ampex 2” 16-track reel-to-reel in his home studio, Pan American, whittling the record down to its essentials over a two year period. It was there he worked alongside Port O’Brien, Beach House, Still Flyin’, The Skygreen Leopards, and most recently Galaxy 500’s Dean Wareham on their own recordings. “Galaxy 500 was a big influence on my music so it was very special to make a record with him that I’m really proud of,” says Quever. “More importantly, we had a great time doing it.”

Unassuming though ambitious, a life in demand was hardly of Quever’s expectations but such a skill set could never be kept secret for long. “I don’t want to hit people over the head. That’s just not who I am. I don’t necessarily like to be the centre of attention,” he’s often said. Yet ‘Life Among The Savages’ is about to do precisely that. The most concise and lucid Papercuts release to date, it demonstrates a uniquely fresh approach to classic instrumentation through shrewdly combining dreamy baroque pop string arrangements with lighter-than-air vocals via potent production work.

While Papercuts echoes bands like Spiritualized and The Zombies in mood, ambitious orchestration (the title track itself contains an arrangement contribution from Beach House’s Alex Scally) and the high-calibre dream pop of beautifully hypnotic tracks such as ‘Staring At the Bright Lights’, the sound on ‘Life Among The Savages’ is undeniably Quever’s own. Alongside haunting melodies that soar over strings, garagey guitar hooks, piano and mellotron, and energetic bass and drums that never rely on a clichéd beat, it’s impossible to refrain from being spellbound by Quever's unpredictable and chaotic world, whatever that may consist of.

“I like to write short stories, at least have the story in my mind and allude to it... from dystopian short stories to a utopian take on things, being outside looking in, alienation, search for bliss, the chaos of relationships, insanity, suicide...”

Having lost both of his parents and being orphaned at a young age before growing up on a commune, Quever is no stranger to the complexities life can bring. Crediting the four-track he got after his parents died with both helping him cope and inspiring his career, ‘Life Among The Savages’ is the next step in a musical trajectory that’s gently reshaping pop music in the way very few musicians know how.

Over the course of five stellar albums, Papercuts’ Jason Quever has shown himself to be a top-notch song-writer and producer, equally at home with lush, baroque textures and more stripped-down arrangements.

His skill in the studio has helped him build-up an enviable resume recording, producing and playing with artists including Luna, Beach House, Cass McCombs, Dean Wareham/Dean & Britta and Slumberland’s own The Mantles. Papercuts’ new album “Parallel Universe Blues” reflects Quever’s recent move from long-time musical home San Francisco to Los Angeles and all of the searching and self-exploration that accompanies leaving your home, your friends and your scene.

The sound is intimate and close, nicely balancing the sonic concerns of the last few Papercuts records. The opening pair of songs “Mattress On The Floor” and Laughing Man” superbly sets the table for the rest of the album: perfect Spectorian pop songs echoed down through The Velvet Underground, LA’s Paisley Underground, Spiritualized and The Jesus and Mary Chain. Never sacrificing song-writing for atmospherics, “Parallel Universe Blues” is a superb addition to the Papercuts catalogue.

Its themes of self-examination are as a timeless as the tunes themselves, the dreamy autumnal mood perfectly captured in the pastoral cover art. The album is a triumph and points to more great things in the future from Quever and Papercuts.

TRACK LISTING

Mattress On The Floor
Laughing Man
How To Quit Smoking
Sing To Me
Clean Living
Kathleen Says 
Walk Backwards All Along St. Mary’s 
Waking Up
Looking Through Heather

Much has changed for the members of The Paperhead since the release of their TiM debut back in 2011 - tours both domestically & abroad, more releases, college, life, work, love, tragedy. The span of time & growth (both personally & musically) are reflected in the ten tunes on the band’s third album “Africa Avenue”.

Recorded by the band themselves in bassist Peter Stringer-Hye’s Nasville garage & mixed by Cooper Crain (Cave, Bitchin’ Bajas), “Africa Avenue” finds its groove in its unabashed melodicism and pop hooks. The title of the album is an homage to a street the band hung out on as children, and the experiences & memories created there drift in & out of lyrics that are appealingly abstract, but hint at an unspoken narrative. The jaunty opener “Africa” sets the scene with guitarist Ryan Jennings’ acoustic strum & sly synth squiggles, before unloading a crunchy guitar hook unlike anything the band has done previously, letting listeners know that something new is happening here; a step towards a full & comfortable immersion in the sounds they love. The band makes no bones of it’s affection for Sixties & Seventies psychedelia, but “Africa Avenue” quietly tiptoes around easy comparisons, mutating itself into something more textured & intricate, leaning more towards avant-pop.

The rest of the album has it’s fair share of stunners like the cosmic country of “Mother May”, the folk-raga of “In A Corner, or the harpsichord-sprinkled majesty of “Old Fashioned Kind” all fight for ear-space in an album full of highlights. The true key to the album’s success lies in the band’s synergy that comes from playing together since they were teenagers; the “hive-mind” that enables each to anticipate & play off each other, achieving an effortless grace in their arrangements & performance. “Africa Avenue” feels more organic, sounding like the work of a cracking live band in action rather than a heady, studio construction. A breath of fresh air & without a doubt, the band’s most accomplished effort to date.

TRACK LISTING

1. Africa
2. Eye For Eye
3. Old Fashioned Kind
4. None Other Than
5. House
6. Nasty Girl
7. New Trend
8 . In A Corner
9. Mother May
10. Frustration

Paperlung is the new band featuring ex-Boo Radleys vocalist, Sice. This is a strummed uplifting pop song that harks back to the glory days or Brit pop.

In the absence of a bass guitar, Papier Tigre's sound is built around pounding tribal drums that propel each song forward with ruthless efficiency. This urgency is underlined by the distinctive and insistent vocals of Eric, his strained yelps acting as a rallying cry to the guitars, which occupy the space between voice and drums and make it their own. Whether working together or against each other, the interplay between the two instruments is explosive. Brittle melodies seemingly scrap with vicious riffs, before the two suddenly come together to deliver the coup de grace. This is art punk, but at it's most primal. Papier Tigre understands that a song being intelligent and complex need not exclude it from having a raw, danceable energy. Their music firmly entrenched in the tradition of inventive, challenging punk - think Fugazi, Q and Not U, The Ex - yet whilst Papier Tigre have drawn influence from these bands, they have a style and delivery all of their own. The mode of communication is rooted firmly in the contemporary; rhythmically and vocally these songs recall the mutant, angular disco of Chinese Stars or Liars.

"With its boisterous and dynamic arrangement, catchy chorus, and engaging sentiments, ('Keep the Fire' is) guaranteed to ignite something meaningful within you, too." - PopMatters

"...a sweeping, ambitious album that swells with strings and heart." - CBC Music

"It’s big, and it’s dramatic." - The East

Released on our very own state51 label 'Keep the Fire' is the defiant, poignant mantra around which this sweeping and heart-piercing album is built; a weary warning filled with wisdom, empathy, defiance and pride.

The music remains confidently rooted in folk strumming and gentle vocal phrasings. But Gabrielle has embraced her pop leanings and pushed them to the forefront. The songs pulse with dramatic strings, keys and evocative percussion that combine for surprising left-turns. It is music you’d expect to find on a playlist between Florence Welch and Thom Yorke; bold without sacrificing emotion.

This art-pop progression comes from the pairing of Papillon’s trusted producer and pop-folk whiz Daniel Ledwel with mixing engineer Corey LeRue, the EDM pop genius behind Neon Dreams. Together, their work lifts Keep the Fire into a new realm adding heft and punch to pretty songs with LeRue’s secret mixing recipes. Their approaches may be disparate, but the result is something thrilling—melodic and catchy, memorable and affecting.

Keep The Fire’s emotional scope and sonic ambition are clear signs of a talented and ambitious artist ready to tackle new markets and build on a dedicated and growing fanbase.

TRACK LISTING

1. Overture For The Fire Keeper
2. Three Years
3. The Damage
4. Deep In The Earth
5. Hold On, I Will
6. When The Heart Attacks
7. Keep The Fire
8. Heart Beat
9. Some Rise Up
10. What To Keep
11. No Paradise

Soundway presents Ferdinand 'Marechal' Papillon's underground club classic Moulongo - recorded in Paris in 1995 and highlighting the Zouk/ dancehall/Makossa crossover sound that was then coming out of the city's studios.

The session features a Pan- African line- up including legendary Cameroonian bassist Aladji Toure, Congolese guitar great Nene Tchakou (Langa Langa Stars) and digital Makossa impresario Toto Guillaume. Features a new remix from Canadian producer Poirier for a 2024 bassline zouk mover, cut loud and proud on 12" vinyl.

TRACK LISTING

Moulongo (Vocal)
Moulongo (Dub)
Moulongo (Poirier Dub)

On Papir’s aptly-titled 7th outing, the band dials back their fuzz pedals and returns to the heavily atmospheric soundscapes that define much of their recent work. Many aspects of Papir’s music seem to have much in common with the sea - be it a willful association by the Copenhagen-based trio or not. Their output moves in waves, sometimes fierce and blustery, sometimes gentle and calming, but always performed with unforced, organic talent. Over the course of their 7 full-length albums, the band sways between psychedelic guitar meltdowns and long atmospheric passages with grace and ease. 7, with its blurred aquatic cover artwork is of course no exception to this rule, and the album is comprised of four long songs that return to calming waters after 2021’s heavier Jams. Album side A is made up entirely of one 20-minute composition that flows seamlessly from the band’s signature melodic kraut-inspired rock into an ebb and flow of gorgeous ambient soundscapes. Guitarist Nicklas Sørensen’s shows a remarkable versatility, conjuring up a variety of sounds with his guitar that seem hardly possible with one instrument. When drummer Christoffer Brøchmann Christensen and bassist Christian Becher Clausen rejoin on side B, three further blissed-out tracks carry the listener away into their own world. If ambient post-krautrock isn’t yet a genre title, Papir should certainly be credited with its invention.

On their 6th LP, Papir blend the lush atmosphere perfected on their previous album ‘V’ with the guitar-driven sound of their early output. The result is a concise, yet compelling record of unique, blissful psychkrautrock.Papir, a trio from Copenhagen, might be the ultimate expression of the Danish creative soul: distinctively modern, deceptively minimalistic, and stylish yet understated. A band of virtuoso musicians who move between psychedelic rock, jazz and krautrock seamlessly with the ability to hypnotize audiences, Papir could easily be the showboats of the scene.

However, since the appearance of their self-titled record in 2010, Papir have continued to follow their own road map, creating music with little interest in playing to the masses or catering to a specific genre. While the band’s output over the past ten years has varied from epic psychedelic guitar meltdowns à la Earthless to sweeping, reverb-drenched soundscapes, a core of dense rhythm and melody always holds it all together. On VI, Papir show a mastery of all their faces, combining the guitar heroics of their first few records with the more lush sound of last year’s V. In a mere 4 songs, Papir once again refresh tired ears with their unmistakable approach to rock music, leaving the listener blissed rather than bludgeoned.

Scotland-born Parisian Paradise 100 (aka DJ Africa, aka Graham Peel) has been percolating stripped-back, bouncy-castle house constructs onto the web for a few years but never locked them in wax until now. High time. Following his minimalist dictum “more than three tracks on a song is just indulgence,” his debut EP’s four cuts share a sleek, spare design, jigsawing slinky bass, classic keys, lean drum programming and flashes of synth mirage into fluid, aerodynamic patterns. Touches of melodic acid and crossover new wave color the mood an exotic, hedonistic hue (further evinced by titles like “The Loin King” and “French Kissing in the House of Love”). His own vision of the project is appropriately fantastical: “The image in my mind is of tropical forests at night, torchlight, distant sounds of tribal ritual dance and ghosts.” Regal music for pleasure domes.

TRACK LISTING

1. The Loin King
2. Pneus
3. French Kissing In The House Of Love
4. Incroyablement Prop

On October 9ththe multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves) presents his new project Paradise Cinema. It was recorded in Dakar, Senegal in collaboration with mbalax percussionists Khadim Mbaye (saba drums) and Tons Sambe (tama drums).

The impressionistic and dream-like quality of 'Paradise Cinema' is a stunningly effective realisation of Wyllie's experience, in ahypnagogic state of aural consciousness:

"I had a lot of nights in Dakar, when the music around the city would go on until 6am. I could hear this from my bed at night and it all blended together, in what felt like an early version of the record."

Atmospherically 'Paradise Cinema' is vaporous and enigmatic, but also percussive; existing in a paradoxical sound-space that's amorphous,yet still purposeful, serene, but propulsive and aesthetically sharp.

Khadim Mbaye and Tons Sambe, provide the rhythmic backbone of the record. There are traditional elements of mbalax rhythm, but it is often deconstructed or played at tempos outside of the tradition, so while it hints at a location it occupies a space outside of any specific region.

'Paradise Cinema' is also informed by notions of hauntology – a philosophical concept originating in the work of French philosopher Jacques Derrida– on possible futures that were never realised andhow directions taken in the past can haunt the present.

On the album's title Wyllie comments, "there are a handful of old cinemas in Dakar – these big modernist buildings dotted around the city built around independence. They're old and derelict now, but feel to me like monuments to that period, when the city was flooded with utopian ideas about its potential futures."

As such it sits closely to 4thworld music – situated in an imagined culture and time that never came to pass. And while it contains rhythmic references to Senegal it combines these elements with ambient and minimalist music to produce a sound that sits outside of any tradition.

Setting the tone for the long-player's themes is the optimism-driven, balmy beauty of 'Possible Futures', where rich-toned drums throb and levitate in a stratospheric ether.

Like a time-lapse video of plants in bloom, 'It Will Be Summer Soon' is the sound of anticipation and growth. Rhythmically it flickers and flutters, evoking rainfall, or the blurred wings of a bird in in flight.

Casamance moves through field recordings drifting in and out of focus, beats pitched-down low and unfurling saxophone, whilst the ambient 'Utopia' was made mainly with processed saxophone and suggests a longing for a perfect world.

Galloping percussion juxtaposes with a wistful mood on 'Liberté' – a title that referencesa derelict modernist cinema in Dakar of the same name– a hauntological landmark, made more poignant by the its name being part of the French national motto.

Tying into the cover artwork, Jack explains, "the 'Digital Palm is a telecommunications mast disguised as a palm tree in central Dakar. As a modern piece of technology that on first glance looks natural, it mirrors the combination of modern and acoustic elements."

Perhaps eliciting a time that never came, or maybe still in hope of it yet to come, 'Eternal Spring' concludes the LP's otherworldly beauty with hypnotic drums powering a subtly-building, sparkling and powerful crescendo.

