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Mudhoney's first album proper, released in 1989 and produced by Jack Endino. 'Endino's production lives up to his reputation for rough, thick recording, but he's left just enough for the songs to breathe, whether it's the audible handclaps on "This Gift" or the quirky guitar riff leading into Dan Peters' rollicking drum rolls on "You Got It." "When Tomorrow Hits" is easily the sleeper hit of the record; later memorably covered by Sonic Boom in the dying days of Spacemen 3, its slow, dreamily threatening build shows off the band's ability for subtlety amidst the volume. "Flat out Fucked" about sums up the whole ethos of the album — careening pace, compressed feedback roar, and Mark Arm's desperate but never self-important singing resulting in neo-garage rock anti-anthems.'
'Whether it was Conrad Uno's production, the addition of more instruments to the Mudhoney arsenal (notably, Mark Arm adds organ, as can be enjoyably heard on "Who You Drivin' Now," among other numbers), a slew of brilliant songs, or a combination of the above, Every Good Boy Deserves Fudge found Mudhoney coming into their own album-wise. "Let It Slide," the album's lead single, fuses everything from surf rock drumming from Dan Peters to a delicious vocal whine on the verses from Arm into a hotwired classic. It's not so much grunge as speed-freak energy, and all the better for it given the caricatures of Sub Pop's sound that would soon take over the airwaves.'
'I, Jonathan' is the fourth solo album by Jonathan Richman, released by the Rounder Records label in 1992. This is the first time it has ever been available on vinyl.
As the founder of influential protopunk band The Modern Lovers, Richman had strived to convey authentic emotions and storytelling with his music. ‘I, Jonathan’ continued this aesthetic with simple and sparse rock and roll arrangements, and straightforward lyrics about mundane topics.
Songs on the album addressed topics such as backyard parties ("Parties in the U.S.A"), memories of neighborhoods in which Richman had lived ("Rooming House on Venice Beach" and "Twilight in Boston") and his admiration of his primary musical inspiration, the Velvet Underground ("Velvet Underground"). The latter song includes a brief interlude of the Velvet Underground song, Sister Ray.
The album helped increase Richman's cultural profile, which would include a 1993 appearance on Late Night with Conan O'Brien in which Richman performed one of the album's songs, "I Was Dancing in the Lesbian Bar".
As the founder of influential protopunk band The Modern Lovers, Richman had strived to convey authentic emotions and storytelling with his music. ‘I, Jonathan’ continued this aesthetic with simple and sparse rock and roll arrangements, and straightforward lyrics about mundane topics.
Songs on the album addressed topics such as backyard parties ("Parties in the U.S.A"), memories of neighborhoods in which Richman had lived ("Rooming House on Venice Beach" and "Twilight in Boston") and his admiration of his primary musical inspiration, the Velvet Underground ("Velvet Underground"). The latter song includes a brief interlude of the Velvet Underground song, Sister Ray.
The album helped increase Richman's cultural profile, which would include a 1993 appearance on Late Night with Conan O'Brien in which Richman performed one of the album's songs, "I Was Dancing in the Lesbian Bar".
Enter Yes Grasshopper, taking you on a trip into the unexplored depths of their collective mind, a place of daring rescue missions and uncanny swamp monsters, all imagined through the lens of a playful B-movie aesthetic.
Emerging from England's unforgiving northern coast, this dynamic duo present a wholly unique take on noise rock, with crushing riffs, white water rhythmic twists and barking intertwined vocals making way for heinously catchy hooks you'll find yourself whistling at the most unexpected of times. And with the lyrics spinning esoteric tales over such a compelling foundation, Yes Grasshopper won't let your undivided attention slip for a single second.
Their universe is one where both rage and joy jostle side-by-side, one moment buzzing with all the fury of a swarm of pissed-off hornets/mozzies, the next inviting the whole lot round for an unforgettable afterparty. Call it metal. Call it punk. Hell, call it hardcore-acid-math-crustcore if you want. What's so striking is that it doesn't deal in the usual palette of oppressive blacks and greys those genres invariably paint with, instead imagining a more kaleidoscopic and perhaps even welcoming landscape. And despite the heavy-as-heavy-can-be riffery and hammer-blow grooves, there is somehow an air of levity permeating the whole thing.
Giving the likes of Hella, Lightning Bolt and John (times two) a run for their money in the 'how much noise can two people make?' stakes, the respective halves of this newly established duo have been nourished on a diet of music's more extreme offerings, with the mischievous demons within intent on shredding hard. Live shows consist of the slicing of mustard and people losing their socks.
Emerging from England's unforgiving northern coast, this dynamic duo present a wholly unique take on noise rock, with crushing riffs, white water rhythmic twists and barking intertwined vocals making way for heinously catchy hooks you'll find yourself whistling at the most unexpected of times. And with the lyrics spinning esoteric tales over such a compelling foundation, Yes Grasshopper won't let your undivided attention slip for a single second.
Their universe is one where both rage and joy jostle side-by-side, one moment buzzing with all the fury of a swarm of pissed-off hornets/mozzies, the next inviting the whole lot round for an unforgettable afterparty. Call it metal. Call it punk. Hell, call it hardcore-acid-math-crustcore if you want. What's so striking is that it doesn't deal in the usual palette of oppressive blacks and greys those genres invariably paint with, instead imagining a more kaleidoscopic and perhaps even welcoming landscape. And despite the heavy-as-heavy-can-be riffery and hammer-blow grooves, there is somehow an air of levity permeating the whole thing.
Giving the likes of Hella, Lightning Bolt and John (times two) a run for their money in the 'how much noise can two people make?' stakes, the respective halves of this newly established duo have been nourished on a diet of music's more extreme offerings, with the mischievous demons within intent on shredding hard. Live shows consist of the slicing of mustard and people losing their socks.
• On vinyl for the first time since its first sold-out pressing in 2015, the fifth anniversary of Weyes Blood’s (Natalie Mering) warm and elegiac record, Cardamom Times, is celebrated with a deluxe Dinked edition.
• Since the EP’s release, Weyes Blood’s Front Row Seat to Earth (Mexican Summer, 2016) and Titanic Rising (Sub Pop, 2019) were both named Best New Albums by Pitchfork, with the latter making multiple Best Albums of 2019 lists, including The Guardian, Pitchfork, and The Independent. Different from these elaborate albums, Cardamom Times was recorded onto reel-to-reel tape at Mering’s home studio in Rockaway Beach, New York.
• The songs of Cardamom Times demonstrate Mering’s reverence of devotional music and the avant-garde, channeling the domestic hymns of Sybille Baer through the lens of Baltimore’s experimental DIY scene; the minimal, melodic drones of Terry Riley accompanied by the voices of the Sacre Coeur; the confrontational words of Anaïs Nin along with the warm embrace of St. Augustine.
• This anniversary edition of Cardamom Times features reimagined cover art with the focal image of a desolate paradise during sunset — Jamaica Bay in Queens, NY surrounded by rust. A couple is laying on the ground, caught in a comfort beyond time. With Cardamom Times, Mering invites listeners into that space of love and longing, struggle and change, surrounded by the decay of time that perpetually embraces us.
• New 2020 edition sleeve
• Exclusive fold out 12” x 24” poster *
• Dinked Archive OBI-strip *
• Dinked Archive gold foil sticker *
*Exclusive to Dinked Edition.
LP Info: Black vinyl edition.
• Since the EP’s release, Weyes Blood’s Front Row Seat to Earth (Mexican Summer, 2016) and Titanic Rising (Sub Pop, 2019) were both named Best New Albums by Pitchfork, with the latter making multiple Best Albums of 2019 lists, including The Guardian, Pitchfork, and The Independent. Different from these elaborate albums, Cardamom Times was recorded onto reel-to-reel tape at Mering’s home studio in Rockaway Beach, New York.
• The songs of Cardamom Times demonstrate Mering’s reverence of devotional music and the avant-garde, channeling the domestic hymns of Sybille Baer through the lens of Baltimore’s experimental DIY scene; the minimal, melodic drones of Terry Riley accompanied by the voices of the Sacre Coeur; the confrontational words of Anaïs Nin along with the warm embrace of St. Augustine.
• This anniversary edition of Cardamom Times features reimagined cover art with the focal image of a desolate paradise during sunset — Jamaica Bay in Queens, NY surrounded by rust. A couple is laying on the ground, caught in a comfort beyond time. With Cardamom Times, Mering invites listeners into that space of love and longing, struggle and change, surrounded by the decay of time that perpetually embraces us.
FORMAT INFORMATION
Dinked Edition LP Info: • Exclusive transparent Blue vinyl *• New 2020 edition sleeve
• Exclusive fold out 12” x 24” poster *
• Dinked Archive OBI-strip *
• Dinked Archive gold foil sticker *
*Exclusive to Dinked Edition.
LP Info: Black vinyl edition.
The brand new record from UK punk legends Snuff! Originally lined-up to be released on their May 2020 UK Tour, this EP brings us SIX unreleased tracks of absolute punk perfection from Duncan & the boys...seven tracks if you include the hidden one :) Honestly, this release is just what we all needed right now, with the band running the gamut of punk styles, sliding from melodic hardcore riffage to bounce-along choruses, via a British airmen's song from World War I... Obviously!!
The only pressing to come with free digital download code (inserts) with embedded lyrics.
FORMAT INFORMATION
Coloured LP Info: Limited pressing of just 300 copies on translucent red/translucent blue (A-side/B-side) with white splatter.The only pressing to come with free digital download code (inserts) with embedded lyrics.
Róisín Machine” is the culmination of a rich, decades long partnership between Murphy and one of her most trusted collaborators Crooked Man aka DJ Parrot. Although packed to the rafters with masterclass singles, including “Simulation”, “Jealousy”, “Incapable”, Narcissus” and “Murphy’s Law”, it is also an ingeniously and seamlessly edited listening experience, designed to be listened to in one uninterrupted sitting, from start to dazzling finish.
From the intoxicating disco-funk of “Incapable”, to the quintessential “Narcissus” which crystallised New-Disco and established a high watermark for the genre, to “Murphy’s Law”, a 70s inflected stomper, “Roisin Machine” offers up everything you could ask for on an exquisite plate. Added to the familiar tunes are five new songs, including the Dalek-funk of ‘We Got Together’ and the fantastical “Shellfish Mademoiselle”. An album that works perfectly on the home sound system but also comes alive in a basement sweatbox, it impeccably sits alongside Murphy’s stellar cannon of work released across 25 boundary pushing, trailblazing years, a career encompassing iconic music, directorial, art and fashion moments.
CD Info: Digipack CD.