Jack Wyllie is a musician, composer, electronic producer who draws on influences of jazz, ambient, and the trance-inducing repetition of minimalism.

Wyllie performs and records in Portico Quartet, Szun Waves (withLuke Abbott and Laurence Pike)and Xoros. He has also collaborated with Charles Hayward, Adrian Corker and Chris Sharkey and released on Ninja Tune, Babel, Leaf, Real World and Gondwana.

Khadim Mbaye and Toms Sambe play in various mbalax groups in Dakar. Khadim has also toured internationally with Cheikh Lo.

TRACK LISTING

1. Possible Futures
2. It Will Be Summer Soon
3. Casamance
4. Utopia
5. Liberté
6. Digital Palm
7. Paradise Cinema
8. Eternal Spring

This is a split LP by two fun noise makers from opposite sides of the world. Paradise Island is the side project of Jenny Hoyston, lead singer of Erase Errata (Kill Rock Stars). PI was created as an outlet for her musical experimentations ranging from electronic blips and bleeps to acoustic soulful yearnings. Dada Swing is comprised of Noisy Pig, Manuela, and Nino all hailing from Rome, Italy. Dada Swing are world tour animals and have performed with The Gossip, Erase Errata, Numbers, XRBRX, and many more.

"Something Good" is the second single by Scottish casio-powered psychedelic junk-pop act The Paraffins.

In contrast to the brooding acousto-tronica of last year's debut single "Cardboard Cutout", "Something Good" is a finger clicking, four-on-the-floor pop anthem, bolstered by the massed chanting of Glasgow's most elusive new vocal group The Petrochemical Arms.

"Something Good" is backed by the rockabilly flavoured snippet "Little Crunchy Surprises" (featuring Kirstin White, ex-Lipsick! and Otterley) and a potentially dancefloor troubling remix of the lead track by Berlin based Ben Butler & Mousepad.

All of the above should, of course, be taken with a hefty dose of paraffin.

"After Laughter is the fifth studio album by American rock band Paramore. It was released on May 12, 2017, through Fueled by Ramen, as a follow-up to their self-titled album Paramore (2013). The album was produced by guitarist Taylor York alongside previous collaborator Justin Meldal-Johnsen. It is the band's first album since the return of drummer Zac Farro, who left the band with his brother Josh in 2010, and the departure of former bassist Jeremy Davis, who left the band in 2015. After Laughter represents a complete departure from the pop-punk and alternative rock sound of the band's previous releases, while touching on themes of exhaustion, depression and anxiety, in direct contrast to the upbeat and vibrant sound of the record."

"Brand New Eyes is the third studio album by American rock band Paramore, released on September 29, 2009, through Fueled by Ramen in the United States and Canada. The album was produced by Rob Cavallo and recorded in Hidden Hills, California from January to March 2009. It was written by band members Hayley Williams and Josh Farro, with guitarist Taylor York who co-wrote on four tracks, as a follow-up to Riot! (2007)."

Celebrate 10 years of Paramore's self-titled album with this Tangerine 2 LP vinyl reissue, the vinyl colour chosen by Hayley Williams. Features updated artwork which hasn’t previously been available on physical formats.

‘Paramore’ features the top ten, double platinum singles “Still Into You” and “Ain’t It Fun”. Paramore is on Kerrang!, Billboard and AllMusic’s best albums of the decade lists. It gave the band their first number one on the US Billboard 200 and was also the number one album in the United Kingdom, Ireland, Australia, New Zealand, Brazil, Argentina, and Mexico. Currently, the album is platinum in the US, UK, and Canada as well as gold in Australia.

TRACK LISTING

LP1
Side A
Fast In My Car
Now
Grow Up
Daydreaming
Side B
Interlude: Moving On
Ain't It Fun
Part II
Last Hope

LP 2
Side A
Still Into You
Anklebiters
Interlude: Holiday
Proof
Hate To See Your Heart Break
Side B
(One Of Those) Crazy Girls
Interlude: I'm Not Angry Anymore
Be Alone
Future

"Riot! is the second studio album by American rock band Paramore. It was released in the United States on June 12, 2007, through Fueled by Ramen as a follow-up to their debut album, All We Know Is Falling (2005). The album was produced by David Bendeth and written by band members Hayley Williams and Josh Farro, with Bendeth, and fellow band member Zac Farro co-writing on select tracks. The album explores a "diverse range of styles," while not straying far from the "signature sound" of their debut album."

“This Is Why was the very last song we wrote for the album. To be honest, I was so tired of writing lyrics but Taylor convinced Zac and I both that we should work on this last idea. What came out of it was the title track for the whole album. It summarizes the plethora of ridiculous emotions, the rollercoaster of being alive in 2022, having survived even just the last 3 or 4 years. You’d think after a global pandemic of fucking biblical proportions and the impending doom of a dying planet, that humans would have found it deep within themselves to be kinder or more empathetic or something.

The public sphere we find ourselves re-entering after 4 years at home, in our comfort zones, is an entirely different thing than the one we knew. The restlessness, the anxiety, and the compulsion to take action— it all feels like a contradiction. On one hand, we have a legitimate platform to use which makes me want to march at every protest for social justice and devote every waking second to every single cause I believe in. On the other, I just want to go home, plant a garden, and become a distant memory to the outside world.”

STAFF COMMENTS

Liam says: Ditching their pop-punk and synth-pop sound of previous records in favour of 2000s math-infused indie, 'This Is Why' certainly represents a new chapter for Paramore. The title track takes things to 'Total Life Forever' era Foals, whilst elsewhere there is shades of early Bloc Party and 90s emo. Not gonna lie, really liking a Paramore record in 2023 certainly wasn't on my bingo card this year.

Southern acid merchants Paranoid London return with their second album. The act spearheaded the acid revival movement in the UK and have become a formidable and well-received live act in the process.

Collaborators on this excursion include old friend Mutado Pintado (Warmduscher), alongside new acquaintances Alan Vega & Arthur Baker, Simon Topping (A Certain Ratio), JoshCaffe & Bubbles Bubblesynski; who all give the various tracks a distinct, freakish individuality. A mix of said vocal tracks & hard as nails instrumentals, PL expertly channel the ghosts of acid house into an overtly gritty n grimey style that suits their home locale as much as it does sound tracking all-nite raves under graffiti covered motorway arches or rotting abandoned buildings...Top stuff from these warehouse-dwelling devils... 

TRACK LISTING

1. Starting Fights
2. The Boombox Affair
3. Nobody Watching (Album Edit)
4. The Music
5. Angel Of Hell (Album Edit)
6. Drum Machine (Album Edit)
7. Blue-Ish (Album Edit)
8. Cult Hero (Do You Wanna Touch Me) (Album Edit)
9. Sly Is Watching (Album Edit)
10. (Vi-Vi) Vicious Games (Album Edit)

“Mega model Staz Lindes’ buzzy four-piece is creating the L.A. DIY scene’s most richly layered punk sounds of the moment.” - i-D // “Their take no-prisoners fury and snarky sing-song choruses have quickly made them local favorites in the DIY and indie scene.” – Noisey // Los Angeles punk quartet The Paranoyds channel revelry and revulsion into their debut album Carnage Bargain - a raucous blend of garage rock grit, new wave swagger, horror film soundtrack campiness, and a myriad of other influences. The Paranoyds' beginnings can be traced back to a friendship forged between Staz Lindes and Laila Hashemi in their teens. With the additions of Lexi Funston and David Ruiz, the band found the personnel for their sonic balance of jubilant energy and foreboding undercurrents. Carnage Bargain captures this chemistry through guitar-and-keyboard, genre-mashing weirdness on "Laundry," the fever-dream kitsch of B-52s on "Ratboy," krautrock's motorik groove on "Hungry Sam", and Blondie on the sweet-and-salty highlight "Courtney." Title track "Carnage Bargain" is a perfect example of the band delivering scathing lyrical observations under the guise of a quirky pop hook. The notion of rejecting the status quo and creating your own destiny is evident on the lead single "Girlfriend Degree," which the band calls an ode to "being a badass woman who's taking time to make sure she's doing things for herself." The band may be paranoid, but they offer a solution to our modern ills through the act of being an inspiring, independent, and unflappable force. 

TRACK LISTING

1. Face First
2. Carnage Bargain
3. Girlfriend Degree
4. Egg Salad
5. Bear
6. Hungry Sam
7. Courtney
8. Laundry
9. Heather Doubtfire
10. Ratboy

The Paranoyds are Southern California DIY rock royalty. Fueled by the fiery energy of their live shows paired with raw lyricism and subtle societal commentary, The Paranoyds are unafraid and unapologetically in perpetual pursuit of a good time. The four-piece is made up of Laila Hashemi (keyboardist-vocals), Lexi Funston (guitars/vocals), Staz Lindes (bass/vocals) and David Ruiz (drums, vocals) who together masterfully blend light-hearted playfulness with sharp sincerity over fuzzy guitar, dreamy vocals and punchy, punky rock-n-roll.

Talk, Talk, Talk, the sophomore album from The Paranoyds gives the band space to expand, evolve and above all, have fun. Over 11 tracks, the band experiments with sounds that span an eclectic array of genres–from jazz, to lo-fi punk-rock, to groovy R&B–that melt together showcasing the innovative range of The Paranoyds.

TRACK LISTING

SIDE 1
1. BWP
2. Lizzie
3. Nissan Overdrive
4. Typing
5. Single Origin Experience
6. Freak Out
SIDE 2
1. Andrew
2. Over And Done
3. 6th Street Bridge
4. LA 2032
5. Sunburn

Death Songbook is an exquisite and unique collaboration between Suede’s Brett Anderson, Charles Hazlewood and Paraorchestra featuring special guests Nadine Shah and Gwenno.

The album features delicate new interpretations of iconic songs by the likes of Echo & The Bunnymen, Suede, Depeche Mode, Mercury Rev and Japan tackling themes of death, the death of love, anxiety, loss and transcendence.

Paraorchestra is the world's first large-scale virtuoso ensemble of professional disabled and non-disabled musicians.

The CD and LP packages feature beautiful photography from the original recordings at Wales Millennium Centre, Cardiff.

TRACK LISTING

1. The Killing Moon
2. Unsung
3. Holes (feat. Nadine Shah)
4. Nightporter
5. She Still Leads Me On
6. Wonderful Life
7. The Next Life
8. He's Dead
9. Enjoy The Silence (feat. Gwenno)
10. The End Of The World (feat. Nadine Shah)
11. My Death
12. Brutal Lover

First release on the new French label Disques de la Spirale, featuring an experimental motorik-kraut-dub infused, semi-improvised live act built by Tamara Goukassova, Axel Larsen & Théo Delaunay (Panoptique, Succhiamo, Violent Quand on Aime, Radiante Pourpre..) from Simple Music Experience; featuring Maoupa Mazzocchetti, Fiesta en el Vacío, Ventre de Biche, Kyle Knapp (Deliluh).

For fans of Faust, Tomaga, Tony Conrad.

French non-jazz trio overflowed by Simple Music Experience’s founders Tamara Goukassova, Théo Delaunay & Alexandre Larcier, offering a 40mn of non-simple music madness, and navigating between a dozen of etiquettes from undecided space rock to motorik-infused-dub, medieval folk, cartoon trance; everything under the seal of psychedelia and half-improvisation.
Built from drums, violin, springs, samples, reiterations, overdubs, trumpets, synths, distortions; and the appearances of L. Cedrón (Fiesta en el Vacío), L. Retraite (Ventre de Biche), K. Knapp (Deliluh), F. Mazzocchetti (Maoupa Mazzocchetti).

Parasite Jazz emerged in 2016 in the smoke of a suspicious performance on Simple Music TV. An improvised and protean artifact at birth, the project settled down at the end of 2020 as a trio (Axel Larsen, Constance Chlore, Tamara Goukassova) in Marseille, then as a sextet during the Illusio festival in the summer of 2021. A series of concerts with a shifting line-up followed - Kyle Knapp, Luca Retraite and Luna Cedrón sometimes appeared and with them, spontaneous incandescences. This first series of collective hallucinations took the form of an album during a perilous recording at Grrrnd Zero (Lyon) in October 2021, and is completed by live recordings gleaned over the course of the summer episodes.

TRACK LISTING

A1. Pi Dub (10:29’)
A2. Alarm Twist (2:44’)
A3. Damn Spring (3:36’)
A4. Terciopelo (3:33’)
B1. Carton Jazz (2:01’)
B2. Glissement De Terrain (8:11’)
B3. Untitled (Live à Gigors) (9:54’)

The franchise goes one cut deeper as Parasols AKA Ali Renault and Antoni Maiovvi team up on this dark as hell during an eclipse set of grime soaked grease sleazers. Parasols throws forth two sharp as blades numbers with a guest appearance by the one and only Unit Black Flight with his first ever remix. Antoni Maiovvi closes things with something from the vaults, the 808 and sub bass sleekness of Shivers, remixed by Black Metal EBM overlord Equitant. Guaranteed nightclub nightmares as we put on the gloves one more time…

TRACK LISTING

1 Body Parts
2 White Shadow
3 Body Parts (Unit Black Flight Remix)
4 Shivers
5 Shivers (Equitant Remix)

Taking cues from shoegaze heroes Loop and Spacemen 3, Neil and Jon, with their dual guitar hypnosis found Richard, who brought the surging beat rhythms and melodies with synthesized handwriting integration. And so, in November 2011, Parastatic became six legs; a krautedelic ant that laid low in its damp basement, emerging sporadically to air the fruits of their labour. Lyrically downbeat with an air of fragility each track not only serves to push musically boundaries but also political dogma and ethos to blend childhood hazes with industrial and fiscal turmoil.

A flavour of the album can be summed up in the track Darma. One man’s internal nihilistic mantra as he realises he’s run out of options. While album track Minimum Change Maximum Time was inspired when the band came across a decades old archived interview with Brian Eno, talking about his approach to making music at the time, the anti-pop approach. Lost Highway presents an aural soundtrack via spacerock, a dance beat cabal, softened by an aura of psychedelic overtones. The result is fortified, mutually electroloud and jizzed up by the motorik artistry of Krautrock, influenced and beguiled by the likes of Loop, Spacemen 3, Neu!, Spiritualized, Holy Fuck, 65 days of Static , Orbital and much much more musically and beyond.

TRACK LISTING

1. Like A Fraud 05:57
2. GlaxoChem 06:22
3. Where's Your Base? 06:28
4. Minimum Change, Maximum Time 05:26
5. Lost 04:16
6. Breaking Me Down 04:35
7. Darma 03:57

For their second LP "Elios" on Periodica Records, musical collective Parbleu - led by Andres Balbucea and Andrea De Fazio - reach towards realms both astral and ancient to present a solar sonic suite of sky-seeking exotica inspired by the mythological adventures of Helios. Elemental grooves anchor textures of cosmic magic and faraway fantasy, wherein panoramic conga and bongo displays lead to limbo line hysteria and fat-bottomed bass grooves slide through layers of galactic grease. Phaser riffs and flangers arps fly in unison, lyrical runs dart and dash through flourishes of baroque Turkish psychedelia, and as moonbeam lasers fire over thrilling balearic escapes, Iberian reeds dance joyously amidst jangling six-string sunstrokes.

Captured in part at the West Hill Studio, the album is an evocative and polychromatic display of sight and sound, one where Arabian strings riding a desert wind dub skank give way to passages of cinematic folk funk, or elsewhere to sections of pompous progressive rock and angular jazz fusion. And as with Parbleu’s first LP "Danse Cette Zik", there is an awe-inspiring display of vocal talent across "Elios", as soft-soul seances, choral pop communions, 60s soundtrack spirituals, Italo diva poetics, and intoxicating call-and-response spells rain down over the mystical melodies and dancefloor dynamite.

STAFF COMMENTS

Barry says: What a bright, psychedelic wonder this is. Spritely synth-jazz hooks and deep beachy percussion all topped with athletic soulful vocals. High tempo disco, with hypnotic psychedelic groove. It sounds how the cover looks : excellent.

TRACK LISTING

A1. Elios
A2. Pour Cette Liberté
A3. Si Tu Veux Vivre Ou Pas
A4. Sababa

B1. J'Entends Pas
B2. Je Le Ferai
B3. La Guillotère
B4. Calima

Parcels have always been a band of extreme light and shade: they’re from surf hotspot Byron Bay in Australia but living in Berlin for years; their sweet-as-honey vocal harmonies rival the Beach Boys but their live shows can turn into slamming techno rave-ups.

The band returns with an ambitious third studio album, Day/Night, a Double Record huge in scope and sound, whose hopeful messages of perseverance through difficult times are a balm for these uncertain times.

PARENT are Rachel Kern and Jason Brown. This is their debut album-12 gorgeous songs with delicate arrangements, rich harmony, meaningful words and bespoke string arrangements throughout. While drawing influences from a vast range of styles and genres, there is real sense of cohesion throughout this beautiful, often intimate, musical landscape.

TRACK LISTING

1. Dear Lucia
2. Weren't That Bad
3. You're Not Broken
4. Tipperary
5. Oh Lover
6. Trying
7. This Place
8. Disadvantage
9. Maneater
10. Hold On Till Tomorrow
11. Until Then
12. You Are My Sunshine

Joe Pariota is back on LOVEiT to provide you with four Chicago-house indebted floor fillers that tick all the right boxes. Irresistible driving grooves? Check. Catchy vocal snippets? Check. Funky piano lines? Check! This already impressive package is rounded up by JKs stripped down Dub Mix endlessly floating on a sea of reverb and Nico Bruns Remix, a spaced out downtempo head nodder.

STAFF COMMENTS

Matt says: Deep and buoyant 90's-tinged house music with vintage day-glo flair and retrotastic feels.

TRACK LISTING

A1 - Joe Pariota - Contest
A2 - Joe Pariota - Crystal_JKs Dub Mix
A3 - Joe Pariota - Contest Nico Brun Remix
B1 - Joe Pariota - Lost In The Atmosphere (They Make House)
B2 - Joe Pariota - Don't Bother Me

Debut album from the hyped tae fook South Korean artist Park Hye Jin. Now located in LA, it seems 2021 is the explosive year for this in-demand act.

Stiring up a storm through her "If U Want It" 12", plus some tasty collaborations with the likes of Clams Casino, Blood Orange, Galcher Lustwerk and Nosaj Thing, the Ninja Tune-signed genius lays out her sonic identity in an edgy, attitude-filled LP which is both hi-tek and emotion-filled.

Stylistically, Jin seems to digest booty bass and ghetto house, combine it with some of the modern lo-fi house aesthetics and give it her own uniquely S. Korean sugary icing. Some of her drum patterns recall early DJ Rush or Green Velvet, while at other times lo-fi pioneers like Seinfeld and DJ Boring are clearly an influence. It's her deadpan, cool ass delivery that really seals the deal though. Taking influence from Chicago drill, post-punk and pop and somehow gelling it all together into something sincerely her own.

It's a beautifully modern LP which loses none of its soul from being entirely electronic. A future star in the making. Recommended. 

STAFF COMMENTS

Barry says: The wonderful 'Before I Die' sees Park Hye Jin renewing her take on oft-minimal footwork influenced house. It's a sleek and breezy affair, with the more propulsive moments being tempered with her heavily reverbed, hypnotic vocals forging a brilliant combination of drive and nuanced, lo-fi percussion.

TRACK LISTING

Side A
Let’s Sing Let’s Dance
I Need You
Before I Die
Good Morning Good Night
Me Trust Me
Where Did I Go
Never Give Up

Side B
Can I Get Your Number
Whatchu Doin Later
Sex With ME (DEFG)
Where Are You Think
Never Die
Hey, Hey, Hey
Sunday ASAP
I Jus Wanna Be Happy 

Previously unreleased schizo post-punk / Moogy folk score to 1983 British TV Scouse-ploitation drama ‘One Summer’ from the vault of Kate Bush, Serge Gainsbourg and David Bowie’s bestkept secret session man, Alan Parker.

From the one-man studio vault of the guitarist who adorned 'Histoire De Melody Nelson', 'The Kick Inside' AND 'Diamond Dogs' comes a post-punk, 80’s TV soundtrack that aims to restore the unforgettable names of Billy and Icky in your nostalgic consciousness while liberating lost music of a significant unsung UK composer.

Bringing back fractured memories of Scouse teenage rebellion, sports casual weekend wear, chip shop violence and escape missions to the Welsh Valleys (where baby birds are fed Mars Bars and shoplifting is the local currency), the series One Summer made an indelible impression of gritty realism, tragic heartbreak and woeful hope in the hearts of a dumbstruck generation in 1983.

Inducing abject fear in protective parents and a street smart swagger amongst clued-up youths, this adaptation of a coming of age pastoral thriller by a reluctant Willy Russell broke new boundaries pinpointing a cultural teenage void between post punk activism and the acid house years while arguably giving Thatcherite telly addicts a tiny kick up the arse.

Scored by legendary KPM / De Wolfe library musician Alan Parker, a renowned session player for Serge Gainsbourg, Kate Bush and Bowie (amongst many more) this score retains a genre defying personality, pinpointing the stylistic essence of the era while successfully switching from barren Rumble Fish funk, pastoral Moog noodlings, Pentangular folk, 80’s post-punk rhythms with hints of dubby melodica/harmonica. Composed to cue for the short five-part series (that TV commissioners were too scared to revisit), Parkers bursts of self-propelled small screen scoring came in one to two minute spells allowing Finders Keepers to comfortably fit the entire soundtrack on one neat eleven track limited 7” EP thirty-three years down the train line.

The moody NYC angst-pop duo Parker & Lily compose simple melanchic indie rock melodies, similar to Galaxie 500 and Stephen Merritt's Magnetic Fields, with dreamy atmospheric woozy instrumentation. Comparisons have been made to both Tindersticks and Mazzy Star's noir-ish pop and Arab Strap or Broadcast's smoky minimalism.

Monk Parker releases his debut solo record ‘How The Spark Loves The Tinder’ on Bronze Rat Records. Featuring over 30 musicians including members of The Polyphonic Spree and Okkervil River, it was recorded over a two-year period of dislocation following the breakup of his previous band The Low- Lows and Parker’s subsequent move to Austin TX.

Parker serves up a funereal but majestic alt-Americana that is altogether reflective and intimate. It may well lay you down gently but soon enough its horn-led orchestration will lift your tingling spine to upright. Stately, dreamlike waltzes build to explosive, gospeltinged climaxes and a woozy country narcosis akin to Skygreen Leopards or The Low Anthem alternates with Velvets-style feedback drones and buried noise melodies.

All in all Parker has a sculpted a sound that charts a dreamy path for his damning tales of carnality and affection (“Sadly yes I know just where to go / Sadly yes we can all three see the bright writing on the marquee”, goes the first line on the record, from a song about a love triangle gone inexplicably right).

TRACK LISTING

Sadly Yes
I Am A Gun
The Happy Hours
Wanna Be Forgotten
Idle In Idlewild
Black Bees
Raining In Eva
The Great Fires

Monk Parker releases his debut solo record ‘How The Spark Loves The Tinder’ on Bronze Rat Records. Featuring over 30 musicians including members of The Polyphonic Spree and Okkervil River, it was recorded over a two-year period of dislocation following the breakup of his previous band The Low- Lows and Parker’s subsequent move to Austin TX.

Parker serves up a funereal but majestic alt-Americana that is altogether reflective and intimate. It may well lay you down gently but soon enough its horn-led orchestration will lift your tingling spine to upright. Stately, dreamlike waltzes build to explosive, gospeltinged climaxes and a woozy country narcosis akin to Skygreen Leopards or The Low Anthem alternates with Velvets-style feedback drones and buried noise melodies.

All in all Parker has a sculpted a sound that charts a dreamy path for his damning tales of carnality and affection (“Sadly yes I know just where to go / Sadly yes we can all three see the bright writing on the marquee”, goes the first line on the record, from a song about a love triangle gone inexplicably right).

TRACK LISTING

Sadly Yes
I Am A Gun
The Happy Hours
Wanna Be Forgotten
Idle In Idlewild
Black Bees
Raining In Eva
The Great Fires

Originally released in 1973, Black Pearl’s overall sound is the epitome of cool, orchestral funk / dramatic styles of the 1970s (e.g. “Next Stop LA”, “Collect”, “Oh! Militia”, “Choctaw”, “Black Pearl”, and “Blue Shadow”). Also featured are several more romantic, laid-back, emotive pieces such as “Miraculous Dream”, “Tryst”, “Sunny Monday”, “Melody and Lace”, “Monochrome”, “No Return”. Not to mention a couple of surprise solo honky-tonk piano jaunts – “The Vamp” and “Night of the Garter”.An eclectic mix that is sure to pique anyone’s interest. The album was produced by Alan Parker and Alan Hawkshaw, who is perhaps best-known for composing “The Champ”, which has been widely sampled and emulated by hip hop artists.“Library records are a collection of little one-minute pieces for soundtracks recorded by session musicians for movies, TV, student films, whatever. I don’t actually know the story behind when, why, or where they were made but…there were a bunch of different labels that made them [and still probably do], and I was on the hunt for any recorded between 1969 and 1976. They all have random song titles like “Bouncy Strut” with descriptions like “hard-driving beat with percussion.” So imagine how much funky shit is on them. For me, De Wolfe Music was the best.”– Adam “Ad-Rock” Horovitz of the Beastie Boys 

TRACK LISTING

01. Next Stop L.A.
02. Miraculous Dream
03. Collect
04. Tryst
05. Sunny Monday
06. Oh! Militia
07. The Vamp
08. Night Of The Garter
09. Choctaw
10. Melody And Lace
11. Black Pearl
12. Blue Shadow
13. Monochrome
14. No Return 

All the greatest songs from one of Jazz finest artists.

TRACK LISTING

A1. Summertime
A2. All The Things You Are
A3. I'll Always Love You Just The Same
A4. Everything Happens To Me
A5. April In Paris
A6. Parker's Mood
A7. Cool Blues
B1. Ornithology
B2. A Night In Tunisia
B3. Ko Ko
B4. Donna Lee
B5. Scrapple From The Apple
B6. La Cucuracha
B7. Confirmation

Elizabeth Parker is a composer you may not have heard of until now. Well here she is, in all her musical glory, having worked for decades at the front line of British electronics, radiophonics, soundracks and more. This is an album full of musical ideas ahead of the curve, with contemporary technology that was to go on and very much shape the future of sound we know now. From classic tape loop techniques to modern sampling concepts you will find dark ambience, drones, beer adverts and drifts into space. This is the first ever Elizabeth Parker LP and represents (with 26 tracks) a very small retrospective of her extraordinarily prolific and commercial output. Not to be missed.

TRACK LISTING

Space Dris
Memory Loss
Siren-call
Harmonisers Of The Spheres
Telepathy Beyond Time
Older Than Time
Congestion Hoe-down
Shadowland
Celandine And Columbine
The Dying Of The Light
Cloud
Darkness At Noon
Future Perfect
The Killing Skies

Jeff Parker’s Forfolks — a new album of solo guitar works — was recorded by Graeme Gibson at Sholo Studio in Altadena, California (aka Jeff’s house) over two days in June 2021. It includes interpretations of Thelonious Monk’s “Ugly Beauty” and the standard “My Ideal,” plus six original compositions including "Four Folks," "La Jetée" (a tune he recorded with Tortoise in 1998), and four totally new loop-driven, stratiform works that marry melodic improvisation with electronic textures.

“It's a particular thing to hear Jeff play solo,” writes veteran Chicago musician and longtime Parker collaborator Matthew Lux in his liner notes for Forfolks. “He is an unusually selfless improviser, oftentimes laying out and highlighting the contributions of his band mates… On this recording, however, he is by himself, joined only by his own ideas, looped or frozen, to flesh out the music he's creating in his mind. Hearing him craft entire sound worlds on these eight selections gives us an opportunity to really see how Parker orders sound.”

Forfolks follows Parker’s critically acclaimed 2020 record Suite for Max Brown, which Pitchfork called an “effortlessly detailed album, full of tradition and experimentation that spans generations … It lives at the vanguard of new jazz music.” The album went on to debut at No. 1 on Billboard's Current Contemporary Jazz Chart.

TRACK LISTING

1. Off Om
2. Four Folks
3. My Ideal
4. Suffolk
5. Flour Of Fur
6. Ugly Beauty
7. Excess Success
8. La Jetée 

“I’m always looking for ways to be surprised,” says composer and multi-instrumentalist Jeff Parker as he explains the process, and the thinking, behind his new album Suite for Max Brown, released via a new partnership between International Anthem and Nonesuch Records. “If I sit down at the piano or with my guitar, with staff paper and a pencil, I’m eventually going to fall into writing patterns, into things I already know. So, when I make music, that’s what I’m trying to get away from—the things that I know.” Despite its musical departures, in presentation Suite for Max Brown is an informal companion piece to The New Breed, Parker’s debut release on International Anthem, which was honored as one of the “Best Albums of 2016” by New York Times, Observer, and Los Angeles Times.