From the intoxicating disco-funk of “Incapable”, to the quintessential “Narcissus” which crystallised New-Disco and established a high watermark for the genre, to “Murphy’s Law”, a 70s inflected stomper, “Roisin Machine” offers up everything you could ask for on an exquisite plate. Added to the familiar tunes are five new songs, including the Dalek-funk of ‘We Got Together’ and the fantastical “Shellfish Mademoiselle”. An album that works perfectly on the home sound system but also comes alive in a basement sweatbox, it impeccably sits alongside Murphy’s stellar cannon of work released across 25 boundary pushing, trailblazing years, a career encompassing iconic music, directorial, art and fashion moments.
FORMAT INFORMATION
Ltd LP Info: Standard heavyweight vinyl.CD Info: Digipack CD.
Previous PY collections (“They Make No Say” & “Popcorn Lung”) are firmly established gems in the label’s (completely sold out) back catalogue; so the news of a third’s arrival is a joyous moment for fans of the label.
This collection came about under way more unusual circumstances than the previous pair; recovery from the lockdown period resulted in a daunting list of promised releases; far too many for what time was left in 2020. So mercifully, ‘SNR’ not only acts to shorten this list by a 12” and 3 x 45s, it also runs wonderfully seamlessly into the bargain!
The set kicks off with a long-held favourite here at PY HQ. Cyril Bihan’s “PHIL WAVE” project. Sadly, Cyril passed away in 2019, and we are hugely grateful that Cyril’s family allowed the inclusion of the thumping “Hacking Sequence” to open proceedings here. Following that, KLAUDYNA POP offer up the fabulous “Contempt”, which, in their own words, contains an equal mix of “anger, resentment and general 2020 disillusionment expressed as a three-and-a half minute Northern Minimal pop song”.
Closing both sides of the record are two epic tracks from one man Swedish outfit VIB, planned initially as a 12” before the year ebbed away. “Vendel” and “The Deep i” both clock in at ten minutes plus; killer, slow building, meditative kosmische pieces recalling Klaus Schulze and Tangerine Dream with latter day nods to Emeralds, Eat Lights Become Lights and perhaps some Chris and Cosey. Recorded at home -beneath a bunk bed as his son slept- true DIY home recordings, epic in breadth and motorik goove.
Side two kicks off with the latest in a long line of French artists to have featured on PY. RECIDIVE NOIRE follow in the footsteps of Alexandre Bazin, Bernard Grancher, Cite Lumiere and many more; a Parisian trio with a love of old analogue, synth and cold wave. Professing a love especially for Martin Dupont, Wire and Air amongst others. Following them is the incredible S.A.P.T (Soloist Anti-Pop Totalization); the project of Japanese experimental electronic musician Rikinari Hata. The label is hugely excited about future releases with Rikinari, who offers up the fabulous “Other” for the record here.
Another wonderful PY collection, expected to follow the trends set by the first two and sell out immediately upon release. An absolute must for all fans of early Mute, the late 70s Sheffield electronic scene, Heldon / Pinhas, the Illuminated and (TG’s) Industrial labels. One time vinyl only pressing of 500 copies.
This collection came about under way more unusual circumstances than the previous pair; recovery from the lockdown period resulted in a daunting list of promised releases; far too many for what time was left in 2020. So mercifully, ‘SNR’ not only acts to shorten this list by a 12” and 3 x 45s, it also runs wonderfully seamlessly into the bargain!
The set kicks off with a long-held favourite here at PY HQ. Cyril Bihan’s “PHIL WAVE” project. Sadly, Cyril passed away in 2019, and we are hugely grateful that Cyril’s family allowed the inclusion of the thumping “Hacking Sequence” to open proceedings here. Following that, KLAUDYNA POP offer up the fabulous “Contempt”, which, in their own words, contains an equal mix of “anger, resentment and general 2020 disillusionment expressed as a three-and-a half minute Northern Minimal pop song”.
Closing both sides of the record are two epic tracks from one man Swedish outfit VIB, planned initially as a 12” before the year ebbed away. “Vendel” and “The Deep i” both clock in at ten minutes plus; killer, slow building, meditative kosmische pieces recalling Klaus Schulze and Tangerine Dream with latter day nods to Emeralds, Eat Lights Become Lights and perhaps some Chris and Cosey. Recorded at home -beneath a bunk bed as his son slept- true DIY home recordings, epic in breadth and motorik goove.
Side two kicks off with the latest in a long line of French artists to have featured on PY. RECIDIVE NOIRE follow in the footsteps of Alexandre Bazin, Bernard Grancher, Cite Lumiere and many more; a Parisian trio with a love of old analogue, synth and cold wave. Professing a love especially for Martin Dupont, Wire and Air amongst others. Following them is the incredible S.A.P.T (Soloist Anti-Pop Totalization); the project of Japanese experimental electronic musician Rikinari Hata. The label is hugely excited about future releases with Rikinari, who offers up the fabulous “Other” for the record here.
Another wonderful PY collection, expected to follow the trends set by the first two and sell out immediately upon release. An absolute must for all fans of early Mute, the late 70s Sheffield electronic scene, Heldon / Pinhas, the Illuminated and (TG’s) Industrial labels. One time vinyl only pressing of 500 copies.
STAFF COMMENTS
Barry says: The Last PY compilation was a SUPER seller,so much so that it got repressed with another LP and THAT sold out too! It's obvious that you're in safe hands with Dom curating another one and in even safer hands when you see the lineup. Some stunning tunes here, and after all, who needs to even read anything else... It's on Poly Youth.. you're safe.
Glasgow’s always wonderful, new ‘sci-fi pop’ kids-on-the-block return with an ace new 45 for Polytechnic Youth.
Two fabulous tracks recorded pre lockdown, but which act now, say the band “as a perfect soundtrack to these surreal times”. Both tracks unique to this stand alone release, as the band knuckle down on recording the next full length.
A side “Populous” has already attained 6music radio play and the bands’ self made video has been given video of the week thumbs up on 2 online blogs- and merges perfectly with sleeve art created once again by the always great Nick Taylor. A fabulous synth pop track, totally befitting the current climate.
The instrumental flip “Living in a Simulation”, brings to mind a long lost La Dusseldorf demo given a modern reworking- punchy, kraut infused synth pop acting as a perfect foil to it’s flip. Lovely stuff once again and like everything by artist and label; expected to sell out swiftly upon release. Pressing of 300 on vinyl only.
Two fabulous tracks recorded pre lockdown, but which act now, say the band “as a perfect soundtrack to these surreal times”. Both tracks unique to this stand alone release, as the band knuckle down on recording the next full length.
A side “Populous” has already attained 6music radio play and the bands’ self made video has been given video of the week thumbs up on 2 online blogs- and merges perfectly with sleeve art created once again by the always great Nick Taylor. A fabulous synth pop track, totally befitting the current climate.
The instrumental flip “Living in a Simulation”, brings to mind a long lost La Dusseldorf demo given a modern reworking- punchy, kraut infused synth pop acting as a perfect foil to it’s flip. Lovely stuff once again and like everything by artist and label; expected to sell out swiftly upon release. Pressing of 300 on vinyl only.
STAFF COMMENTS
Barry says: It's a rare thing indeed that PY put out a record i'm not completely enamoured with, and that slims down to 'absolutely unheard of' when it's Tomorrow Syndicate's new release. This double A side shows all of the kosmische power of these top-tier synthesists, and is further evidence to their supreme skills. THAT VIDEO TOO! So good.FORMAT INFORMATION
7" Info: Limited double a-side 45.
After 18 months of writing and playing live with a shifting cast of supporting members, Peel Dream Magazine is back with Agitprop Alterna, their new album which pushes the group’s dreamy, motorik-heavy sound to a deeply melodic and beautifully discordant place. Their 2nd LP pays homage to the fuzzy, mod-ish twee of acts like My Bloody Valentine and early Stereolab, but it's also indebted to stateside bands like Yo La Tengo and Rocketship that were cut from a similar cloth. It's part Chickfactor, part Space Age Bachelor Pad; a shambolic, drone-heavy brand of minimalism, filtered through a cross-section of classic indie pop.
Peel Dream Magazine is the musical vehicle for NYC's Joe Stevens, who launched the band in 2018 with the critically acclaimed album Modern Meta Physic. The debut was a mysterious, liminal tribute to the hazy end of ‘90s dream-pop – a masterful mix of first-class songwriting precision and train-window sonic impressionism. Stevens played all the parts on Modern Meta Physic himself, blending live and sampled sounds into uniquely identifiable and abstractly psychedelic soundscapes. The album struck a perfect balance between DIY bedroom pop auteurism and studio wizardry, and duly found its place on numerous “Best of 2018” lists. Where the creation of Modern Meta Physic was a solitary pursuit, Agitprop Alterna found Stevens channelling the collaborative spirit of the band’s ever-rotating live incarnation in the studio. He worked with close friend Kelly Winrich to develop new sounds for the project, creating musical snippets that Winrich would mix into the cohering whole.
Live band members like vocalist Jo-Anne Hyun (later replaced by Isabella Mingione) and drummer Brian Alvarez would stop by and work their magic on the recordings, laying down parts with trademark exactitude. The resulting music revels in its realness: heavier, more dynamic, and truly the work of a band. Each tune’s unique character fits carefully into a broader thematic whole examining personal freedom from manipulation and misinformation. First single “Pill” examines what Stevens calls the "inundation of performances of normalcy and fulfillment that fuel our desire to consume – self-medication for the pain of doubt, want and need.” “Emotional Devotion Creator” frames advertising (and the cynical, manufactured emotional response it elicits) with a critical eye, while “It’s My Body” is an “anthem against people who want to exert power over you and make you feel small…a reminder that you don’t owe anyone anything.
Agitprop Alterna is ultimately defined by the tension of difference: between itself and its predecessor; Stevens’ and Hyun’s intertwined male-female vocals; the music’s languid dreaminess and concrete sonic immediacy. Deeply rooted in the Brechtian ideas of art as a tool to spur action, Agitprop Alterna deepens the connection between the existential and the interpretive first explored on Modern Meta Physic, giving the listener space to find their own meaning in shimmering guitars, fuzzed-out synths, and buzzing organ drones.