“I made The New Breed based off these old sample-based compositions and mixed them with improvising,” Parker says. “That’s in a nutshell how I make a lot of my music; it’s a combination of sampling, editing, retriggering audio, and recording it, moving it around and trying to make it into something cohesive… With Max Brown, it’s evolved.” Though Parker collaborates with a coterie of musicians under the group name The New Breed, theirs is by no means a conventional “band” relationship. Parker is very much a solo artist on Suite for Max Brown. His accompanists are often working alone with Parker, reacting to what Parker has provided them, and then Parker uses those individual parts to layer and assemble into his final tracks. The process may be relatively solitary and cerebral, but the results feel like in-the-moment jams—warm-hearted, human, alive. Suite for Max Brown brims with personality, boasting the rhythmic flow of hip hop and the soulful swing of jazz.

His collaborators on Max Brown include pianist-saxophonist Josh Johnson; bassist Paul Bryan, who co-produced and mixed the album with Parker; fellow International Anthem artists Makaya McCraven and Rob Mazurek; trumpeter Nate Walcott; drummers Jamire Williams and Jay Bellerose; cellist Katinka Klejin; and his seventeenyear-old daughter Ruby Parker on the opening track “Build a Nest.” Ruby’s presence at the start is fitting as the album is, in true Parker fashion, a familiar affair. “That’s my mother’s maiden name. Maxine Brown. Everybody calls her Max. I decided to call it Suite for Max Brown. The New Breed became a kind of tribute to my father because he passed away while I was making the album. I thought it would be nice this time to dedicate something to my mom while she’s still here to see it.” There is a multi-generational vibe to the music too, as Parker balances his contemporary digital explorations with excursions into older jazz. Along with original compositions, Parker includes “Gnarciss,” an interpretation of Joe Henderson’s “Black Narcissus,” and John Coltrane’s “After the Rain.”

Coltrane is a touchstone in Parker’s musical evolution. “I used to deejay a lot when I lived in Chicago. I was spinning records one night and for about ten minutes I was able to perfectly synch up a Nobukazu Takemura record with the first movement of John Coltrane’s A Love Supreme and it had this free jazz, abstract jazz thing going on with a sequenced beat underneath. It sounded so good. That’s what I’m trying to do with Max Brown.”

TRACK LISTING

A1. Build A Nest (feat. Ruby Parker)
A2. C'mon Now
A3. Fusion Swirl
A4. After The Rain
A5. Metamorphoses
A6. Gnarciss
A7. Lydian
A8. Del Rio
B1. 3 For L
B2. Go Away
B3. Max Brown

Classic creative bop melodies and golden era beat memories woven into a vibrant new thread of psychedelic soul jazz. The New Breed received “Best of 2016” honors from NPR Music, Observer, New York Times, Los Angeles Times, Aquarium Drunkard, and Bandcamp.

TRACK LISTING

1. Executive Life
2. Para Ha Tay
3. Here Comes Ezra
4. Visions
5. Jrifted
6. How Fun It Is To Year Whip
7. Get Dressed
8. Cliche

In a celebration of soul music's enduring legacy, Celestial Echo is excited to unveil the reissue of Winfield Parker's revered classic, 'I Wanna Be With You.' Originally released in Baltimore in 1979, this soulful gem has maintained its status as a sought-after treasure by soul DJs for decades. With original copies commanding prices well beyond £200, the decision to reissue this timeless piece of soul music history on vinyl is a testament to its everlasting dancefloor impact. Celestial Echo is proud to present the reissue on a limited edition 7-inch vinyl record, meticulously remastered and pressed on heavyweight vinyl for an authentic analog experience. It also features a picture sleeve and redesigned labels. The following releases on this brand new re-issue label will include tracks from Brutal Force and Curtis. Diggers, and rare soul lovers need only apply.

TRACK LISTING

A1. I Wanna Be With You
B1. My Love For You

Parker are a Manchester / Salford five piece who play mod tinged indie rock. Drawing influences from all great British music since the 60s such as The Who, Small Faces, The Jam and Ocean Colour Scene, the band's sound has been described as 'riff based indie-rock with soul enforced melodies'.

Shimmering, intricate guitar leads married to off kilter, aggressive rhythms and anguished, soulful vocals make for a beautifully unsettling brew. Love it. Jawbox played by At The Drive In?

Born in Berlin in early 2014 and nurtured over the following summer, ‘I Declare Nothing’ is the spine-tingling collaboration between Tess Parks and Anton Newcombe (Brian Jonestown Massacre), released on Anton’s A Recordings label. The duo co-wrote and co-played on the album.

A native of Toronto, Tess Parks moved to London, England at the age of 17 where she briefly studied photography before deciding to focus on music. Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music. Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her "gauzy psychedelic sound” and "smouldering voice”. Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet … her most beautiful quality is her lack of ego. Tess is an amazing lady”.

Anton Newcombe as I'm sure you know, is the leader of the Brian Jonestown Massacre, who returned last May with their 14th full-length album ‘Revelation’ to critical acclaim. It is the first album that was fully recorded and produced at Anton Newcombe’s recording studio in Berlin and was released on his record label A Recordings. It was supported by a successful European tour. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock & roll, Brian Jonestown Massacre formed in San Francisco, California in 1990. Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe.

TRACK LISTING

LP Tracklisting
SIDE A -
1 – Wehmut
2 – Cocaine Cat
3 – Peace Defrost
4 – German Tangerine
5 – Gone
SIDE B
6 – October 2nd
7 – Mama
8 – Voyage De L’ame
9 – Meliorist
10 - Friendlies

CD Tracklisting
1 – Wehmut
2 – Cocaine Cat
3 – Peace Defrost
4 – German Tangerine
5 – Gone
6 – October 2nd
7 – Mama
8 – Voyage De L’ame
9 – Meliorist
10 - Friendlies

Mercury Prize and Brit Award winner Arlo Parks first came to the attention of music press with her debut single ‘Cola’. It’s a breath-taking, tender, poetic and confessional introduction to an artist just eighteen at the time of its release.

The then London based singer demonstrated soul beyond her years and with 'Cola' the submissive tones of her powerful voice are laid atop slow guitar melodies that beckon you to stop what you're doing and just listen. The track is written about bad love - in Arlo’s words, "Cola is a reminder that betrayal is inevitable when it comes to pretty people that think flowers fix everything".

‘George’, an ode to poet Byron was released in 2019 just weeks before signing to Transgressive Records and set Arlo on the path to being one of the most critically acclaimed artists of the year.

STAFF COMMENTS

Millie says: New material from this shining star we backed from the very beginning. I'm so excited to hear what she's got in store for us next.

TRACK LISTING

Cola
George

Highly anticipated debut from 2020 breakthrough artist, London-based musician and poet Arlo Parks Speaking about her LP, Arlo says "My album is a series of vignettes and intimate portraits surrounding my adolescence and the people that shaped it. It is rooted in storytelling and nostalgia - I want it to feel both universal and hyper specific." 

STAFF COMMENTS

Barry says: As a debut album, ‘Collapsed In Sunbeams’ is about as perfect as you're going to get. The breadth of talent and refined groove present throughout is astounding, and perfectly measured. A beautifully soulful and comfortingly modern endeavour.

TRACK LISTING

1. Collapsed In Sunbeams
2. Hurt
3. Too Good
4. Hope
5. Caroline
6. Black Dog
7. Green Eyes
8. Just Go
9. For Violet
10. Eugene
11. Bluish
12. Portra 400

My Soft Machine is a deeply personal body of work; a narration of Parks’ experiences as she navigates her 20’s and the growth intertwined. Explained ever-articulately in her own words below...

“The world/our view of it is peppered by the biggest things we experience - our traumas, upbringing, vulnerabilities almost like visual snow. This record is life through my lens, through my body - the mid 20s anxiety, the substance abuse of friends around me, the viscera of being in love for the first time, navigating PTSD and grief and self sabotage and joy, moving through worlds with wonder and sensitivity - what it’s like to be trapped in this particular body. There is a quote from a Joanna Hogg film called the Souvenir, it’s an A24 semi-autobiographical film with Tilda Swinton - it recounts a young film student falling in love with an older, charismatic man as a young film student then being drawn into his addiction - in an early scene he’s explaining why people watch films - “we don’t want to see life as it is played out we want to see life as it is experienced in this soft machine.” So there we have it, the record is called....My Soft Machine.” - Arlo Parks

STAFF COMMENTS

Barry says: The superb Arlo Parks returns following her 2021 Mercury prize win, with a hugely personal and beautifully evocative selection of downbeat synth gems and woozy, wistful R&B. Parks has proved once again that both her songwriting and production talents are endless.

TRACK LISTING

Bruiseless
Impurities
Devotion
Blades
Purple Phase
Weightless
Pegasus Ft. Phoebe Bridgers
Dog Rose
Puppy
I'm Sorry
Room (red Wings)
Ghost

The artwork sleeve is reverse board black - and includes the 'London' poem written by Arlo Parks. Artwork sleeve both front and back created by Arlo Parks.

Includes Sophie.”Sophie' is a song about "crumbling under expectations and feeling helpless, but with a persistent, quiet sense of hope underpinning it”. True to form, it's a melodic and beautifully articulated sonnet, cementing the notion that she is overwhelmingly considered the majestic voice of Generation Z. 

TRACK LISTING

Cola
Super Sad Generation
Sophie
Romantic Garbage
I Like.
Second Guessing
George
Angel's Song
Paperbacks
London Poem

Hailed by The Guardian as “the hopeful new voice of her super-sad generation” Arlo Parks released her second track in January 2019. At the time of release Arlo told Clash Magazine: "When I look at my generation I see a kaleidoscope of dejection, passion and anxiety – there’s this strange mix of sadness and intimacy that saturates Generation Z. 'Super Sad Generation' was inspired by the time my friends and I sat on the green at sunset, half wine drunk and ugly crying for no reason in particular."

Lifted from the Super Sad Generation EP ‘Paperbacks’ took its inspiration from Space Song by Beach House and Changeling by DJ Shadow.

"The British songwriter captures the specifics of being young and messed up like no-one else" - Noisey

TRACK LISTING

Super Sad Generation
Paperbacks

Tess Parks and Anton Newcombe will release their second full-length album on 12th October 2018. The 9-track eponymous album was recorded in Anton Newcombe’s Cobra Studios in Berlin last year and was mostly co-written by the duo. The lead track ‘ Right On’ perfectly showcases the complementary mix of Tess and Anton’s musicianship and style. The pair first collaborated in 2015 on the album ‘I Declare Nothing’, which saw NME call Tess’ smoky, smouldering vocals ‘particularly impressive’, while UNCUT compared them to a ‘darker, edgier Hope Sandoval’.

TRACK LISTING

1) Life After Youth 
2) Monochrome Wound 
3) Mount Pleasant 
4) Bindle 
5) Please Never Die 
6) French Monday Afternoon 
7) Die Neue Welt
8) Talking About The Weather  
9) Right On

A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music.

Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music.

Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her “gauzy psychedelic sound” and“smouldering voice”.

Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet ... her most beautiful quality is her lack of ego. Tess is an amazing lady”.

‘Blood Hot’ is inimitably confident. It’s slow and psychedelic at times, while being loud and ready to fill a stadium at others. There isn’t a moment on the album that isn’t relatable or that doesn’t ring to the tune of a timeless classic to be talked about for years to come (the same way people discuss The Velvet Underground or My Bloody Valentine records today).

Her cult-like following has turned into a movement. And Tess is gladly leading us all back into that space within ourselves, both deeply personal and entirely universal. Incredibly relevant yet timeless.Cool and anti-cool. An enigma that doesn’t need solving. Tess Parks is as she’s always been. Her best work is already out there. And her best yet is still to come.

TRACK LISTING

Side 1:
Somedays
Gates Of Broadway
When I Am Young
Refugee Camp
Stick Around
Open Your Mind
Side 2:
Walk Behind Your House
Goodnight Love
This Time Next Year
Life Is But A Dream
Love Around.

In the kitchen of the Byron Bay home of Winston McCall stands a refrigerator, adorned on one side by a quote from Tom Waits: "I want beautiful melodies telling me terrible things."

This, the PARKWAY DRIVE vocalist says, is a pretty good summation of himself. It holds true, too, as one of the guiding principles behind Darker Still, the seventh full-length album to be born of this picturesque and serene corner of north-eastern NSW, Australia, and the defining musical statement to date from one of modern metal's most revered bands.

Darker Still, McCall says, is the vision he and his bandmates – guitarists Jeff Ling and Luke Kilpatrick, bassist Jia O'Connor and drummer Ben Gordon – have held in their mind's eye since a misfit group of friends first convened in their parents' basements and backyards in 2003. The journey to reach this moment has seen Parkway evolve from metal underdogs to festival-headlining behemoth, off the back of close to 20 gruelling years, six critically and commercially acclaimed studio albums (all of which achieving Gold status in their home nation), three documentaries, one live album, and many, many thousands of shows.

While Darker Still remains irrefutably PARKWAY DRIVE, it finds the band sonically standing shoulder to shoulder with rock and metal's greats – Metallica, Pantera, Machine Head, Guns N' Roses – as much as it does their metalcore contemporaries. "I wanted a classic guitar tone for this record," explains Ling, who credits much of his inspiration to the connection his riffs have with a crowd in a live setting.

Emerging from the darkness of the past few years, this is the true face of PARKWAY DRIVE: redefined and resolute, focused in mind and defiant in spirit.

Back in 1975 Parliament found the perfect groove releasing two seminal albums in the same year. First up was “Chocolate City” that celebrated the love of the band generated by Washington DC and this was followed up by “Mothership Connection”, widely considered to be the perfect example of P-Funk. George Clinton led his Funkadelic/Parliament troops into the galaxy long before Star Wars came along to join in on the fun.

Featuring a galactic line-up that included Bootsy Collins, Bernie Worrell, Maceo Parker, Fred Welsey, Gary Shiner, Glen Goins and even the Brecker Bothers on horns this album kicks funky butt from the opening blast of ‘P-Funk (Wants To Get Funked Up)’ right to the very last drop of ‘Night Of The Thumpasorus Peoples’.

It’s a joyous album and as well as spawning the ‘Star Child’ character on the title track saw the band start to tour with a spaceship as a stage prop paid for by record label Casablanca. “Mothership Connection” went top 20 and platinum stateside. Three singles were taken from the album including an edit of ‘Give Up The Funk (Tear The Roof Off That Sucker)’ that sold a million copies.

As time has passed and the legend of Funkadelic, Parliament, George Clinton and the entire P-Funk stable has grown new generations of fans and musicians have bought, enjoyed and sampled “Mothership Connection”. Today it is seen as a classic and essential album.

Ace are delighted to have been able to licence this beauty and are proud to serve this classic on 180gm vinyl. Be warned, once you drop the needle you’ll want to wear this sucker out. 