Peel Dream Magazine is the musical vehicle for NYC's Joe Stevens, who launched the band in 2018 with the critically acclaimed album Modern Meta Physic. The debut was a mysterious, liminal tribute to the hazy end of ‘90s dream-pop – a masterful mix of first-class songwriting precision and train-window sonic impressionism. Stevens played all the parts on Modern Meta Physic himself, blending live and sampled sounds into uniquely identifiable and abstractly psychedelic soundscapes. The album struck a perfect balance between DIY bedroom pop auteurism and studio wizardry, and duly found its place on numerous “Best of 2018” lists. Where the creation of Modern Meta Physic was a solitary pursuit, Agitprop Alterna found Stevens channelling the collaborative spirit of the band’s ever-rotating live incarnation in the studio. He worked with close friend Kelly Winrich to develop new sounds for the project, creating musical snippets that Winrich would mix into the cohering whole.
Live band members like vocalist Jo-Anne Hyun (later replaced by Isabella Mingione) and drummer Brian Alvarez would stop by and work their magic on the recordings, laying down parts with trademark exactitude. The resulting music revels in its realness: heavier, more dynamic, and truly the work of a band. Each tune’s unique character fits carefully into a broader thematic whole examining personal freedom from manipulation and misinformation. First single “Pill” examines what Stevens calls the "inundation of performances of normalcy and fulfillment that fuel our desire to consume – self-medication for the pain of doubt, want and need.” “Emotional Devotion Creator” frames advertising (and the cynical, manufactured emotional response it elicits) with a critical eye, while “It’s My Body” is an “anthem against people who want to exert power over you and make you feel small…a reminder that you don’t owe anyone anything.
Agitprop Alterna is ultimately defined by the tension of difference: between itself and its predecessor; Stevens’ and Hyun’s intertwined male-female vocals; the music’s languid dreaminess and concrete sonic immediacy. Deeply rooted in the Brechtian ideas of art as a tool to spur action, Agitprop Alterna deepens the connection between the existential and the interpretive first explored on Modern Meta Physic, giving the listener space to find their own meaning in shimmering guitars, fuzzed-out synths, and buzzing organ drones.
FORMAT INFORMATION
Coloured LP Info: Repress of 300 on white vinyl.
On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising “Black Willow” from Loma’s self-titled debut. He said he’d had it on repeat.
At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski, and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a grueling tour with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd, and then into the sea, while the band carried on from the stage—an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?”
Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart (and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become Don’t Shy Away. Loma writes by consensus, and though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an ouija board and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other—and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular—a vivid work whose light touch belies its timely themes of solitude, impermanence, and finding light in deep darkness. Stuck / beneath / a rock, Cross begins, as if noticing her predicament for the first time. Then she adds: I begin to see / the beauty in it.
A series of guests contributed to the absorbing soundscapes of Don’t Shy Away, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes/Wye Oak’s Jenn Wasner, and a surprisingly bass-heavy horn section.
And then there’s Brian Eno. Loma invited him to participate in the mantra-like “Homing,” which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band, but his completed mix arrived via e-mail late one night, without warning, and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross. “What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno—a perfect ending to an album about finding a new home inside an old one. I am somewhere that you know, Cross sings, above a chorus of her bandmates’ blended voices. I am right behind your eyes.
At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski, and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a grueling tour with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd, and then into the sea, while the band carried on from the stage—an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?”
Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart (and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become Don’t Shy Away. Loma writes by consensus, and though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an ouija board and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other—and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular—a vivid work whose light touch belies its timely themes of solitude, impermanence, and finding light in deep darkness. Stuck / beneath / a rock, Cross begins, as if noticing her predicament for the first time. Then she adds: I begin to see / the beauty in it.
A series of guests contributed to the absorbing soundscapes of Don’t Shy Away, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes/Wye Oak’s Jenn Wasner, and a surprisingly bass-heavy horn section.
And then there’s Brian Eno. Loma invited him to participate in the mantra-like “Homing,” which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band, but his completed mix arrived via e-mail late one night, without warning, and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross. “What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno—a perfect ending to an album about finding a new home inside an old one. I am somewhere that you know, Cross sings, above a chorus of her bandmates’ blended voices. I am right behind your eyes.
The shopping malls have closed down, the dressing rooms are filled with ghosts, and the carousel is covered in cobwebs. Nobody Lives Here Anymore, the latest and greatest from Max Clarke as Cut Worms, is the haunted reverie of an American landscape in-and-out of Clarke’s mind. Recorded between May and November 2019 in Memphis, Tennessee, the album is a snow globe of the mid-twentieth-century’s popular music filled with chiming guitars, honkey tonk pianos, and Telstar organs. A constant creator - be it his Cut Worms alter-ego or his day-job illustration work (designing brand logos and beer labels with madhouse technicolor pictures) - writing and making records has always been Max’s driving force.
So after an extensive eighteen-months of touring in support of 2017’s Alien Sunset and 2018’s Hollow Ground, he set about sifting through the fragment pieces and sketches of tunes he’d accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. By the time he flew to Memphis to work with producer Matt Ross-Spang at Sam Phillips Studio, he’d stockpiled more than thirty new songs. A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbor love and meaning inside a world that sold itself out. He explores the wistfulness of the past in search of answers for tomorrow. And while his grand anthems overflow with timeless pop charm, his ability to dig deeper than lollipops and holding hands sets his work apart from the days of 45s and Top of the Pops.
So after an extensive eighteen-months of touring in support of 2017’s Alien Sunset and 2018’s Hollow Ground, he set about sifting through the fragment pieces and sketches of tunes he’d accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. By the time he flew to Memphis to work with producer Matt Ross-Spang at Sam Phillips Studio, he’d stockpiled more than thirty new songs. A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbor love and meaning inside a world that sold itself out. He explores the wistfulness of the past in search of answers for tomorrow. And while his grand anthems overflow with timeless pop charm, his ability to dig deeper than lollipops and holding hands sets his work apart from the days of 45s and Top of the Pops.
FORMAT INFORMATION
Indies Exclusive LP Info: Indies-only coke bottle clear vinyl
Laura Veirs has announced news of her eleventh solo album My Echo released 23rd October via Bella Union. The album features guest appearances from Jim James, Bill Frisell, Karl Blau, Matt Ward and others.
“My Echo is my 11th solo album. It’s my ‘my songs knew I was getting divorced before I did’ album. My conscious mind was trying as hard as I could to keep my family together but my subconscious mind was working on the difficult struggles in my marital life. I was part of a “Secret Poetry Group” that met and wrote poems monthly for a year during the writing of this record. Many of my poems turned into songs for this album. By the time the album was being mixed last fall, my ex-husband/producer Tucker Martine and I had decided to go our separate ways. We were a great musical team for many years but we struggled to be compatible in our marriage and family life and that struggle is reflected in this album.
In this new batch of songs I imagine escaping from some sort of prison or cage. Advancing age, the confines of domesticity, our oppressive government and the threat of the apocalypse permeate these songs. In these songs my heart craves certainty and permanence but none is to be found. It’s an album about disintegration. It reveals my artist’s intuition at work.
Although these songs were written before quarantine they are strangely relevant to times in which we find ourselves currently. You will find me staring at the walls (Turquoise Walls). You will find me feeling grateful to be alive (Memaloose Island). You will find me accepting the ephemeral nature of life (Vapor Trails and All the Things). You will find me searching for personal freedom while feeling trapped (Freedom Feeling). You will find me trying to accept that sometimes the best thing to do is to sit still and do nothing at all (Another Space and Time).
Produced by Tucker Martine in the summer and fall of 2019 in Portland, OR. Includes appearances from Jim James, Bill Frisell, Karl Blau, Matt Ward.
“My Echo is my 11th solo album. It’s my ‘my songs knew I was getting divorced before I did’ album. My conscious mind was trying as hard as I could to keep my family together but my subconscious mind was working on the difficult struggles in my marital life. I was part of a “Secret Poetry Group” that met and wrote poems monthly for a year during the writing of this record. Many of my poems turned into songs for this album. By the time the album was being mixed last fall, my ex-husband/producer Tucker Martine and I had decided to go our separate ways. We were a great musical team for many years but we struggled to be compatible in our marriage and family life and that struggle is reflected in this album.
In this new batch of songs I imagine escaping from some sort of prison or cage. Advancing age, the confines of domesticity, our oppressive government and the threat of the apocalypse permeate these songs. In these songs my heart craves certainty and permanence but none is to be found. It’s an album about disintegration. It reveals my artist’s intuition at work.
Although these songs were written before quarantine they are strangely relevant to times in which we find ourselves currently. You will find me staring at the walls (Turquoise Walls). You will find me feeling grateful to be alive (Memaloose Island). You will find me accepting the ephemeral nature of life (Vapor Trails and All the Things). You will find me searching for personal freedom while feeling trapped (Freedom Feeling). You will find me trying to accept that sometimes the best thing to do is to sit still and do nothing at all (Another Space and Time).
Produced by Tucker Martine in the summer and fall of 2019 in Portland, OR. Includes appearances from Jim James, Bill Frisell, Karl Blau, Matt Ward.
FORMAT INFORMATION
Coloured LP Info: Transparent pink vinyl.
'Next 7'' in the Blue Note Re:Imagined series. STEAM DOWN – ETCETERA: Another Jazz cover from the Blue Note Re-Imagined project. Steam Down bring to life a new version of Wayne Shorter’s track Etcetera. Blue Note Re:Imagined will be out on the 25th of September. YASMIN LACEY – I’LL NEVER STOP LOVING YOU: Another Jazz cover from the Blue Note Re-Imagined project. Yasmin Lacey brings to life a new version of Dodo Greene’s track I’ll Never Stop Loving You. Blue Note Re:Imagined will be out on the 25th of September.
Blossoms have today confirmed the physical release date for their upcoming 'In Isolation/Live From The Plaza Theatre', Stockport double album as being Friday 23rd October 2020.
The 'In Isolation' side of the double album features a collection of tracks recorded by the band over the last few months in isolation, including re-worked takes on their own songs and a number of cover versions. The album also features some very special guests including Courteeners’ Liam Fray on a version of Please Don’t, The Coral’s James Skelly on a version of Dreaming Of You and Miles Kane on their Tame Impala cover The Less I Know The Better. Live At The Plaza Theatre, Stockport, features a full live set from the band’s ‘Foolish Loving Spaces’ album launch show on 11th February at Stockport Plaza.
2xCD Info: 2 x discs in a Mintpack with 16pg booklet.
The 'In Isolation' side of the double album features a collection of tracks recorded by the band over the last few months in isolation, including re-worked takes on their own songs and a number of cover versions. The album also features some very special guests including Courteeners’ Liam Fray on a version of Please Don’t, The Coral’s James Skelly on a version of Dreaming Of You and Miles Kane on their Tame Impala cover The Less I Know The Better. Live At The Plaza Theatre, Stockport, features a full live set from the band’s ‘Foolish Loving Spaces’ album launch show on 11th February at Stockport Plaza.