TRACK LISTING

Side One
1. P. Funk (Wants To Get Funked Up)
2. Mothership Connection (Star Child)
3. Unfunky Ufo
Side Two
1. Supergroovalisticprosifunkstication
2. Handcuffs
3. Give Up The Funk
(Tear The Roof Off The Sucker)
4. Night Of The Thumpasorus Peoples

Features former members of Crain, The For Carnation, Papa M. If there is one constant with Parlour, it is that nothing is ever the same. For nigh two decades, the Louisville, KY experimental troupe - led by Tim Furnish of influential, defunct Louisville art-punk band, Crain - has relentlessly evolved in subtle but substantial ways. This consistent creative movement keeps the sound of Parlour forever curious, and impossible to predict. While that may make for some commercial challenges, it also makes for more compelling and mercurial music. On the band's self-titled fourth album, Parlour pushes ferocious, dynamic guitar rock to the brink with hypnotic repetition and shifting, stabbing rhythms. In fierce Parlour fashion, the driving crunch of guitars is punctuated with shimmering buzz of synths. The difference here, though, is Parlour has shed their trademark woodwinds in favor of a leaner, heavier aesthetic. With a reduced instrumental palette and increased focus on beats and riffs, the songs are more naked and intense - equal parts crashing krautrock, and crushing prog-rock. 

TRACK LISTING

1. New Syntax Preserves (4:18)
2. Nadeemed (7:29)
3. Fempire (5:06)
4. Catnip (4:40)
5. Resist Ants (7:36)
6. Kármán Line (5:55)
7. Decadence Herd (7:57)
8. Unwinding (6:59)*
9. Aflipperput Redux (7:27)*

*Digital Bonus Tracks Available With Vinyl LP Download Coupon

Recorded over the course of a year against a backdrop of personal instability, Human Performance massively expands the idea of what a Parquet Courts record can be. They've been one of the most critically acclaimed bands of the last 5 years; this is the record that backs all those words up.

“Every day it starts, anxiety,” began the first song on 2014’s Content Nausea. Those were essentially the song’s only lyrics, but Human Performance picks up where that thought left off, picking apart the anxieties of modern life: “The unavoidable noise of NYC that can be maddening, the kind of the impossible struggle against clutter, whether it's physical or mental or social,” says singer, guitarist and Human Performance producer/mixer Austin Brown.

There has always been the emotional side of Parquet Courts, which has always had an important balance with the more discussed cerebral side, but Andrew Savage sees Human Performance as a redistribution of weight in that balance. "I began to question my humanity, and if it was always as sincere as I thought, or if it was a performance,” says Savage. “I felt like a sort of malfunctioning apparatus,” he says. “Like a machine programmed to be human showing signs of defect.”

The sonic diversity, time, and existential effort that went into its creation makes Human Performance Parquet Courts' most ambitious record to date. It's a work of incredible creative vision born of seemingly insurmountable adversity. It is also their most accessible record yet. 

STAFF COMMENTS

Darryl says: After bursting on the scene with the explosive and thrilling splendour of “Light Up Gold” (a Piccadilly Records Album Of The Year back in 2013) Parquet Courts seemed to be on a mission to alienate with a succession of somewhat “difficult” releases, the ‘Monastic Living’ EP in particular was a real head scratcher! But thankfully with ‘Human Performance’ the Brooklyn based four piece have rediscovered their smart pop edge.
Kicking off with the upbeat and catchy “Dust”, the band immediately plug in to their trademark “Americana punk” showcasing an uber cool sound that brings to mind the perfect New York lineage of Sonic Youth, Television and The Velvet Underground.
Almost every track on ‘Human Performance’ screams “Single” potential; we have the goofball pop of “I Was Just Here”, “Berlin Got Blurry” and afore mentioned “Dust”; the slacker-rock (dare we say Pavement influences?) of “Paraphased”, “Outside” and “Keep It Even”; the jaunty rumbles of “Pathos Prairie” and “Captive Of The Sun”; the mellow hazy-psych of “Steady On Mind” and the uptempo but chilling “Two Dead Cops”. The title track chronicling a relationship breakdown is a serious song of the year contender with its introspective verses and explosive shouted choruses; and then we have album’s centrepiece, “One Man No City”, a six minute plus drawn-out long-jam epic combining bongos and the jagged guitars of “The Gift” period VU. Lastly, "It's Gonna Happen" is a perfect finale, a brooding refrain that leads out with the reflective “…it’s gonna happen every time so rehearse with me in mind…”
‘Human Performance’ is Parquet Courts reaching a songwriting peak, refined and intelligent off-kilter Brooklyn art-rock.

TRACK LISTING

1. Dust
2. Human Performance
3. Outside
4. I Was Just Here
5. Paraphrased
6. Captive Of The Sun
7. Steady On My Mind
8. On Man, No City
9. Berlin Got Blurry
10. Keep It Even
11. Two Dead Cops
12. Pathos Prairie
13. It's Gonna Happen

The year and change since the release of Parquet Courts monumental 'Light Up Gold' is reflected in ways expected and not with 'Sunbathing Animal', its sharper, harder follow up. Following their quietly released 2011 debut 'American Specialties', 'Light Up Gold' caught the ears of everyone paying even a little bit of attention, garnering glowing reviews across the board for its weird colors and raw energy, saturated punk songs that offered crystal clear lyrical snapshots of city life. It was immediately memorable, a vivid portrait of ragged days, listlessness, aimlessness and urgency, broadcast with the intimacy of hearing a stranger’s thoughts as you passed them on the street.

As it goes with these things, the band went on tour for a short eternity, spending most of 2013 on the road, their sound growing more direct in the process and their observations expanding beyond life at home. Constant touring was broken up by three recording sessions that would make up the new album, and the time spent in transit comes through in repeated lyrical themes of displacement, doubt and situational captivity. To be sure, Sunbathing Animal isn’t a record about hopelessness, as any sort of incarceration implies an understanding of freedom and peace of mind. Fleeting moments of bliss are also captured in its grooves, and extended at length as if to preserve them. Pointed articulations of these ideas are heard as schizoid blues rants, shrill guitar leads, purposefully lengthy repetition and controlled explosions, reaching their peak on the blistering title track. A propulsive projection of how people might play the blues 300 years from now, “Sunbathing Animal” is a roller coaster you can’t get off, moving far too fast and looping into eternity.

Much as Light Up Gold and the subsequent EP Tally All The Things That You Broke offered a uniquely tattered perspective on everyday city life, Sunbathing Animal applies the same layered thoughts and sprawling noise to more cerebral, inward-looking themes. While heightened in its heaviness and mania, the album also represents a huge leap forward in terms of songwriting and vision. Still rooted firmly in the unshackled exploration and bombastic playing of their earlier work, everything here is amplified in its lucidity and intent. The songs wander through threads of blurry brilliance, exhaustion and fury at the hilt of every note. Parquet Courts remain, Austin Brown, A. Savage, Sean Yeaton, and M. Savage.

TRACK LISTING

1. Bodies
2. Black And White
3. Dear Ramona
4. What Color Is Blood
5. Vienna II
6. Always Back In Town
7. She’s Rollin
8. Sunbathing Animal
9. Up All Night
10. Instant Disassembly
11. Duckin And Dodgin
12. Raw Milk
13. Into The Garden

Parquets Courts' fifth album 'Wide Awake!' - produced by Danger Mouse - is a groundbreaking work, an album about independence and individuality but also about collectivity and communitarianism. The songs, written by Andrew Savage and Austin Brown but elevated to even greater heights by the dynamic rhythmic propulsion of Max Savage (drums) and Sean Yeaton (bass), are filled with their traditional punk rock passion, as well as a lyrical tenderness. The record reflects a burgeoning confidence in the band's exploration of new ideas in a hi-fi context.

TRACK LISTING

Total Football
Violence
Before The Water Gets Too High
Mardi Gras Beads
Almost Had To Start A Fight/In And Out Of Patience
Freebird II
Normalization
Back To Earth
Wide Awake
NYC Observation
Extinction
Death Will Bring Change
Tenderness

Parquet Courts’ thought-provoking rock is dancing to a new tune. Sympathy For Life finds the Brooklyn band at both their most instinctive and electronic, spinning their bewitching, psychedelic storytelling into fresh territory, yet maintaining their unique identity.

Built largely from improvised jams, inspired by New York clubs, Primal Scream and Pink Floyd and produced in league with Rodaidh McDonald (The xx, Hot Chip, David Byrne), Sympathy For Life was always destined to be dancey. Unlike its globally adored predecessor, 2018’s Wide Awake! the focus fell on grooves rather than rhythm.

“Wide Awake! was a record you could put on at a party,” says co-frontman Austin Brown. “Sympathy For Life is influenced by the party itself. Historically, some amazing rock records been made from mingling in dance music culture – from Talking Heads to Screamadelica. Our goal was to bring that into our own music.”

STAFF COMMENTS

Laura says: While album opener "Walking At A Downtown Pace" is about as Parquet Courts sounding as you can get, Sympathy For Life sees them taking a broader more experimental approach to their sound. It’s still unmistakeably them, the chugging post punk grooves and catchy hooks are still there, but it’s a more expanded, adventurous sound that works brilliantly.

Barry says: It's been a long wait for the new Parquet Courts LP, and this one follows 2018's highly regarded 'Wide Awake', which is never going to be an easy task. Fortunately for all involved, this one takes the incredibly successful formula of that banger and streamlines it into a wonderfully precise and soaring pop-redux of their already sleek sound. A brilliantly catchy, wonderfully written opus.

TRACK LISTING

Walking At A Downtown Pace
Black Widow Spider
Marathon Of Anger
Just Shadows
Plant Life
Application/Apparatus
Homo Sapien
Sympathy For Life
Zoom Out
Trullo
Pulcinella

Light blue touch paper and retire to the safety of the DJ booth! Parquet Courts meet Danny Krivit uptown for a punk funk / disco-not-disco / indie dance special which couldn't be more Piccadilly if it tried. Not only does the A-side of this limited disco platter combine the musical talents of two of our all time favourites (2012 Album of the Year winners Packet Quartz and ten time All Star Edit champion Danny Krivit) but it also sounds like it's beamed in store directly from the Hacienda circa 1987. Taking the loose funk of PC's album stand out "Wide Awake!" and running with it, Mr K lets those slacker guitar licks ride tumbling drums, teases the odd electronic beep and lets the shout-a-long vocal drop before finally letting us have the full force of the bassline. Groovy as it gets and boasting all the bells and whistles you could ever wish for, this is the greatest dancefloor jam Madchester never wrote for luck. Flip it for a heater from the other end of the Hacienda spectrum as Australian producer and engineer Mikey Young replaces the bassline with an electronic pulse, strips the percussion back to a roland jack and stretches the track out into the kind of club killer you'd expect to hear Park or Pickering hammering at the end of the warm up. The Aussie closes the set in slamming fashion with a fucking punishing acid techno rework of "Normalisation" which rattles through the wormhole at a dizzying 150 bpm - techno punk at its finest.

STAFF COMMENTS

Patrick says: Garnering maximum Piccadilly buzz right now, the combination of Danny Krivit's edit expertise and the slacker punk-funk of Parquet Courts has the old guard reminiscing about their halcyon days at the Hac or blah, and us young'uns reliving the DFA era with endorphin soaked enthusiasm. Chuck in a Mikey Young's Manc house mix and techno punk stormer and you've got yourself a killer kid!

TRACK LISTING

Wide Awake! (Danny Krivit Re-Edit)
Wide Awake! (Club Mix) By Mikey Young
Normalisation (Collective Witnessing Mix) By Mikey Young

‘Charlie Parr’ is the eponymous new album by the Minnesota-based folk blues artist the same name. The album is a collection of new songs and new studio versions of classics/ audience favorites from throughout Parr’s career.

Recorded at Pachyderm Studio in Canon Falls, MN, ‘Charlie Parr’ features Charlie’s trademark resonator guitar and 12-string with co-producer Liz Draper on bass, longtime collaborator Mikkel Beckmen on percussion, Jeff Mitchell on electric guitar, accordion, organ, backing vocals, and Dave Hundrieser on harmonica.

The album is an honest and raw recording of Parr reflecting on himself and his career up to this point. It’s a musical reckoning that came after a freak accident less than a year ago that forced him to relearn how to play guitar, causing him to take stock of the songs he’s written over his lifetime. It’s a bit of the new, a bit of the old, and a bit of what’s motivated and moved him. Most importantly, it’s an audio tour of his life and career to date and a celebration of more songs and stories to come. ‘Charlie Parr’ is a stunning folk record that will surely stand the test of time, just like the man himself.

“Parr is a folk artist for the new American Dust Bowl, a resonator-ready troubadour armed with a well-worn satchel of troubled tales that cut to the heart of a nation mired in fear and in dire need of a roots-music revival.” - Acoustic Guitar

“Charlie Parr has made his career hollering, picking, and stomping his way through the Midwest and beyond, leaving a trail of fine records that feel just a shade away from the great rural folk and blues songs of Harry Smith’s epic Anthology of American Folk Music.” - AllMusic

TRACK LISTING

Love Is An Unraveling Bird’s Nest
To A Scrapyard Bus Stop
On Stealing A Sailboat
Asa Jone’s Blues
Running Jumping Standing Still
Mag Wheels
Annie / Heavy
Twenty-Five Forty-One
Jubilee
Cheap Wine

The A side 'Lip Locked' is an animated collaboration between Parris and Untold, is certified fast house compatible and comes stripped back to the classic raw elements of synth stab, vocal, sub bass and kick drum.
Early support by Ben UFO and Marie Montexier.

'Just Look at the Rain' sees a rare solo outing for Untold spinning crunchy breakbeats and guitar stabs into something both old school and new.

ORO was set up in 2014 as a sub-label of Hemlock for the more 'out there' material and has released music from Brian Routh (R.I.P), Untold, IVVVO and Lord Skywave.

Parris runs the label Can You Feel The Sun with Call Super and has just wrapped up a busy summer with performances at Love International, Houghton and Glastonbury festivals, as well as touring the US and Columbia.

In 2023 Untold founded and began running the modular synth brand Laine.

TRACK LISTING

1. Lip Locked
2. Just Look At The Rain

Highly, highly limited live recording from Music Gallery Detroit Four. 





CD Runtime: 80 Minutes

Two years since esteemed Detroit third waver Theo Parrish dropped "Wuddaji", he's back with another clutch of new music. Released via his own, highly inventive Sound Signature label, it finds our widely adored producer and DJ - now in his 50s - conjuring up more magical. spontaneous, semi-organic jams as he melds sample-based production with jazz, soul and blues for his own very unique blend of Detroit beatdown.

Opening with the tribal-tinged, MPC-forged rumble and clatter of "Cleo's Theme" - a perfect example of the dizzy heights achievable when man and machine combine in perfect harmony - in this case our man in question and Akai's MPC1000. It's his instrument of choice throughout the LP (and much of his discography to be honest). The following track, the titular "Cornbread & Cowrie Shells" swings perc hits sideways, resulting in a skewiff groove only Theo could make work; before peppering minor key piano pokes and warped organ notes into the mix. A truly out there, oddball dance track synonymous with our man from the D.

Nice to see old friend Dumminue Deporres get involved on the woozy, organ and piano-led, opiated daydream that is "Real Deal". Another key TP trope is the juddery, squelchy funk of "Dance Alone" which recalls tracks like "Going Downstairs" or "Galactic Ancestors". "Stop Lite" sees him expand (or should I say reduce) his "Stop Bajon" edit into a mellow yet moody jazz affair which sounds perfect for the smokey jazz bar. Finally "Play Thru Moon" exudes that heavy, sloppy, thick fug, punctuated by genius moments of drum syncopation provided by that trusty MPC sampler once again.

Long term fans are gonna be mega buzzed about this I reckon. I think stylistically it harks back to classic 3 Chairs / "Parallel Dimensions" era. Highly percussive, Rhodes heavy; with thick mid afternoon haze throughout. Another triumph from the maverick Detroit producer and DJ.  

Limited copies. 

STAFF COMMENTS

Matt says: New Theo Parrish LP and I think stylistically it harks back to classic 3 Chairs / "Parallel Dimensions" era. Highly percussive, Rhodes heavy; with thick mid afternoon haze throughout. Another triumph from the maverick Detroit producer and DJ.

TRACK LISTING

A. Cleo’s Theme
B1. Cornbread & Cowrie Shells
B2. Real Deal Feat. Dumminue Deporres
C1. Dance Alone
D1. Stop Lite
D2. Play Thru Moon

Brand new Theo Parrish and it's a glorious return to the clickity, dusty, MPC jams we love from early Sound Signature!! Three tracks that find the Akai-sensei in moody Motor City mode; constructing those peppered drum sequences and drunkard pads to compliment a shadowy vocal track on "Weirdo" which comes in two mixes - one sans pads and with even more percussive goodness jammed in!

"Imaginary Thugfunk" sees our lovable Detroiter lay down on of his Sun Ra indebted, interstellar funk jams - with gently simmering MPC rhythms slowly thrusted into the heavens through a whole manner of jazzy meanderings and spiritual house atmospheres. A sound Theo singlehandedly invented himself, think "Sound Sculptures"-era and you'll be getting a twitchy for this frisky biscuit!

Limited copies, bound to fly out - you know what to do!

STAFF COMMENTS

Matt says: Detroit's finest back on his own imprint and with a decidedly retroist outlook. This sounds like some of the earliest Sound Signature gems; deep, moody, beatdown soul synonymous with the D.

TRACK LISTING

A1. Weirdo (Full Mix)
B1. Original Weirdo
B2. Imaginary Thugfunk

Theo's back with a whole host of friends and a return to his slick, jazz-infected grooves . What we've heard of this new record sounds great, almost like he's revisiting "Summertime" era moods. With a lush and dreamy piano - organ combo, sumptuous strings and that iconic bass motif, we're in Theo Parrish dreamworld here!

Get those orders in as copies are always in high demand!

TRACK LISTING

A1. What You Wanna Ask For (Theo Mix)
B1. What You Wanna Ask For (Dego Mix)

- New Theo Parrish LP! 
 
- Contains the beautiful and serene Detroit house masterpiece "This Is For You"

- Triple vinyl, gatefold sleeve

- Stupendously limited copies - pre-ordering ESSENTIAL!!

TRACK LISTING

A1. Hambone Cappuccino
A2. Radar Detector
B. This Is For You With Maurissa Rose
C1. Wuddaji
C2. Hennyweed Buckdance
D. Angry Purple Birds
E1 Who Knew Kung Fu (Vinyl Exclusive)
E2. All Your Boys Are Biters
F. Knew Better Do Better

London-born-and-raised DJ and producer Parris has announced his new EP Passionfruit, via his own co-founded label can you feel the sun. Following his stand-out 2021 album Soaked In Indigo Moonlight, described as a “masterful” take on the pop genre (Crack Magazine), Passionfruit continues Parris’ affinity for polyrhythms and bouncing synths, but diving deeper into his love for clubbing and UK soundsystems, the result is a heady house compilation.

Each track on the EP is in contention with the one before it, a counterpoint to a sonic argument; melodic bubbly pop against heavy drum and bass, morning rays of sunlight against dark and swampy rhythms. Where the title track “Passionfruit” was described by Parris as imagining the “early morning of a set with the sunrise coming through the shutters”, the very next track “Slipping, Falling, Crawling” is much like the title suggests: a sludgy, percussion-heavy track which has fun with creating melody from the beat itself, stripped back and raw intent.

“Why Can’t Rabbits Wear Cowboy Boots” and “Underwater Fantasy” are almost alternate universe club classics. “WCRWCB” takes a club-formed structure, and uses it to explore the limits polyrhythms, layering chaotically over eachother, and building through the first half of the track, until it peaks with the introduction of an explosive bassline. “Underwater Fantasy” on the surface is the straightest-sounding track to come from Parris, but the disco-style vocals fight with the beat, pushing and pulling at eachother.

Parris (aka Dwayne Parris-Robinson) has dedicated himself to club culture from an early age, never missing a week at FWD>> (the club night where a generation of bass and techno DJs made their names), and was constantly tuning into Rinse FM. Immersing himself into the distinct sound of London built the foundations of the productions we hear today, with grime and drum & bass bubbling alongside slick pop references.

STAFF COMMENTS

Matt says: Tricksy, playful tech-house vibes here from Parris who recalls a bit of Madteo, Sotofett and Julio Bashmore as he injects bucket loads of fun into the dancefloor.

TRACK LISTING

Why Cant Rabbits Wear Cowboy Boots
Underwater Fantasy
Passionfruit
Slipping Falling Crawling

Rolling in on an unbreakable motorik groove, The Parrots second album - Dos - starts very much on the front foot. You Work All Day And Then You Die is a bold statement of intent, a signpost at the side of the road that tells you straight about the futility of our modern lives spent chained to the work station. As the chant-along chorus goes, “It’s hard to find some peace of mind” - a line that feels like a reaction to the last year and half on planet Earth.

From You Work All Day And Then You Die’s relentless pulse to closer Romance’s end of the night celebration of friendship and survival, Dos is an all consuming, life-affirming joyous noise. Where The Parrots debut - Los Niños Sin Miedo - howled and rattled like the garage bands that had inspired them in their formative years in Madrid, Dos was conceived by Diego Garcia (guitar, vocals) and Alex de Lucas (bass) as a chance to showcase their wider ambitions. That desire to expand the band’s sound led them to working with producer Tom Furse from The Horrors.

Fans of The Parrots previous records and their life-enhancing live shows needn’t worry that things have changed too much. Dos is still very much a garage rock record, only one now painted in brighter, bolder, more psychedelic colours. Just Hold On is a summery late ’60s West Coast stomp while Nadie Dijo Que Fuera Fácil (translation - Nobody Said It Would Be Easy) and Amigos recall modern psychedelic voyagers such as Spacemen 3 and Super Furry Animals - bands who effortlessly combined drones with celestial melody. Elsewhere, It’s Too Late To Go To Bed sounds like something released on Ze Records in the early ’80s. When you spend some time with Dos - the riotous and addictive second Parrots album - you’ll realise it’d be wise not to wear your best clothes the next time they roll in to town as you’ll invariably be going home drenched, ecstatic and covered in footprints. Bring it on.

The Parrots talk about the new record by saying: “Most of the album was recorded in Wilton Way Studios in Hackney in periods between summer 2019 and the start of 2020. Because of lockdown, it ended up getting finished in Madrid with Harto Rodriguez. Recording at home was really nice because it meant we could call on some of our very talented friends to join us in the studio. Most of the record was written before the lockdown but that unexpected pause in all of our lives made us rethink some of it and finish bits off in a different way. Also, when we knew we couldn’t go back to London to finish it, we decided to invite a lot of our friends back home to the studio. That made recording feel almost like a celebration. Everyone we knew was fine; even with the global pause we could still find the bright spots and stay together.”

“Even though garage rock is kind of the core of all our influences, in the last few years we’ve been listening to lots of stuff that we’d kind of relegated to a second position. We rediscovered a lot of artists that we listened back when we first fell in love with music - bands like LCD Soundsystem and Gang of Four, lots of mutant disco. Tom really helped us there, he made sense out of the chaotic mashup of influences that we brought into the studio. And because we’ve always loved hip hop, we followed a different approach to putting songs together, using samples and sampling ourselves a lot. Beastie Boys, ESG, Devo, Los Zombies (the Spanish band) were all a very big influence on the tone of the record. Also the Spanish music scene has been changing a lot in the last years and listening to a lot of new Spanish artists has helped us break down some walls and made us create music in a more free way.”

‘Dos’ is the follow up to the Madrid duo’s (Diego García & Alex de Lucas) acclaimed 2016 debut ‘Los Niños Sin Miedo’ and shows the band taking an evolutionary step that finds them sounding stronger and more realized than ever before, from their original characteristics of stripped-down melodic garage rock to a fresh sonic perspective. Produced by Tom Furse (The Horrors) and mixed by Claudius Mittendorfer (Parquet Courts, Weezer, Panic! At The Disco, Temples), the Parrots find themselves experimenting with more modern production soundscapes and electronic grooves.

STAFF COMMENTS

Barry says: Undeniably a garage record, but imbued with the spirit of myriad influences including synth, disco and good ol' psych The Parrots' new record is both wonderfully effervescent and surprisingly jubilant. Lurching from droning, muddy groove to razor-sharp melodicism in the blink of an eye.

TRACK LISTING

1. You Work All Day And Then You Die
2. Just Hold On
3. Maldito (feat C. Tangana)
4. Lo Dejaría Todo
5. Don’t Cry
6. It's Too Late To Go To Bed
7. Nadie Dijo Que Fuera Fácil
8. Fuego
9. Amigos
10. How Not To Be Seen
11. Romance (feat Los Nastys)

Oh Dios mio! Madrid racket-makers The Parrots have announced their debut album 'Los Ninos Sin Miedo'. With an album title that roughly translates as 'Children Without Fear,' the band's first full-length comes out via Heavenly Recordings.

The Parrots - Diego García (vocals / guitar), Alex de Lucas (bass) and Larry Balboa (drums) - are a loose-hipped, primordial rock ‘n’ roll band from Madrid who met at university in the city and evolved from the same firmament of like-minded artists, photographers, DJs and musicians that recently spawned the acclaimed band Hinds. (The Parrots’ Diego produced Hinds’ recently released acclaimed album ‘Leave Me Alone’.) 

The band recorded ‘Los Niños Sin Miedo’ in one week last September down by the sea in Cádiz at the studios of much-loved Spanish sound engineer Paco Loco. An idyllic setting conducive to the recording of the album, Paco’s infectious enthusiasm and artistic insight made the process even easier.

TRACK LISTING

1. Too High To Die
2. Let's Do It Again
3. No Me Gustas Te Quiero
4. A Thousand Ways
5. Jame Gumb
6. Casper
7. EA Presley
8. The Road That Brings You Home
9. Windows 98
10. Los Niños Sin Miedo

Campaigning acoustic singer songwriter Alun Parry offers foot stomping gritty folk rock with sincerity, passion and a good dose of humour and humanity. Well-crafted 'slice of life' anthems powerfully delivered. The Liverpool Daily Post & Echo described Alun as 'post punk social realism on acoustic guitar'.

Undeniably, Australia has been a fertile crescent of quality music for the past few decades. Its relative geographical isolation has allowed for a microcosm of innovation and communal inspiration that seemingly knows no bounds. Like the root vegetable from which their name comes, Melbourne quartet Parsnip flourished and flowered within that scene. Since their formation in 2016, after releasing two 7-inch EPs on local label Anti-Fade (plus one side of a split LP with fellow Melbourne band The Shifters on Future Folklore), they are ready to unveil their debut full-length "When The Tree Bears The Fruit". "When The Tree Bears The Fruit" is chock full of jangle and spirit; A irresistible mix of garage, surf, girl-group gang vocals and bizarro funk, with a carefree attitude that revels in its idiosyncrasies (crazed wah-wah, warped harmonies, unexpected rhythmic shifts, ambient sounds of the sea) without sacrificing any ounce of melodic fervor. Bassist Paris Reichen's explains the album's title; "I was attending a meditation centre based on the teachings of the guru Sri Chinmoy... When the Tree Bears Fruit stems from his wisdom on the divine quality of humility.

When the branches are laden with fruit, they are offered to the world. The tree bows down and shares its gifts with all regardless of social status, wealth, age, gender, race, etc". Many of the tunes are symbolic of life's journey & whatever means used to get thru it (see first single "Lift Off", the addictive "Taking Me For A Ride", or the jaunty "Seafarer"), as well as celebrating the vast, weird & wonderful beauty of nature & the world. Look no further than "Sprouts" or "My Window" for evidence. Despite their admitted influences (Maurice Sendak, Beach Boys, Daniel Johnston, William Blake, 'Back From The Grave' comps, Sesame Street, 'Duck Soup'), Parsnip sounds like no one else; this is music that could only be made by close friends & family and the underlying positivity, jubilance and wonder within "When The Tree Bears Fruit" evokes a musical celebration, inviting the listener along to delight in its merry making

TRACK LISTING

1. Taking Me For A Ride
2. Lift Off
3. Lighthouse Beacon
4. Sprouts
5. Too Late
6. Rip It Off
7. Soft Spot
8. Lullaby
9. My Window
10. Seafarer
11. Trip The Light Fantastic

Green shoots have burst forth from Parsnip, let’s warmly welcome the Australian group’s sophomore album ‘Behold’.

The production is ambitious, with 12-string and acoustic guitars, percussion, piano, saxophone and harmonium all sitting comfortably in these outstanding songs. Drawing comparisons with Dolly Mixture, Sara Goes Pop, Look Blue Go Purple and The Field Mice, Parsnip are an animated ensemble, full of life, emotional complexity and humour. The laughter in the dark is real, but then the sun comes up and we all must meet the day. Even the flowers turn their faces. Behold!

Recorded across three sessions over the last three years, ‘Behold’ is a testament to Parsnip at their most creative, catchy and collaborative. This album showcases the multi-talents of all four members, with spirited performances adding dazzle to the thirteen tracks.

Paris Richens lets the bass playfully roam. Carolyn Hawkins tumbles feeling into the drum rumble. Stella Rennex’s guitar soars alongside her saxophone work, whilst a sprightly keyboard is tenderly attended by Rebecca Liston. Everyone sings amidst this lush canopy.