FORMAT INFORMATION
2xColoured LP Info: 1 x heavyweight blue vinyl and 1 x heavyweight pink vinyl in a gatefold sleeve with printed inner sleeves and a download card.2xCD Info: 2 x discs in a Mintpack with 16pg booklet.
Presenting a collection of stone-cold classic breakbeats and b-boy jams from the sunkissed vaults of Miami's legendary TK Disco label!
NYC in the late 70's and early 80's saw a nascent street subculture fully evolve, a movement with it's own language, art, aesthetics, dances, fashion and way of living.
What would become what is now globally known as 'hip-hop' was in its infancy, with it's own legends and history being forged on an almost daily basis across the city's Black and Hispanic neighbourhoods. Music was central to hip-hop, the DJ was king and at the hands of people like Kool Herc, Grandmaster Flash, Grandmaster Flowers, Mean Gene, Jazzy Jay, Afrika Bambaataa, Charlie Chase and numerous other groundbreaking DJ's of the era, music took on a whole new meaning that would reverberate through popular culture for the rest of time.
The breaks - minute sections or breakdowns of a record where we get to the unadulterated groove and the band on the record cut loose - is what it was all about! Unlike the discotheque DJ's who favoured the long mixes and blends in their club scenarios, hip-hop DJ's were amassing huge collections of records that had these magical sections on them, often x 2 copies of each, so that they could elongate the best part of the record ad infinitum by cutting them up live - all killer no filler! These special on the fly mixes and edits were then unleashed in the local parks of their neighbourhoods, on gargantuan DIY sound systems for all of their friends and neighbours to party on down until the wee small hours. These breakbeat segments also gave the MC's space to address the gathered masses without their voices colliding with lavish string arrangements or vocals underneath. A clear, concise, stripped back slab of funk on which to put forth their ideas, feelings and rhymes for all to enjoy.
Collected here are some of those most infamous breakbeats, all from the TK vaults. These records were studied by these young DJ's, coveted, covered up, hunted down, whispered about in darkened corners by those who needed and obsessed over the freshest of beats. There's a good chance you will have heard these records in some form or another as they have been covered, sampled, recreated and spun in clubs across the galaxy for over 4 decades. These are the very building blocks upon which popular culture and club music have been built, and here they are all in one place for your listening enjoyment!
NYC in the late 70's and early 80's saw a nascent street subculture fully evolve, a movement with it's own language, art, aesthetics, dances, fashion and way of living.
What would become what is now globally known as 'hip-hop' was in its infancy, with it's own legends and history being forged on an almost daily basis across the city's Black and Hispanic neighbourhoods. Music was central to hip-hop, the DJ was king and at the hands of people like Kool Herc, Grandmaster Flash, Grandmaster Flowers, Mean Gene, Jazzy Jay, Afrika Bambaataa, Charlie Chase and numerous other groundbreaking DJ's of the era, music took on a whole new meaning that would reverberate through popular culture for the rest of time.
The breaks - minute sections or breakdowns of a record where we get to the unadulterated groove and the band on the record cut loose - is what it was all about! Unlike the discotheque DJ's who favoured the long mixes and blends in their club scenarios, hip-hop DJ's were amassing huge collections of records that had these magical sections on them, often x 2 copies of each, so that they could elongate the best part of the record ad infinitum by cutting them up live - all killer no filler! These special on the fly mixes and edits were then unleashed in the local parks of their neighbourhoods, on gargantuan DIY sound systems for all of their friends and neighbours to party on down until the wee small hours. These breakbeat segments also gave the MC's space to address the gathered masses without their voices colliding with lavish string arrangements or vocals underneath. A clear, concise, stripped back slab of funk on which to put forth their ideas, feelings and rhymes for all to enjoy.
Collected here are some of those most infamous breakbeats, all from the TK vaults. These records were studied by these young DJ's, coveted, covered up, hunted down, whispered about in darkened corners by those who needed and obsessed over the freshest of beats. There's a good chance you will have heard these records in some form or another as they have been covered, sampled, recreated and spun in clubs across the galaxy for over 4 decades. These are the very building blocks upon which popular culture and club music have been built, and here they are all in one place for your listening enjoyment!
Following XL Recordings honcho Richard Russell’s remix of ‘Bomb’ a few weeks back, the Crass ‘Feeding Of The Five Thousand’ remix project enters its next stage with a high-energy dancefloor deconstruction of ‘G’s Song’ by New York DJ, producer and promoter Johnny Dynell. Well known for his 1983 cult hit ‘Jam Hot’ (remixed and sampled many times over, most famously by Fatboy Slim and his group Beats International for ‘Dub Be Good To Me’ in 1990), Dynell has had a long and illustrious career in music with his roots in the 70s Downtown No Wave art-punk scene. Dynell’s connection and friendship with Crass goes back to those days when the anarchist punk icons played their only US gigs in 1978 in New York.
‘The 12” also includes a jarring, cut-up experimental remix of the band’s infamous ‘Banned From The Roxy’ worked on by electronic composer and video artist Charles Webber who, apart from his own extensive compositions, has for many years collaborated closely with Crass vocalist Eve Libertine on such works as the chamber opera ‘Room of Worlds’, an arrangement of Wilhelm Reich’s ‘Listen Little Man’ and the ‘Kernschmelze’ series devised by Crass founder Penny Rimbaud.
‘Normal Never Was 2’ is available digitally and on coloured blue vinyl with a limited pressing of 500 copies via Crass Records now working through One Little Independent Records.
Late last year Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.
First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said. “You do it, we’ll stew it. Mix it backwards, forwards and upside down. Turn up the heat and fix it with a downbeat, bring in the trumpets and let ‘em blow, let the piper call the tune to let us all know. It’s up to you to do what you like with it. The only limitation is your imagination.”
All monies raised from the project will go to the charity ‘Refuge’ - http://www.refuge.org.uk who state:
‘Refuge is incredibly grateful to Crass and their team for helping raise vital funds for Refuge. Since the start of lockdown, Refuge has seen a 66% rise in demand for its Helpline, and a 950% rise in visits to its Helpline website. This shows the sheer extent of the need for specialist domestic abuse services – not just during lockdown but beyond. Every penny raised helps us to ensure that no woman or child is turned away from safety.
‘While lockdown itself doesn’t cause domestic abuse - abuse happens all year round - it does, of course, have the potential to aggravate pre-existing abusive behaviours – and the data we have shows us the increase in the need for our services during lockdown. Refuge worked incredibly hard at the beginning of the pandemic to make sure our services remained open and remained safe. The generous donations we have received, including those from Crass, mean we can continue to provide the life-saving and life-changing services that women experiencing domestic abuse need and deserve.’
‘The 12” also includes a jarring, cut-up experimental remix of the band’s infamous ‘Banned From The Roxy’ worked on by electronic composer and video artist Charles Webber who, apart from his own extensive compositions, has for many years collaborated closely with Crass vocalist Eve Libertine on such works as the chamber opera ‘Room of Worlds’, an arrangement of Wilhelm Reich’s ‘Listen Little Man’ and the ‘Kernschmelze’ series devised by Crass founder Penny Rimbaud.
‘Normal Never Was 2’ is available digitally and on coloured blue vinyl with a limited pressing of 500 copies via Crass Records now working through One Little Independent Records.
Late last year Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.
First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said. “You do it, we’ll stew it. Mix it backwards, forwards and upside down. Turn up the heat and fix it with a downbeat, bring in the trumpets and let ‘em blow, let the piper call the tune to let us all know. It’s up to you to do what you like with it. The only limitation is your imagination.”
All monies raised from the project will go to the charity ‘Refuge’ - http://www.refuge.org.uk who state:
‘Refuge is incredibly grateful to Crass and their team for helping raise vital funds for Refuge. Since the start of lockdown, Refuge has seen a 66% rise in demand for its Helpline, and a 950% rise in visits to its Helpline website. This shows the sheer extent of the need for specialist domestic abuse services – not just during lockdown but beyond. Every penny raised helps us to ensure that no woman or child is turned away from safety.
‘While lockdown itself doesn’t cause domestic abuse - abuse happens all year round - it does, of course, have the potential to aggravate pre-existing abusive behaviours – and the data we have shows us the increase in the need for our services during lockdown. Refuge worked incredibly hard at the beginning of the pandemic to make sure our services remained open and remained safe. The generous donations we have received, including those from Crass, mean we can continue to provide the life-saving and life-changing services that women experiencing domestic abuse need and deserve.’
Mondo is proud to present the original soundtrack album, for one of the most beloved films of all time: BACK TO THE FUTURE
In celebration of the 35th anniversary of the film, Mondo has partnered with the legendary poster artist Drew Struzan, the artist behind the original theatrical one-sheet, to create all-new packaging for this re-issue. Featuring illustrations and unused poster art created in 1985 for the film, this vinyl reissue has been remastered and pressed on 180 Gram Colored vinyl.
In celebration of the 35th anniversary of the film, Mondo has partnered with the legendary poster artist Drew Struzan, the artist behind the original theatrical one-sheet, to create all-new packaging for this re-issue. Featuring illustrations and unused poster art created in 1985 for the film, this vinyl reissue has been remastered and pressed on 180 Gram Colored vinyl.
FORMAT INFORMATION
Coloured LP Info: Pressed on 180 Gram tri-coloured vinyl with artwork by Drew Struzan
Nerves are one hell of a tool. Short bursts of anxi-ety and fear often lead to songwriting that doubles down on winking through catharsis. It’s in the spac-es between sudden inspiration and deliberate wit where Minneapolis’ Thank You, I’m Sorry resides. Their debut LP, The Malta House, charted a course towards self-acceptance while surrendering to the pull of a music career and a constantly buzzing heart. The charm of that release comes from its set-up: it’s an acoustic record that draws on the confessions of guitarist/frontperson Colleen Dow to generate visceral electricity.
Thank You, I’m Sorry is already here with their follow-up, I’m Glad We’re Friends. You’re welcome.I’m Glad We’re Friends plusses up selections from The Malta House and offers plenty of new sur-prises. Bassist Bethunni Schreiner and drummer Sage Livergood upgrade the musical palate with a rhythm section that elevates a simple crush into a pop-punk meditation on healthy boundaries. The new additions here point to a bright future, both internally and externally. As the second release from this outfit in under a year, I’m Glad We’re Friends is as invigorating and confident as making a new connection. Perhaps Thank You, I’m Sorry will connect with you
Thank You, I’m Sorry is already here with their follow-up, I’m Glad We’re Friends. You’re welcome.I’m Glad We’re Friends plusses up selections from The Malta House and offers plenty of new sur-prises. Bassist Bethunni Schreiner and drummer Sage Livergood upgrade the musical palate with a rhythm section that elevates a simple crush into a pop-punk meditation on healthy boundaries. The new additions here point to a bright future, both internally and externally. As the second release from this outfit in under a year, I’m Glad We’re Friends is as invigorating and confident as making a new connection. Perhaps Thank You, I’m Sorry will connect with you
FORMAT INFORMATION
Coloured LP Info: Olive in gold LP
By singing the lives of the angels, villains and overlooked of Liverpool, Jamie Webste sings the hope-filled daydreams of a generation on We Get By, the singer-songwriter’s debut album, released on Fri 21 August 2020 on Modern Sky. Continuing the story from the rock-and-roll records that spilled from the docks into the arms of waiting beat groups, the hopeful indie-pop of the 80s that faced-down Thatcher’s cruelty and the Merseypsych boom of the ‘shroomy 2000’s, Webster sings his city to tell a story of our times.
Webster originally grew in renown for providing new soundtracks to Liverpool Football Club’s rising fortunes, playing to 60,000 fans attending the 2019 Champions League Final in Madrid and performing around the world, as far afield as Australia and Dubai.
Webster originally grew in renown for providing new soundtracks to Liverpool Football Club’s rising fortunes, playing to 60,000 fans attending the 2019 Champions League Final in Madrid and performing around the world, as far afield as Australia and Dubai.
FORMAT INFORMATION
Coloured LP Info: Red vinyl
No one really encouraged me to take up music,” says Callum Easter. “It's just been in my gut for a long time.” The original rumblings of music came from childhood growing up on the east coast of Scotland but it was the discovery of an accordion that led to the biggest shift in Easter’s musical life to date “It's not an instrument I considered playing until I picked one up in a charity shop,” he says.
At the time Easter was playing in and around Edinburgh. He realised he wanted an instrument that would allow him to engage more with the audience. “I wanted to face the crowd and sing,” he says. “The spectacle appealed too, it's pretty physical singing and playing whilst on your feet. I think people enjoy seeing you struggle and take chances.”
By the time 2019 arrived, Easter had transformed his live show and sound from his early days so after signing to Moshi Moshi, it made sense to go back into the studio and rerecord tracks from his first two EPs and debut album Here or Nowhere (released on Lost Maps). “The premise was to record the versions of the songs I'd been performing live using mainly accordion, drum machine and drone,” he says. “One take, no overdubs, straight to tape. All done in Glasgow’s Green Door Studios.”
The result captures a stark and potent sense of musical evolution and growing craftsmanship. Music that wrestles equally with honesty, fragility and intensity. Lyrically, the album is introspective, covering the subjects of “Love, injustice, commonality, longing, acceptance, and having no regrets.” With Easter joking that, “I probably do melancholy a bit too well. But I'm working on that.” Balanced with the melancholy is beauty and tenderness however.
With Easter reconnecting with music of his past, it also highlights how far he’s come on his idiosyncratic journey. A determined and impassioned artist who follows his musical gut rather than any defined career plan. “I don't feel comfortable with purpose,” he says. “It sounds a bit steady, like you're responsible for something. I don't really know what I'm looking for. For now, it’s just me in a room with plenty of scope
At the time Easter was playing in and around Edinburgh. He realised he wanted an instrument that would allow him to engage more with the audience. “I wanted to face the crowd and sing,” he says. “The spectacle appealed too, it's pretty physical singing and playing whilst on your feet. I think people enjoy seeing you struggle and take chances.”
By the time 2019 arrived, Easter had transformed his live show and sound from his early days so after signing to Moshi Moshi, it made sense to go back into the studio and rerecord tracks from his first two EPs and debut album Here or Nowhere (released on Lost Maps). “The premise was to record the versions of the songs I'd been performing live using mainly accordion, drum machine and drone,” he says. “One take, no overdubs, straight to tape. All done in Glasgow’s Green Door Studios.”
The result captures a stark and potent sense of musical evolution and growing craftsmanship. Music that wrestles equally with honesty, fragility and intensity. Lyrically, the album is introspective, covering the subjects of “Love, injustice, commonality, longing, acceptance, and having no regrets.” With Easter joking that, “I probably do melancholy a bit too well. But I'm working on that.” Balanced with the melancholy is beauty and tenderness however.
With Easter reconnecting with music of his past, it also highlights how far he’s come on his idiosyncratic journey. A determined and impassioned artist who follows his musical gut rather than any defined career plan. “I don't feel comfortable with purpose,” he says. “It sounds a bit steady, like you're responsible for something. I don't really know what I'm looking for. For now, it’s just me in a room with plenty of scope
FORMAT INFORMATION
LP Info: Blue vinyl LP
Hypnotic sequences, majestic drones and deep listening ambience collide on a new album from Richard Norris entitled ‘Elements’.
The five long tracks use warm, pulsing electronics and washes of synthesiser to create an evocative and widescreen sound.
Electronic Sound magazine called Richard “the electronic musician’s electronic musician’, whilst Time Out New York referred to him as an ‘unhinged sonic magician’ He has a deep and broad history spanning decades of electronic culture, which serves him well on ‘Elements’.
His background includes working alongside Soft Cell’s Dave Ball in the Grid, alongside Erol Alkan in Beyond The Wizards Sleeve, and collaborating and mixing countless artists including Brian Eno, Sun Ra, Robert Fripp, Warpaint, Tame Impala, Joe Strummer, Yello and many more. He has also recently released two deep listening ambient albums entitled ‘Abstractions’ on the Group Mind label, as well as a series of weekly 20 minute pieces called ‘Music For Healing’ during lockdown.
• Gatefold sleeve.
• Hand Numbered.
• Limited to 300 copies.
• Custom Dinked sticker.
LP Info: Black vinyl edition.
The five long tracks use warm, pulsing electronics and washes of synthesiser to create an evocative and widescreen sound.
Electronic Sound magazine called Richard “the electronic musician’s electronic musician’, whilst Time Out New York referred to him as an ‘unhinged sonic magician’ He has a deep and broad history spanning decades of electronic culture, which serves him well on ‘Elements’.
His background includes working alongside Soft Cell’s Dave Ball in the Grid, alongside Erol Alkan in Beyond The Wizards Sleeve, and collaborating and mixing countless artists including Brian Eno, Sun Ra, Robert Fripp, Warpaint, Tame Impala, Joe Strummer, Yello and many more. He has also recently released two deep listening ambient albums entitled ‘Abstractions’ on the Group Mind label, as well as a series of weekly 20 minute pieces called ‘Music For Healing’ during lockdown.
FORMAT INFORMATION
Dinked Edition LP Info: • Exclusive picture disc.• Gatefold sleeve.
• Hand Numbered.
• Limited to 300 copies.
• Custom Dinked sticker.
LP Info: Black vinyl edition.
Marilyn Manson returns with his eleventh studio album WE ARE CHAOS via Loma Vista Recordings. Co-produced by Manson and GRAMMY® Award winner Shooter Jennings [Brandi Carlile, Tanya Tucker], the ten-track opus was written, recorded, and finished before the global pandemic. Manson heralds the record’s arrival with the title track and lead single “WE ARE CHAOS.”
Manson’s painting, Infinite Darkness, which can be seen on the album cover, was specifically created to accompany the music. His fine art paintings continue to be shown all over the world, including gallery and museum exhibitions from Miami to Vienna to Moscow.
Manson says of the album, “When I listen to WE ARE CHAOS now, it seems like just yesterday or as if the world repeated itself, as it always does, making the title track and the stories seem as if we wrote them today. This was recorded to its completion without anyone hearing it until it was finished. There is most definitely a side A and side B in the traditional sense. But just like an LP, it is a flat circle and it’s up to the listener to put the last piece of the puzzle into the picture of songs.
“This concept album is the mirror Shooter and I built for the listener - it’s the one we won’t stare into. There are so many rooms, closets, safes and drawers. But in the soul or your museum of memories, the worst are always the mirrors. Shards and slivers of ghosts haunted my hands when I wrote most of these lyrics.
“Making this record, I had to think to myself: ‘Tame your crazy, stitch your suit. And try to pretend that you are not an animal’ but I knew that mankind is the worst of them all. Making mercy is like making murder. Tears are the human body’s largest export.”
LP Info: Single Black Vinyl w/ 24x24 Poster
Deluxe CD Info: Limited Edition Softpack with two bonus acoustic tracks (‘Bricks & Mortar’ Exclusive)
Manson’s painting, Infinite Darkness, which can be seen on the album cover, was specifically created to accompany the music. His fine art paintings continue to be shown all over the world, including gallery and museum exhibitions from Miami to Vienna to Moscow.
Manson says of the album, “When I listen to WE ARE CHAOS now, it seems like just yesterday or as if the world repeated itself, as it always does, making the title track and the stories seem as if we wrote them today. This was recorded to its completion without anyone hearing it until it was finished. There is most definitely a side A and side B in the traditional sense. But just like an LP, it is a flat circle and it’s up to the listener to put the last piece of the puzzle into the picture of songs.
“This concept album is the mirror Shooter and I built for the listener - it’s the one we won’t stare into. There are so many rooms, closets, safes and drawers. But in the soul or your museum of memories, the worst are always the mirrors. Shards and slivers of ghosts haunted my hands when I wrote most of these lyrics.
“Making this record, I had to think to myself: ‘Tame your crazy, stitch your suit. And try to pretend that you are not an animal’ but I knew that mankind is the worst of them all. Making mercy is like making murder. Tears are the human body’s largest export.”
FORMAT INFORMATION
Coloured LP Info: Limited Edition indies-only Single White Vinyl w/ 24x24 PosterLP Info: Single Black Vinyl w/ 24x24 Poster
Deluxe CD Info: Limited Edition Softpack with two bonus acoustic tracks (‘Bricks & Mortar’ Exclusive)
Elbow finally release the long awaited b-sides album: 'Dead In The Boot' which brings together b-sides and hard to find non-album tracks from the band's lengthy recording career. The release tells an alternative elbow story beginning with the early years, with tracks like 'None One' from the original 'Newborn' EP in 2000, right up to 'Buffalo Ghosts' from last April's 'Open Arms'.
"Asleep In The Back" was the debut album from Elbow, originally released in 2001 to huge critical acclaim and reaching number 14 in the UK charts. The album was nominated for that year's Mercury Music Prize which of course they would go on to win in 2008 for "Seldom Seen Kid". "Asleep In The Back" is home to many timeless tracks which remain firm fan favourites and make up a good proportion of their live shows now, including the singles "Powder Blue", "Red" and "Newborn" and the epic "Scattered Black And Whites".