Patience, environmental cues and internal signals are integral for a garden to flourish. The same can be said of the conditions necessary for ‘Behold’ to emerge. It is an album gleeful in reassessment, changed priorities and anticipation. The roots are deeply anchored to mystery, drinking up a hidden wonderment that lies within. ‘Monument’ is a twist of melody and mania, “For what am I? But a channel of light” they attest amongst the whoops and hollers. ‘The Babble’ sounds like Ray Davies playing Wordle for enlightenment. In fact most of these songs are pointing the way towards growth and understanding. ‘Turn to Love’ is mesmeric and timeless, thoroughly serene and perfectly judged. Parsnip write songs as a form of communion with the intangible in our increasingly delusory world, but there is always a gentle reminder; don’t take anything too seriously! “My head is gonna split in two, fix it with flour and glue” they demand on ultimate bop ‘Papier-Mâché’, this juxtaposition of mature resolve with childlike astonishment packs a more powerful punch.

On ‘Behold’, Parsnip explore both the inner and outer realms of consciousness with quick wits and some seriously quality jangle and jolt. ‘The Light’ is a whip smart workout, sprouting naturally from the propulsive nature of their debut album ‘When the Tree Bears Fruit’ (2019). ‘Placeholder’ is also devastatingly honest and channels The Field Mice as it buries itself like an arrow into your heart. 

TRACK LISTING

01. Monument
02. The Light
03. Duality
04. L.O.N.E.
05. Placeholder
06. Pockets
07. Unearthing
08. The Babble
09. Turn To Love
10. Clear Blue Sky
11. Swan Song
12. Papier Mache
13. Kutastha

American singer, songwriter, guitarist, and pianist Gram Parsons has been credited as being the pioneer of ‘country-rock’.

Hot on the heels of 'GP' but released posthumously, 'Grievous Angel' followed pretty much the same blueprint as its predecessor. A stunning collection of weepies broken up by a faux-'live' medley. The double whammy of "Brass Buttons" and "$1000 Wedding" won't leave a dry eye in the house.

STAFF COMMENTS

David says: Gram Parsons was the first 'country' artist that I wasn't embarrassed to say I liked. Both this and the first Flying Buritto Brothers album are in my top 10 albums of all time, which makes it all the more hard to believe I could ever have sold it.

In the psychic wastelands of the 21st century, one particular sonic force looms large. Transcendental like the malignant force that fuels the zombie movies of lore, Part Chimp have made it their business to shake speaker-stacks, fry brains and induce jouissance and tinnitus alike all across the UK. Yet now Drool - their fifth and perhaps finest transmission to date - is set to launch forth triumphantly to a world beyond the vinyl racks and battered amps where they’ve already achieved godhead status.

Guitarist and vocalist Tim Cedar sums up the raison d’être of Chimp as “the stupid amounts of fun you can have with very loud amps, stupid tunings, weird pedals and weird people. That inspires us. I think our joy at playing our tunes comes through the panic and chaos“.

Echoes of their forebears - the ornery prehistoric lurch of Melvins and the droogy ur-clang of Sonic Youth among them - can be distantly discerned, Yet they’re now drowned out by an individual assault as pulverising as invigorating, nihilistic yet life-affirming. Smash together abandon and intent, and what you get is Drool - a fearsome testimony to a band with a skewed melodic skill to match their mighty potency. This band will demolish your house, but you’ll cheerfully thank them for it afterwards. Drool is where unwise decisions blossom into serendipity. It’s more joy through vacuum-tubed catharsis than you’re entitled to. It’s coming for the hearts and minds of heavy music dropouts everywhere whether they like it or not, so they’d be best advised to pay attention. 

STAFF COMMENTS

Barry says: Yet another full-force sonic assault from the masters of catatonic grooving noise, Part Chimp. We get blazing riffs and half-hidden psychy wails wallowing beneath huge cavernous percussion and unmitigated distortion. It's yet another tour de force from one of the heaviest bands around.

TRACK LISTING

1. Back From The Dead
2. Wallow
3. One In The Eye
4. Clever
5. I Feel Fantastic
6. Drool
7. Up, With Notes
8. No Sad Faces
9. Dirty Birds
10. It’s True Man
11. USisA
12. Worms

With nods to boundary pushing artists from the 60s to the present - from MC5 and Sabbath, to Big Business, Earth and Harvey Milk - it’s clear Part Chimp are not content to simply be labelled as one of the UK’s loudest bands. In everything the band create, songcraft is as important as the volume at which is played. This has never been more true than on Iv.

‘Namekuji’ opens the proceedings with its crushing sludge, before erupting into the unforgiving riffs of second track ‘Mapoleon’. Elsewhere on the album ‘RoRo’ is an intoxicating exploration psychedelic stoner-punk while ‘The Saturn Superstition’ sounds like a lost anthem from Seattle’s 90s peak.
We last heard from Part Chimp in 2009 with their third full-length Thriller. This followed two acclaimed studio albums, a live record, compilations and split singles and EPs alongside artists including Torche and Hey Colossus, sharing stages along with the way with the likes of Melvins, Deerhoof, Harvey Milk and Isis, as well as headlining last years Raw Power Festival.

Partner Look are a Melbourne-based band made up of German sisters Ambrin (Cool Sounds) and Anila Hasnain (Studio Magic), who are joined by their partners Dainis Lacey (Cool Sounds) and Lachlan Denton (The Ocean Party). The members also share a history of friendship and musical bonds. Trouble In Mind (in conjunction with Spunk/Osbourne Again in Australia) is honored to be releasing "By The Book" - the band's debut - a twelve-track charmer that swoons and smirks with a scrappy, yet sophisticated take on sparkling indie pop. Partner Look first got together to write the song 'Jana', a virtual wedding celebration for their family friend whose wedding they couldn't attend in person. Wanting to believe that the hit single sent ripples through the Rhineland's music scene, Partner Look continued writing songs and playing live shows across Melbourne.

"By The Book" was recorded in a short window in May 2020, when Melbourne's lockdown was loosened for a few months, allowing five people at home. It was recorded in a studio built by Lachlan and Dainis in Dainis' and Ambrin's garage in Brunswick. Lachlan recorded all his drum-parts playing with the whole band in one go. The rest of the band re-recorded and edited their parts in the following three weeks. Dainis engineered it and Liam "Snowy" Haillwell mixed and mastered all tracks. The band is a vehicle for all members to share their own song ideas and collaboratively progress them in an open and encouraging space.

However, misunderstandings often underpin the creative process, as the band name exemplifies. Partnerlook is a German expression referring to two people wearing similar or matching outfits. After years of using the pseudo-anglicism to compliment friends wearing matching outfits, who must have been too polite to ask, Dainis and Lachlan finally wondered: 'what do you mean with Partnerlook?!' Partner Look's music often questions place, belonging and the relationship to 'home' in a connected and sometimes disconnected world, focusing on where we differ and where we, as humans, are inherently similar.

TRACK LISTING

1 Partner Look
2. Rodeo Tragic
3. Water
4. Right Here
5. Leroy
6. Speed Limit
7. Deutschland
8. Diamonds
9. Grasshopper
10. Chipsy
11. Geelong
12. Endless Plains 

A career-spanning retrospective showcasing 23 essential recordings from 1971-2020, Dolly Parton - Diamonds & Rhinestones: The Greatest Hits Collection includes new liner notes penned by Robert K. Oermann, who collaborated with Dolly on her 2020 autobiography, Dolly Parton, Songteller: My Life in Lyrics.

A cross-label anthology, Dolly Parton - Diamonds & Rhinestones: The Greatest Hits Collection brings together, for the first time on one album, recordings originally released on Dolly Records, RCA Victor and Columbia Records, as well as the Butterfly Records digital single, "When Life Is Good Again," written and recorded in 2020 as Dolly's musical message of hope to fans as the pandemic rolled in.

Gems on Diamonds & Rhinestones include Dolly's performances with Kenny Rogers ("Islands in the Stream" and "Real Love"), Loretta Lynn and Tammy Wynette ("Silver Threads and Golden Needles" from Honky Tonk Angels) and "Faith," her delightfully surprising 2020 collaboration with the Swedish electropop dance duo Galantis (featuring Mr. Probz). The album features songs from Dolly's films including "9 To 5" (from 1980's 9 To 5 And Odd Jobs), "Red Shoes" (from 2018's Dumplin') and "Tennessee Homesick Blues" from 1984's Rhinestone).

TRACK LISTING

1. 9 To 5 - From The RCA Victor Album 9 To 5 And Odd Jobs (1980)
2. Jolene - From The RCA Victor Album Jolene (1974)
3. Here You Come Again - From The RCA Victor Album Here You Come Again (1977)
4. Islands In The Stream (with Kenny Rogers) - From The Kenny Rogers Album Eyes That See In The Dark (1983)
5. I Will Always Love You - From The RCA Victor Album Jolene (1974)
6. Coat Of Many Colors - From The RCA Victor Album Coat Of Many Colors (1971)
7. My Tennessee Mountain Home - From The RCA Victor Album My Tennessee Mountain Home (1973)
8. The Bargain Store - From The RCA Victor Album The Bargain Store (1975)
9. Baby I'm Burnin' - From The RCA Victor Album Heartbreaker (1978)
10. Better Get To Livin' - From The Dolly Records Album Backwoods Barbie (2008)
11. Why'd You Come In Here Lookin' Like That - From The Columbia Records Album White Limozeen (1989)
12. Love Is Like A Butterfly - From The RCA Victor Album Love Is Like A Butterfly (1974)
13. Heartbreaker - From The RCA Victor Album Heartbreaker (1978)
14. Red Shoes - From The Dolly Records/RCA Records Album Dumplin' (Original Motion Picture Soundtrack) (2018)
15. The Seeker - From The RCA Victor Album Dolly (1975)
16. Together You & I - From The Dolly Records Album Better Day (2011)
17. Two Doors Down - From The RCA Victor Album Here You Come Again (1977)
18. When Life Is Good Again - From The Butterfly Records Digital Single (2020)
19. Tennessee Homesick Blues - From The RCA Victor Album Rhinestone (Original Soundtrack Recording) (1984)
20. It's All Wrong But It's All Right - From The RCA Victor Album Here You Come Again (1977)
21. Real Love (with Kenny Rogers) - From The RCA Victor Album Real Love (1985)
22. Silver Threads And Golden Needles – Loretta Lynn, Dolly Parton And Tammy Wynette - From The Columbia Records Album Honky Tonk Angels (1983)
23. Faith – Galantis & Dolly Parton (featuring Mr. Probz) - From The Galantis Album Church (2020)

'Jolene' is Dolly Parton's 13th solo studio album, produced by Bob Ferguson. It was released in February 1974.

TRACK LISTING

A1. Jolene
A2. When Someone Wants To Leave
A3. River Of Happiness
A4. Early Morning Breeze
A5. Highlight Of My Life
B1. I Will Always Love You
B2. Randy
B3. Living On Memories Of You
B4. Lonely Comin' Down
B5. It Must Be You

"Constant Future" is the career-defining statement from Brooklyn-based noise-pop trio Parts & Labor. The album's 12 tracks deliver the bare essentials of modern art-punk: synthesized keyboard riffs distorted into oblivion, percussion pummeled hypnotically, crackling drones that haunt and soothe, fearless melodies hollered skyward.

Their last release, 2008's acclaimed "Receivers", saw Parts & Labor blasting off in all directions and creating collage art from hundreds of fan-curated samples. But fifth album "Constant Future" finds them crashing back to Earth, focusing pointedly on what they do best: unique, electronic landscapes melded with buzzing, anthemic hooks.

Parts & Labor have distilled the lessons and experiences of nearly 10 years as a band into a catchy, blown-out masterwork.

Dave Fridmann (Flaming Lips, Mogwai, Sleater- Kinney, MGMT) co-produced and mixed the album with Parts & Labor.

"Mapmaker" is the second Jagjaguwar/Brah album from Brooklyn noisepunks Parts & Labor. Expanding on the soaring melodies and cracked electronics of 2006's "Stay Afraid", P&L explores a wider array of berserk, malfunctioning instruments and intricate, pummeling rhythms. These twelve political/personal anthems about ambition and distraction boast bigger choruses, denser drones and shinier hooks. Adding new textures to Parts & Labor's searing pop-squall, the album features guest spots from flautist/megaphonist/vocalist Natalja Kent (of The Good Good) and guitarist Joe Kremer (of labelmates Pterodactyl). Opening surge "Fractured Skies" features a horn section (led by P&L's BJ Warshaw on sax) billowing up through the kaleidoscopic fuzz of electronics. Track 10 is a distorted-toy-keyboard take on the classic Minutemen antiwar spiel "King Of The Hill". Parts & Labor cite the following bands as influences and are totally cool with you name-checking them: Hüsker Dü, Sonic Youth, Boredoms, Minutemen, Neutral Milk Hotel and Amps For Christ.

Brooklyn noise outfit Parts & Labor has dramatically altered their wall-of-sound: Their fourth album, "Receivers", finds P&L focusing on open spaces, longer movements, expansive arrangements and loftier goals. On eight epic tracks, "Receivers" showcases the band's catchiest and darkest moods to date, reveling in a growing dynamic sensibility only hinted at in their previous work. Though they've maintained their love affair with glitchy oscillations and anthemic vocals, they are now utilizing the full possibilities of a band that was once a scrappy punk trio, and now a mature art-rock quartet. It's a heady mix of psych, noise, and pop influenced by the arty minimalism of Wire, the surreal pop of early Eno, and even the spaced out psychedelia of "Dark Side"-era Pink Floyd. To flesh out the roar of "Receivers", P&L's founding members Dan Friel (vocals, electronics) and BJ Warshaw (vocals, bass) recruited drummer Joe Wong and guitarist Sarah Lipstate. Wong's motorik style perfectly complements the band's bombastic drone with uniquely repetitive rhythms augmented by jaw-dropping, furious fills. Lipstate implements a noisy-yet-folky guitar technique tinged with experimental electronics, cassette tape manipulations, and bowed double-neck guitar.

Brooklyn trio Parts & Labor combine tumultuous noise with enormous, triumphant melodies on their latest album, "Stay Afraid". Malfunctioning electronics howl in agony, drums rupture like fireworks, battle cries are belted through a monolithic layer of distorted bass and guitar. Parts & Labor revel in day-glo noise, charred drones, punk velocity and phoenix-like hooks - a unique blast influenced by the clamour of Husker Du, the bluster of Boredoms and the homemade spirituals of Neutral Milk Hotel.