So everyone's saying Elbow are happier now? Don't worry this is still heavy and atmospheric, but it's somehow more liberating, less cloying, than their debut album. Sure, there's the creepily sinister "I've Got Your Number" and they still have a proggy bent, like Radiohead but with ace songs. But there's jazzy vibes, lovely electronica and in "Switching Off" they have another mega slowie. There's mad percussion, gospel choirs, beautiful poetry: all so introspective yet somehow anthemic. Sadness that makes you feel 10 foot tall? Now that's wonderful. And weird! Best of all is "Grace Under Pressure", so awe inspiring it sounds like a hymn. It ends with the crowd at Glastonbury chanting 'we still believe in love so fuck you!'. It's the best thing they've ever done. And the album's at least matched its incredible predecessor. Perhaps even surpassed. There's plenty of unravelling and bewitching to be getting on with here. We'll know by Xmas!!!
'Leaders of the Free World', Elbow's third album, sees the band try to beat down their major league contemporaries with a more ambitious set of songs. The results are impressive and may form the band's best work yet. Beginning with the beautiful, slow-building "Station Approach", and ending with the short but touching "Puncture Repair", 'Leaders of the Free World' takes in an a host of minor classics along the way including the captivating title track. The album is the result of a collaborative projecy between the band and film-makers, the Soup Collective.
‘The Take Off and Landing of Everything’ was recorded in Real World Studios and at the band’s facilities at Blueprint Studios, Salford. As with previous albums, the million selling ‘The Seldom Seen Kid’ and platinum follow up ‘build a rocket boys!’ it was produced by the band’s keyboardist Craig Potter. The making of ‘The Take Off and Landing of Everything’ saw the band take a new approach to writing and recording. Previously songs were mostly developed by the band as a whole but this new album sees individual members and subgroups take the lead on several tracks.
‘Honey Sun’ was written and recorded at home by guitarist Mark Potter, his brother Craig wrote the music for ‘Real Life (Angel)’ and bassist Pete Turner built ‘Colour Fields’ using apps on his iPad. The first track to be heard from the album, ‘Fly Boy Blue / Lunette’ was developed by drummer Richard Jupp alongside Pete and Mark whilst both Guy and Craig were away from the studio.
The album features several guests including the Hallé Orchestra (‘Manchester’s oldest band’ as Guy affectionately calls them) with Pete McPhail, Tim Barber, Bob Marsh and Kat Curlett adding brass to selected tracks and tour mate and long term friend Jimi Goodwin of Doves adding backing vocals on ‘New York Morning’.
Despite the changes in approach musically and lyrically ‘The Take Off and Landing of Everything’ contains many familiar elements for fans of the band. Early taster ‘Fly Boy Blue / Lunette’ harks back to debut single ‘Newborn’ in its step change melody and rhythmic shift mid song whilst ‘New York Morning’, the first single proper from the album, carries at its centre the type of life affirming refrain that run through elbow songs from ‘Scattered Black and Whites’ from their debut to ‘Open Arms’ from ‘build a rocket boys!’.
Sharp eyed elbow watchers will also note the presence of ‘Charge’, which was performed live during the band’s last run of UK arena shows during the ‘build a rocket boys!’ campaign in December 2012. The song demonstrates that elbow retain an ability to deliver the darker side of human nature that echoes the likes of ‘Little Beast’ and ‘I’ve Got Your Number’ from earlier albums.
Familiar themes return, the welcoming of old friends, the mourning of past loves and, as Guy would say ‘some of the big and little, positive and negative, life experiences that any group of men approaching forty can expect’.
‘Honey Sun’ was written and recorded at home by guitarist Mark Potter, his brother Craig wrote the music for ‘Real Life (Angel)’ and bassist Pete Turner built ‘Colour Fields’ using apps on his iPad. The first track to be heard from the album, ‘Fly Boy Blue / Lunette’ was developed by drummer Richard Jupp alongside Pete and Mark whilst both Guy and Craig were away from the studio.
The album features several guests including the Hallé Orchestra (‘Manchester’s oldest band’ as Guy affectionately calls them) with Pete McPhail, Tim Barber, Bob Marsh and Kat Curlett adding brass to selected tracks and tour mate and long term friend Jimi Goodwin of Doves adding backing vocals on ‘New York Morning’.
Despite the changes in approach musically and lyrically ‘The Take Off and Landing of Everything’ contains many familiar elements for fans of the band. Early taster ‘Fly Boy Blue / Lunette’ harks back to debut single ‘Newborn’ in its step change melody and rhythmic shift mid song whilst ‘New York Morning’, the first single proper from the album, carries at its centre the type of life affirming refrain that run through elbow songs from ‘Scattered Black and Whites’ from their debut to ‘Open Arms’ from ‘build a rocket boys!’.
Sharp eyed elbow watchers will also note the presence of ‘Charge’, which was performed live during the band’s last run of UK arena shows during the ‘build a rocket boys!’ campaign in December 2012. The song demonstrates that elbow retain an ability to deliver the darker side of human nature that echoes the likes of ‘Little Beast’ and ‘I’ve Got Your Number’ from earlier albums.
Familiar themes return, the welcoming of old friends, the mourning of past loves and, as Guy would say ‘some of the big and little, positive and negative, life experiences that any group of men approaching forty can expect’.
Black Mass is an album of supernatural electronics from synth pioneer Mort Garson, the mastermind behind the cult classic Mother Earth’s Plantasia. Originally released in 1971, it’s his only release under the Lucifer moniker, and it taps into a profound darkness that may surprise fans of his sunnier work. These songs are Garson’s synthesizer interpretations of occult and esoteric phenomena ranging from the Satanic black mass, to exorcism, to witchcraft, and beyond, and they’ve inspired artists from Coil to Oneohtrix Point Never. This deluxe remastered edition presents the album in full with all original liner notes.
ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.
• Supernatural and occult-themed electronic music from composer Mort Garson (Mother Earth’s Plantasia)
• Served as inspiration to contemporary artists from Coil to Oneohtrix Point Never
• Remastered from the original master tapes
• Pink vinyl limited to 3000 copies
ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.
• Supernatural and occult-themed electronic music from composer Mort Garson (Mother Earth’s Plantasia)
• Served as inspiration to contemporary artists from Coil to Oneohtrix Point Never
• Remastered from the original master tapes
• Pink vinyl limited to 3000 copies
FORMAT INFORMATION
Coloured LP Info: limited pink LP
The pioneering electronic composer Mort Garson (Mother Earth’s Plantasia) • takes on supernatural phenomena with lush synth grooves on The Unexplained, his only release under the name Ataraxia. Subtitled Electronic Musical Impressions of the Occult, the album explores tarot, astral projection, seances, and more with Garson’s signature Moog synthesizer serving as the listener’s tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes.
ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.
ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.
FORMAT INFORMATION
Coloured LP Info: Limited orange vinyl.
Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear? While not much is known now about the exact nature of their collaboration, we have Garson’s magnificent score as a record of those heady, early days after his lifechanging discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film’s release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn’t You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.
ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.
• Reissue of Mort Garson’s long-out-of-print soundtrack for the 1970 experimental film Didn’t You Hear?
• One of the first-ever all-electronic film scores
• Remastered from the original master tapes
• Silver vinyl limited to 2000 copies
ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.
• Reissue of Mort Garson’s long-out-of-print soundtrack for the 1970 experimental film Didn’t You Hear?
• One of the first-ever all-electronic film scores
• Remastered from the original master tapes
• Silver vinyl limited to 2000 copies
FORMAT INFORMATION
Coloured LP Info: Limited silver vinyl.
Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.
Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.
Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.
Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!
Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.
Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.
Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!
FORMAT INFORMATION
Coloured LP Info: Limited purple vinyl.
Compilation album curated by Kaitlyn Aurelia Smith.
The directive for the composers featured on Breathing Instruments was, in effect, to accentuate the ways in which instruments sound like they are breathing. Some have recreated the literal experience of feeling or hearing the human breath. Others take a more abstract approach, where “breathing” is more motif than object of emulation.
From hushed pulsations and distant vocals in Kathryn Shuman’s ‘Objects creating a womb-like environment to Julianna Barwick’s blissful ‘Newborn’ the tracks give sonic form to the experience of emerging from the womb.
There is also a striking concurrence of woodland sounds throughout this collection from the ghostly tones of Emily A Srague’s ‘Flew’ to Cool Maritime and Kaitlyn Aurelia Smith’s dew dripped ‘Daybreak’.
Meanwhile the undulating seascape of Geotic’s ‘Uncaught’ conjures moments of Evening Star by Fripp/ Eno, but supplants that album’s crystalline production with the warm crackle of vinyl.
If we learn anything from Breathing Instruments it is that we are inextricable from the natural world.
The directive for the composers featured on Breathing Instruments was, in effect, to accentuate the ways in which instruments sound like they are breathing. Some have recreated the literal experience of feeling or hearing the human breath. Others take a more abstract approach, where “breathing” is more motif than object of emulation.
From hushed pulsations and distant vocals in Kathryn Shuman’s ‘Objects creating a womb-like environment to Julianna Barwick’s blissful ‘Newborn’ the tracks give sonic form to the experience of emerging from the womb.
There is also a striking concurrence of woodland sounds throughout this collection from the ghostly tones of Emily A Srague’s ‘Flew’ to Cool Maritime and Kaitlyn Aurelia Smith’s dew dripped ‘Daybreak’.
Meanwhile the undulating seascape of Geotic’s ‘Uncaught’ conjures moments of Evening Star by Fripp/ Eno, but supplants that album’s crystalline production with the warm crackle of vinyl.
If we learn anything from Breathing Instruments it is that we are inextricable from the natural world.
Latest iteration of John Dwyer’s everchanging, impossible-to-describe band.
Witness the ever-changing, ever-mutating threat that is reality. Perception is under duress; sensibility is bending everyday under the barrage of nonsense. One must make note of whom one is and what one has become: look into the mirror of the planet-killers—psychic cannibals infiltrate and contaminate once familiar and seemingly secure territories… formidable foes indeed! What powers these beasts? What fuels discord and hatred? The behemoth of a “civil” society? What are the weapons at one’s disposal? Generosity is the aegis against greed, empathy is the armor to deflect apathy, love is the club to abate hate…the fog is lifting and humans are opening their eyes.
And so Castle Face offers this field recording, the Osees Protean Threat, from the pits as a quick booster between protein pills and recycled sweat beverage anthems to assist the listener to not worship at the altar of violence and greed, to not offer oneself up for free, to stand up and be vigilant! Truth will not be found in the speeches and photo ops of the overlords— stand strong and together under the gaze of the oppressors. Stand vigilant, united with those who don’t have the same privileges. Demand respect and a peaceful life for all. This recording is at the apogee of scuzz—punk anthem amulets for the ears and heart, a battery for one’s core. Be strong. Be human. Be love.
Witness the ever-changing, ever-mutating threat that is reality. Perception is under duress; sensibility is bending everyday under the barrage of nonsense. One must make note of whom one is and what one has become: look into the mirror of the planet-killers—psychic cannibals infiltrate and contaminate once familiar and seemingly secure territories… formidable foes indeed! What powers these beasts? What fuels discord and hatred? The behemoth of a “civil” society? What are the weapons at one’s disposal? Generosity is the aegis against greed, empathy is the armor to deflect apathy, love is the club to abate hate…the fog is lifting and humans are opening their eyes.
And so Castle Face offers this field recording, the Osees Protean Threat, from the pits as a quick booster between protein pills and recycled sweat beverage anthems to assist the listener to not worship at the altar of violence and greed, to not offer oneself up for free, to stand up and be vigilant! Truth will not be found in the speeches and photo ops of the overlords— stand strong and together under the gaze of the oppressors. Stand vigilant, united with those who don’t have the same privileges. Demand respect and a peaceful life for all. This recording is at the apogee of scuzz—punk anthem amulets for the ears and heart, a battery for one’s core. Be strong. Be human. Be love.
In February 2018, Roy Ayers performed four sold out shows in Los Angeles as part of the Jazz Is Dead Black History Month series. It wasn’t until 2020 that fans of Ayers discovered that in addition to those shows, the legendary vibraphone player had also recorded an entire album of new material with Adrian Younge and Ali Shaheed Muhammad.
Over the course of its eight original compositions, written collaboratively by Younge, Shaheed Muhammad & Ayers and recorded at Younge’s Linear Labs in Los Angeles, the resulting album sounds both like an unearthed an unreleased album from Ayers’ classic period in the 1970s (which produced the oft-sampled “Red, Black & Green,” “We Live In Brooklyn, Baby,” “Everybody Loves The Sunshine,” and “Running Away), as well as something startling, new and unexpected. Joining Ayers, Younge & Shaheed Muhammad onthis musical journey are drummer Greg Paul, vocalists Loren Oden, Joy Gilliam, Saudia Yasmein, Elgin Clark & Anitra Castleberry, as well as Phil Ranelin & Wendell Harrison of the legendary Spiritual Jazz label Tribe Records.
The 8 tracks on this album testify to the love not only of a legendary musician’s legacy, but to the vitality & necessity of this music and these sounds in the present era, a thread that will likely run throughout all of the upcoming releases from Jazz Is Dead Records.
Over the course of its eight original compositions, written collaboratively by Younge, Shaheed Muhammad & Ayers and recorded at Younge’s Linear Labs in Los Angeles, the resulting album sounds both like an unearthed an unreleased album from Ayers’ classic period in the 1970s (which produced the oft-sampled “Red, Black & Green,” “We Live In Brooklyn, Baby,” “Everybody Loves The Sunshine,” and “Running Away), as well as something startling, new and unexpected. Joining Ayers, Younge & Shaheed Muhammad onthis musical journey are drummer Greg Paul, vocalists Loren Oden, Joy Gilliam, Saudia Yasmein, Elgin Clark & Anitra Castleberry, as well as Phil Ranelin & Wendell Harrison of the legendary Spiritual Jazz label Tribe Records.
The 8 tracks on this album testify to the love not only of a legendary musician’s legacy, but to the vitality & necessity of this music and these sounds in the present era, a thread that will likely run throughout all of the upcoming releases from Jazz Is Dead Records.
Delmer Darion is the West Midlands-born and North London-based experimental electronic/ IDM project of Tom Lenton and Oliver Jack, taking its name from the deep-sea diver found at the top of a charred tree after a forest fire in Paul Thomas Anderson’s cult film ‘Magnolia’. “There’s no reason behind it,” they say, “we just liked the absurdity of seeing a scuba diver in full gear at the top of a really tall tree.”
Their debut album ‘Morning Pageants’ has been five-years in the making: a sprawling, industrial ten-track account of the death of the devil as a tragedy for the imagination, inspired by a line in the Wallace Stevens poem ‘Esthétique du Mal’, due for release this October on Practise Music (Squid, Shards, William Doyle).
Archival accounts and true stories patter against Delmer Darion’s simulated journey in and out of hell. A monk is tasked to write down all the world’s knowledge in one night; a woman feigns her own demonic possession to cash in from a roadshow, exposed as a fraud only when unknowingly made to drink holy water, gagged by a piece of the True Cross; a violinist is refused a Catholic burial, suspected to be in leagues with the devil; a writer pretends to be possessed by the spirit of a poet, and produces volumes of work at her command.
A vast aural landscape is covered from the opening melodies coded in the constructed language of Solresol. Dissolved folk songs curtail the lo-fi edge of Gareth Williams & Mary Currie’s ‘Flaming Tunes’. At times it’s Yves Tumor being hit around the head with a disco ball, at others there’s an ambient and sinister warmth like the crackle of a burning piano. Decentered rhythmic assemblies of analogue drum machines play through a series of guitar pedals and thunderous bass swells from a self-oscillating filter feedback patch. Sequenced together, they’re shrouded in the same intricate noise of self-sampling and tape degradation.
Collaborations with Guest Singer (Heist or Hit) and Private Agenda (Lo Recordings) play against vocal features from quiet bastions of London’s underground alt-folk scene. Scottish songwriter Genevieve Dawson’s vocals on closing track ‘Television’ end the album’s tragic narrative with the comical and pathetic image of the devil curled up inside a TV set, trying to spread occultist tales through Saturday morning cartoons.
The artwork for ‘Morning Pageants’ is a photograph of a print made by Oliver, based on a series of 16th Century works called ‘The Dance of Death’ by Hans Holbein, depicting different people being led away by Death. Recreating one of the prints, they replaced the figure being led away with an original drawing of Satan. The final artwork is printed on Nepalese Lokta paper, a waxy yellow paper that has been used for lots of sacred texts.
Mastered in Minneapolis by Huntley Miller (Low, Bon Iver).
Includes a 24-page chapbook and a numbered double-sided art prints signed by the band.
Their debut album ‘Morning Pageants’ has been five-years in the making: a sprawling, industrial ten-track account of the death of the devil as a tragedy for the imagination, inspired by a line in the Wallace Stevens poem ‘Esthétique du Mal’, due for release this October on Practise Music (Squid, Shards, William Doyle).
Archival accounts and true stories patter against Delmer Darion’s simulated journey in and out of hell. A monk is tasked to write down all the world’s knowledge in one night; a woman feigns her own demonic possession to cash in from a roadshow, exposed as a fraud only when unknowingly made to drink holy water, gagged by a piece of the True Cross; a violinist is refused a Catholic burial, suspected to be in leagues with the devil; a writer pretends to be possessed by the spirit of a poet, and produces volumes of work at her command.
A vast aural landscape is covered from the opening melodies coded in the constructed language of Solresol. Dissolved folk songs curtail the lo-fi edge of Gareth Williams & Mary Currie’s ‘Flaming Tunes’. At times it’s Yves Tumor being hit around the head with a disco ball, at others there’s an ambient and sinister warmth like the crackle of a burning piano. Decentered rhythmic assemblies of analogue drum machines play through a series of guitar pedals and thunderous bass swells from a self-oscillating filter feedback patch. Sequenced together, they’re shrouded in the same intricate noise of self-sampling and tape degradation.
Collaborations with Guest Singer (Heist or Hit) and Private Agenda (Lo Recordings) play against vocal features from quiet bastions of London’s underground alt-folk scene. Scottish songwriter Genevieve Dawson’s vocals on closing track ‘Television’ end the album’s tragic narrative with the comical and pathetic image of the devil curled up inside a TV set, trying to spread occultist tales through Saturday morning cartoons.
The artwork for ‘Morning Pageants’ is a photograph of a print made by Oliver, based on a series of 16th Century works called ‘The Dance of Death’ by Hans Holbein, depicting different people being led away by Death. Recreating one of the prints, they replaced the figure being led away with an original drawing of Satan. The final artwork is printed on Nepalese Lokta paper, a waxy yellow paper that has been used for lots of sacred texts.
Mastered in Minneapolis by Huntley Miller (Low, Bon Iver).
FORMAT INFORMATION
Deluxe LP Info: Limited edition black vinyl LP housed in a Deluxe Gatefold Sleeve.Includes a 24-page chapbook and a numbered double-sided art prints signed by the band.
The time had come, Angel Olsen realized in the fading summer of 2018, to take her new songs out of the house. Olsen's 2016 marvel, My Woman, had been a career breakthrough, but it catalyzed a period of personal tumult, too: a painful breakup, an uneasy recovery, an inadequate reckoning. At home in North Carolina's Blue Ridge Mountains, Olsen penned songs that finally grappled with these troubles, particularly love:"how forever is too much to promise, how relationships can lock us into static versions of ourselves, how you can go through hell just to make someone else happy. These heartsore explorations shape Whole New Mess, Olsen's first solo album since her 2012 debut and an emotional portrait so intimate and vulnerable you can hear her find meaning in these crises in real-time.
At least nine of the eleven songs on Whole New Mess should sound familiar to anyone who has heard All Mirrors, Olsen's grand 2019 masterpiece that earned high honors on prestigious year-end lists and glossy spreads in stylish magazines. "Lark," "Summer," "Chance" - they are all here, at least in some skeletal form and with slightly different titles. But these are not the demos for All Mirrors. Instead, Whole New Mess is its own record with its own immovable mood, with Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest. If the lavish orchestral arrangements and cinematic scope of All Mirrors are the sound of Olsen preparing her scars for the wider world to see, Whole New Mess is the sound of her first figuring out their shape, making sense for herself of these injuries.
Considered alongside All Mirrors, Whole New Mess is a poignant and pointed reminder that songs are more than mere collections of words, chords, and even melodies. They are webs of moods and moments and ideas, qualities that can change from one month to the next and can say just as much as the perfect progression or an exquisite chord. In that sense, these 11 songs - "solitary, frank, and unflinching examinations of what it's like to love, lose, and survive -" are entirely new. This is the sound of Angel Olsen, sorting through the kind of trouble we've all known, as if just for herself and whoever else needs it.