Party Dozen are a duo from Sydney made up of Kirsty Tickle (saxophone) and Jonathan Boulet (percussion and sampler). Since forming in 2017, they have become renowned in Australia for their incendiary live shows, touring and playing with acts such as LIARS, Tropical Fuck Storm and Viagra Boys.

Exactly what Party Dozen are is completely up to the listener. Doom. Jazz. Hardcore. Psychedelic. No-wave. Industrial. Although largely instrumental, their sets are punctuated by Kirsty’s unique “singing” style, screaming into the bell of her saxophone which itself goes through a bevy of effects pedals. Intensely independent in everything they do, the duo write, perform and record everything themselves.

2022 will see the return of Party Dozen, first in April with the 7” release, Fat Hans Gone Mad, for the Sub Pop Singles Club, and then in July with their third album, The Real Work, with a new label partner in New York’s Temporary Residence Ltd.

The Real Work succeeds in exploring new directions but also features some familiar Party Dozen touches. Perhaps most notable is the first-ever appearance of a guest other than Kirsty or Jonathan on a Party Dozen track, with Nick Cave ad-libbing a very memorable contribution to the album’s second track, “Macca The Mutt.”

TRACK LISTING

1. The Iron Boot (3:36)
2. Macca The Mutt (feat. Nick Cave) (4:01)
3. Fruits Of Labour (4:25)
4. The Worker (3:42)
5. Earthly Times (4:36)
6. The Big Quit (3:45)
7. Major Beef (3:08)
8. Balance (3:28)
9. Risky Behaviour (4:27)

Across two previous albums, the now Berlin-based Paschburg has been captivated by the movement of the Baltic Sea (2018's Oceanic) and the darkness of a Northern European winter (2020's Svalbard). As a result of being unable to travel during the pandemic, this latest album finds him looking inside his own heart and mind. "It is an introspection expressed in music that ended up revealing two different faces: on the one hand the warm and positive feelings, on the other darker ones."

Since first turning heads with his 2016 debut EP Tuur Man Welten, Paschburg has bewitched and charmed with his original compositional style. His contemporary fusion of ambient, pop, classical and electronic music finds him conveying deep emotions through his central instrument, the piano. He has collaborated with the likes of RY X, Hania Rani, Robert Lippok and Ah! Kosmos as well as writing the soundtrack for the 2021 French film “Presque” (“Beautiful Minds”). This new album features one track made with Frank Wiedemann - one half of acclaimed electronic duo Âme - and award-winning sound engineer Francesco Donadello who has worked with everyone from Jóhann Jóhannsson to Thom Yorke.

Niklas's personal journey becomes a captivating and colourful musical journey that combines his melancholic and delicate pianism with synths and electronic beats, suggestive ambient and the evocative voices of German singer Lúisa, Spaniard Bianca Steck and the Icelandic Kaktus Einarsson, frontman of post-punk band Fufanu. It is a move towards ambient-pop that is intimate and meditative but with positive and uplifting vibes.

TRACK LISTING

1. Sunrise
2. Zimt
3. Flâneur
4. Interlude
5. Darkside Of The Hill Feat. Lùisa
6. Delphi Waltz
7. Serafico
8. Lunatic Circus
9. Istria
10. 21st Of June
11. All The Secrets Left Untold Feat. Bianca Steck
12. Interlude 2
13. Every Morning (Night 6) Feat. Kaktus Einarsson

While it was Hermeto's frst album released under his own name, he had spent the decade or so prior making a name for himself in Brazil and internationally as a composer, arranger and instrumentalist with groups including Sambrassa Trio, Quarteto Novo and Brazilian Octopus, before going on to work with (amongst countless others) Edu Lobo, Antonio Carlos Jobim, Donald Byrd, Airto Moreira and Miles Davis, who allegedly called Hermeto "one of the most important musicians on the planet".

With Hermeto's otherworldly orchestral arrangements, ghostly vocal performances from Flora Purim and Googie Coppola, and the inimitable drumming and percussion stylings of Airto Moreira, Hermeto easily rivals some of the oft- celebrated MPB albums of the early 1970s, sitting somewhere between the string-heavy magic of Arthur Verocai's 1972 debut and the unplacable early experimentalism of Pedro Santos' 1968 album Krishnanda.

With his phenomenal natural musical genius and a ceaseless sense of creative freedom, Hermeto is widely known for using unconventional objects to make music. In the album's sleeve notes, Airto highlights the track "Velório (Mourning)" explaining how Heremto filled 36 apple juice bottles with different amounts of water and tuned them to precise pitches in order to create the beguiling harmonies heard.

The reissue of Hermeto Pascoal's Hermeto, follow's Far Out's recent unveiling of a previously unheard Hermeto Pascoal live concert Planetario da Gavea from 1981, and 2017's release of Hermeto Pascoal's lost 1976 studio album: Viajando Com O Som.

TRACK LISTING

1. Coalhada (Yogurt)
2. Hermeto
3. Guizos (Bells)
4. Flor Do Amor
5. Alicate (Pliers)
6. Velório (Mourning)
7. As Marianas (The Marianas)
8. Fabiola

Roman producer, DJ and label head Marco Passarani’s rich catalogue of releases fuse techno, boogie & electro-disco into unique, tantalizing and evocative soundscapes. So much so he's become a favoured producer here in the shop with releases spanning a wide range of labels - from Running Back & Numbers more recently, to Peacefrog and even Skam in previous years. Here, on a new label we suspect he might be involved in, we get four tracks that perfectly exhibit the producer's unique flair. “6489 Golevka” kicks us off with a typically hi-nrg synth line bursting through classic drum machines before a big gliding B-line sweeps in.

"Mesosiderite" begins with dreamy 16-bit arpeggios spiraling around angelic pads for a celestial ascension into starlit skies before unfurling itself into cosmic house territory.

"Exit Velocity" shows off those spine-tingling chord progressions and synthlines that make Passarani's tracks so suited for peak time play, without ever being too fierce or aggressive.

Final track, "Roche Limited" shows Marco harness the wild energy of the 303 & 909 with expert precision, taming both beasts jussst enough to be play with other humans whilst never losing their bite or identity.

Mega stuff as always from this man...

TRACK LISTING

A1. 6489 Golevka
A2. Mesosiderite
B1. Exit Velocity
B2. Roche Limit

The debut album by Passion Pit, 'Manners' is coming back to vinyl for its 15th Anniversary. Remastered for vinyl with full gatefold jacket that displays alternative artwork only previously available on the cd

TRACK LISTING

1. Make Light
2. Little Secrets
3. Moth's Wings
4. The Reeling
5. Eyes As Candles
6. Swimming In The Flood
7. Folds In Your Hands
8. To Kingdom Come
9. Sleepyhead
10. Let Your Love Grow Tall
11. Seaweed Song

The Pastel Waves are a Medway-based indie band who fuse their collective influences of New Wave, Indie and Brit Pop.

Their debut album 'All Things To All People' was released in March 2019 on Trouserphonic Records, with a follow-up digital single 'Ten', and the CD EP 'I Hate Myself For Wanting It' in May 2020.

In April 2021, the band released 'The Influencers EP' on vinyl via Spinout Nuggets, with four strong tracks, each receiving enough attention to force them to continue recording. Since release from lockdown, the band have a healthy live gig portfolio, and continue to write and record, and 'Back In The Land Of The Living' is a ten solid song long player which proves that the band aren't a one-trick pony.

Geographic Music are proud to announce the expanded soundtrack to Graham Eatough’s Fringe First award-winning stage adaptation of David Keenan’s 2017 cult novel, This is Memorial Device. Written by Stephen Pastel and Gavin Thomson (formerly of Glasgow band Findo Gask and The Pastels’ resident soundman), the soundtrack comes across as a third iteration of the book, establishing a whole new angle on the myth of Memorial Device through reworked home recordings from the era and expanded versions of music originally scored for the theatre production.

TRACK LISTING

1. Introduction To Why I Did It
2. We Have Sex
3. Occluded By Chemistry
4. The Most Beautiful House In Airdrie
5. Square Peg In A Black Hole
6. I Started Painting Landscapes
7. What Is A Memorial Device?
8. Chinese Moon
9. Footsteps In The Snow
10. Lights Out For Forever
11. The Morning Of The Executioners

The Pastels return after 16 years, their first album proper since 1997s ‘Illuminations’; their collaborative works, ‘The Last Great Wilderness’ soundtrack / theatre commissions and the ‘Two Sunsets’ album with Tenniscoats keeping the band busy since then. ‘Slow Summits’ gathers on all these works but moves off in newer and older ways too, with its flowing montage of autumn instrumentals, pop songs, slowmotion build ups and suddenly optimistic melody lines.

Recorded in Glasgow by John McEntire and Bal Cooke, ‘Slow Summits’ features the core Pastels line-up of Stephen McRobbie, Katrina Mitchell, Tom Crossley, Gerard Love, Alison Mitchell and John Hogarty.

Guests include original member Annabel Wright (Aggi) and Norman Blake, two-thirds of To Rococo Rot (Stefan Schneider and Ronald Lippok), and Tenniscoats. ‘Kicking Leaves’ also features a memorable string arrangement from Glasgow-based composer Craig Armstrong.

STAFF COMMENTS

Andy says: Thought they'd gone all JAZZ or something?!? Fear not: this is a glorious return from Stephen and co: gentle, considered, warm and melodic. Really lovely stuff.

The Last Great Wilderness is the soundtrack to the debut movie by David Mackenzie. It was produced with John McEntire and features a guest appearance from Jarvis Cocker.

TRACK LISTING

SIDE A
1. Wilderness Theme
2. Winter Driving
3. Vincente's Theme
4. Flora's Theme
5. Charlie's Theme

SIDE B
1. Everybody Is A Star
2. Flora Again
3. Dark Vincente
4. Wilderness End Theme
5. I Picked A Flower

This album is a tribute to Pastor Wylie Champion, who died while we were in the process of releasing this, his first record, and his wife, Mother Champion, who died a few months earlier.

We met Pastor Champion a few years ago while we were putting together another release, The Time for Peace Is Now: Gospel Music About Us. We found him in a collection of YouTube videos from the 37th Street Baptist Church in Oakland, California, put together by the pastor there, Bishop Dr. W.C. McClinton. There was quite a lot of talent in those videos, and among them was Pastor Champion whom we liked so much that we decided to make a record with him.

Pastor Champion wasn’t like any other pastor you’ve ever met. As an itinerant preacher, a carpenter, and a father of five, he made a name for himself traveling up and down the California coast with his electric guitar. He travelled alone and he played alone, well into his seventies. The easiest way to describe him would be as an outsider gospel artist. Other than these bare facts, we never learned much about him—except that he was also the brother of the well-known soul singer Bettye Swann. In fact, most of what we knew about him we got from his sister’s Wikipedia page.

We decided that because we met Champion through the 37th Street Baptist Church, we would record him there too. We recorded him live on a two-track Nagra reel to reel, as we wanted the album to be analog in the style of traditional gospel recordings. Over the course of two evenings (when the workday was done), Champion taught his band—musicians who had never played together before—a handful of songs, a small selection of the nearly 2,000 fragments of songs and sermons that he regularly performed. We listened in as they all got more familiar with the material and each other over time.

At some point, we mentioned to Champion that he would have to be interviewed by someone to write notes for the album. He wasn’t too pleased with this idea, saying he’d had a hard life and he didn’t want to talk about it. Over the next few months, we kept asking Champion to talk to someone about his life. He told us that he didn’t want to talk about growing up in Louisiana, his mother being accosted by the Klan, or that his father was a gambler. He didn’t want to talk about being jailed for 90 days for using a whites only bathroom, being in gangs or having a street name. We told him that was fine—he could talk about what he wanted to talk about. And he told us that he didn’t want to talk about anything.

You know, there are times when you make a record where it’s already made in your mind before you start. But then in the end, the record you thought you were making is not the record you made. We spent years puzzling over this one, trying to figure out what it was saying, who it was for, and how to get people to pay attention to it.

But Champion knew that this record wasn’t going to be for everyone. He didn’t really care. The important part for him was just getting the message out there in the same way that he always had, travelling alone with his electric guitar. “I want to say what I mean,” he said, “be practical, precise, to the point, and, at the same time, diplomatic.” In other words, he just wanted to be a good man.

God bless Pastor Champion and Mother Champion, peace be with them and their family. Love to all

TRACK LISTING

01 / A1. Intro
02 / A2. I Know That You’ve Been Wounded (Church Hurt)
03 / A3. He’ll Make A Way (Trust In The Lord)
04 / A4. Talk To God
05 / A5. In The Name Of Jesus (everytime)
06 / B1. To Be Used By You (I Want To Be A Good Man)
07 / B2. Who Do Men Say I Am?
08 / B3. Storm Of Life (Stand By Me)
09 / B4. In The Service Of The Lord
10 / B5. I Just Want To Be A Good Man (To Be Used By You) 

The Edits Collection label is fast becoming essential with a third irresistible offering in a little over a year. This latest one opens with some soul drenched boogie and disco featuring a heart-aching vocal hook and snappy grooves, then gets more deep and jazzy with 'Disco Is A Feeling'. The flip side opens with the steamy 'Take U 4 A Ride' with its explosive Philly strings and busy percussive lines and '10.15' then slow it down with a more steamy and sexy late-night sound that is all big loved-up vocals and freewheeling synths. All four of these are glorious weapons to have handy.

TRACK LISTING

One With The Wynd
Disco Is A Feeling
Take U 4 A Ride
10.15

Before releasing their lone self-titled debut album, one of the most rare rock records to be released in Europe in the 1970s, Paternoster provided the soundtrack for a film that could only have been made while the psychedelic movement was still in its first wave. The group’s first recordings presented here are the soundtrack for Herbert Holbaís 1971 hippie sci-fi film Die Ersten Tage (The First Days), screened at the Berlin International Film Festival, and interestingly played on Austrian TV in August of that year. The material issued here is the genesis of Paternoster and set the stage for the release of one of the world’s great rock albums with their self-titled debut the following year. The music has been painstakingly transferred directly from master tapes

TRACK LISTING

SIDE A: Cues 1-15.
SIDE B: Cues 16-30

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting.

From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing).

Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it.

Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability.

More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

STAFF COMMENTS

Barry says: 'Dizzy Spells' weaves together all the synthy rhythmic charm of Christine And The Queens or Chvrches with the throbbing 80's influenced cinematics of Italians Do It Better, but warm it up with a nice measure of hazy bedroom pop atmospherics. Lovely stuff.

TRACK LISTING

1. The Girls Are Chewing Gum
2. Living Things Don't Last
3. White Of An Eye
4. No Roses
5. Aerosol
6. The Church
7. Voices In The Sand
8. Moral Damage
9. The Pressure
10. Silent House