At least nine of the eleven songs on Whole New Mess should sound familiar to anyone who has heard All Mirrors, Olsen's grand 2019 masterpiece that earned high honors on prestigious year-end lists and glossy spreads in stylish magazines. "Lark," "Summer," "Chance" - they are all here, at least in some skeletal form and with slightly different titles. But these are not the demos for All Mirrors. Instead, Whole New Mess is its own record with its own immovable mood, with Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest. If the lavish orchestral arrangements and cinematic scope of All Mirrors are the sound of Olsen preparing her scars for the wider world to see, Whole New Mess is the sound of her first figuring out their shape, making sense for herself of these injuries.
Considered alongside All Mirrors, Whole New Mess is a poignant and pointed reminder that songs are more than mere collections of words, chords, and even melodies. They are webs of moods and moments and ideas, qualities that can change from one month to the next and can say just as much as the perfect progression or an exquisite chord. In that sense, these 11 songs - "solitary, frank, and unflinching examinations of what it's like to love, lose, and survive -" are entirely new. This is the sound of Angel Olsen, sorting through the kind of trouble we've all known, as if just for herself and whoever else needs it.
The La’s are one of the most enigmatic bands of the last few decades releasing only a handful of singles and one 'official' critically acclaimed album (which was disowned by the band itself!). Lee Mavers (singer/songwriter) has stated repeatedly, that the closest he came to capturing his perfect vision was with the original recordings- which now appear here on limited vinyl with an undisputed spirit and freshness that could never be recaptured.
With so much mythologising around the bands early recordings, and their eventual disappearance, Viper are proud to present the songs which appeared thirty years ago on The first La's album, only as nature intendedauthentic, endearing and quite simply magical. Amongst many highlights is the first ever recording of There She Goes, 'Live'- now correctly considered to be a standard. Noel Gallagher famously stated that :'Oasis wanted to finish off what the La's had started' It's fair to say it's right here where Brit Pop started.
(Sleeve notes include an exclusive interview with La's guitarist Paul Hemmings)
With so much mythologising around the bands early recordings, and their eventual disappearance, Viper are proud to present the songs which appeared thirty years ago on The first La's album, only as nature intendedauthentic, endearing and quite simply magical. Amongst many highlights is the first ever recording of There She Goes, 'Live'- now correctly considered to be a standard. Noel Gallagher famously stated that :'Oasis wanted to finish off what the La's had started' It's fair to say it's right here where Brit Pop started.
(Sleeve notes include an exclusive interview with La's guitarist Paul Hemmings)
FORMAT INFORMATION
LP Info: LIMITED REMASTERED VINYL REPRESS WITH NEW COVER ART AND SLEEVE NOTES.
The mythology that has grown around The La’s has made them one of the most enigmatic bands of the last few decades. The story began in a hard hit Liverpool in 1984, when Mike Badger teamed up with local lad Lee Mavers to write and sing their way out of the rut the city was in. Over the next two years they co-wrote material inspired by their love of 'roots' music such as: Bo Diddley, raw 1950s Rockabilly, Captain Beefheart and the punk bands they had both seen in local club Eric's a few years before. Early reviews called them ‘Surreal Rock ‘n’ Roll’ (Melody Maker) or 'Tom Waits could have dreamt up The La's 'Sweet 35' (NME) These earliest La's recordings that now appear here on limited edition vinyl are raw & spirited, defining a unique, creative time in the band’s history and firmly point the way to future success. 'Had The La's been able to accommodate Badger and Mavers could world domination have been far away?'MOJO (Sleeve notes include an exclusive interview with co-founder Mike Badger)
'Multi award-winning saxophonist and composer Nubya Garcia is back with her much anticipated debut album, SOURCE. Her first release on Concord Records, under the iconic Concord Jazz imprint. The album follows her 2018 self-released EP, WHEN WE ARE, the title track of which was described as “effervescent” by The New York Times and named one of NPR’s Best Songs of 2018. Her debut EP, NUBYA’s 5IVE, released in 2017, was hailed as “exceptional” by The Vinyl Factory and sold out on vinyl within 24 hours. In 2018, Garcia also featured on five of the nine tracks on WE OUT HERE, the Brownswood compilation project celebrating London’s young and exciting jazz scene.
She won the Jazz FM Breakthrough Act of the Year Award and the Sky Arts Breakthrough Act of the Year Award in 2018, and the Jazz FM UK Jazz Act of the Year Award in 2019. A collection of sonic mantras to live by, SOURCE is a deeply personal offering in which Garcia maps cartographies around the coordinate points of her identity, her family histories, grief, afro-diasporic connections and collectivism. SOURCE is fundamentally about getting grounded within yourself, so that you can be present with others. It's about a realization of personal and collective power: the evolution of the saxophonist’s values as she re-connects with herself, her roots and her community. Garcia digs deep to present an album with a global outlook: from London to Bogota, Caura to Georgetown, it's a record drawing inspiration from the many places Garcia calls home.
She won the Jazz FM Breakthrough Act of the Year Award and the Sky Arts Breakthrough Act of the Year Award in 2018, and the Jazz FM UK Jazz Act of the Year Award in 2019. A collection of sonic mantras to live by, SOURCE is a deeply personal offering in which Garcia maps cartographies around the coordinate points of her identity, her family histories, grief, afro-diasporic connections and collectivism. SOURCE is fundamentally about getting grounded within yourself, so that you can be present with others. It's about a realization of personal and collective power: the evolution of the saxophonist’s values as she re-connects with herself, her roots and her community. Garcia digs deep to present an album with a global outlook: from London to Bogota, Caura to Georgetown, it's a record drawing inspiration from the many places Garcia calls home.
FORMAT INFORMATION
Coloured LP Info: Indies only splatter vinyl.
‘LiteAce Frequency’ is a collection of songs influenced by 70s Manila Sound and Pinoy soul, as well as incorporating elements of Japanese funk, Brazilian sounds and hip hop. ‘LiteAce Frequency’ follows Vex Ruffin’s ‘Emilio’ EP, released on Stones Throw in May. The album will appeal to fans of Bullion, James Pants, Dam-Funk, Teebs, Daedelus, Paul White, Anika, Toro Y Moi, Ariel Pink.
Vex Ruffin’s music has featured on soundtracks for HBO’s hit series ‘Girls’ and Netflix’s ‘Russian Doll’.
Vex Ruffin has a monthly radio show on NTS and will be supporting the release of his new album with DJ sets, live streamed performances and active social media engagement.
Vex Ruffin’s music has featured on soundtracks for HBO’s hit series ‘Girls’ and Netflix’s ‘Russian Doll’.
Vex Ruffin has a monthly radio show on NTS and will be supporting the release of his new album with DJ sets, live streamed performances and active social media engagement.
Philadelphian multi-instrumentalist, producer and engineer SWARVY makes his solo debut on Kamaal Williams's imprint Black Focus with a stunning new EP entitled ‘Sunny Days Blue’, his first release as the primary vocalist. Smoked-out sound beds and lofi guitars sit gently with SWARVY’s voice, creating a juxtaposition of melancholic, yet sweet, melodies that loop in your mind’s ear long after the record stops spinning.
‘Bones’ opens with a stripped back rhythm section and existential observations referencing the human condition of overthinking, a recurring theme throughout the EP. ‘Cool’, ‘No Compute’ and ‘Smile’ subtly infuse jazz, funk and hip hop elements, while ‘New Moon’ plays out as a low slung hypnotic hymn echoing gracefully into the record’s closer ‘Ginger’ - a meditative ambient spiritual for solo piano.
Since relocating to Los Angeles in 2015, SWARVY produced a variety of records via DJ House Shoes’ Street Corner Music, Leaving Records and Fresh Selects. His writing and engineering credits extend to dozens of tracks by artists such as Maxo, Earl Sweatshirt, Nia Andrews, Mndsgn, Liv.e and the late, legendary Tony Allen.
‘Bones’ opens with a stripped back rhythm section and existential observations referencing the human condition of overthinking, a recurring theme throughout the EP. ‘Cool’, ‘No Compute’ and ‘Smile’ subtly infuse jazz, funk and hip hop elements, while ‘New Moon’ plays out as a low slung hypnotic hymn echoing gracefully into the record’s closer ‘Ginger’ - a meditative ambient spiritual for solo piano.
Since relocating to Los Angeles in 2015, SWARVY produced a variety of records via DJ House Shoes’ Street Corner Music, Leaving Records and Fresh Selects. His writing and engineering credits extend to dozens of tracks by artists such as Maxo, Earl Sweatshirt, Nia Andrews, Mndsgn, Liv.e and the late, legendary Tony Allen.
Emmy Award-winning comedian John Mulaney aims to recapture the magic of that bygone television era - when children sang songs about their feelings with celebrity guests on funky outdoor sets - with ‘John Mulaney & The Sack Lunch Bunch’, a television special that premiered December 24, 2019 on Netflix. Now, Christmas is coming again like never before, with physical editions of the soundtrack. This includes a special peelable sticker on the cover of the LP edition, allowing children of all ages to pick at it.
Who are John Mulaney & The Sack Lunch Bunch and what is this album? Well, John Mulaney is a 6ft tall comedian with many credits and two awards and he was born on a humid August night in 1982. The Sack Lunch Bunch is a group of children ages 8-13, born after the turn of the 21st Century, and they are each unique human beings with way more talent than Mr. Mulaney.
With the brilliant musical chameleon and Emmy nominated composer Eli Bolin, Mulaney and his co-writer Marika Sawyer put together some songs and then were joined by guests like David Byrne, Tony Awardwinner André De Shields, Annaleigh Ashford, Shereen Pimentel and Jake Gyllenhaal.
There are probable hits like ‘Grandma’s Boyfriend Paul’, inspired by the breezy piano pop of Carole King’s ‘Really Rosie’. ‘Plain Plate of Noodles’ may be a child’s existential food lament but you can still dance to its Three Dog Night-inspired funk. ‘I Saw a White Lady Standing on the Street Just Sobbing (and I Think About It Once a Week)’ is a daydream made of the rich major 7th chords of Laura Nyro layered with the warm flugelhorn that seems to whisper Burt Bacharach.
Calypso, New Orleans jazz and even the Alan Parsons’ Project’s ‘Eye in the Sky’ make up the DNA of other Sack Lunch songs. David Byrne lent his time, his voice and his whole essence for a song that demands the listener ‘Pay Attention’. Bolin, Byrne, Sawyer and Mulaney wrote it in 2019 but it’s also a nod to a bizarre boy back in the 1980s named John who was thunderstruck by Talking Heads’ ‘Warning Sign’ and its command: “Pay Attention, Pay Attention/I’m talking to you and I hope you’re concentrating.”
Who are John Mulaney & The Sack Lunch Bunch and what is this album? Well, John Mulaney is a 6ft tall comedian with many credits and two awards and he was born on a humid August night in 1982. The Sack Lunch Bunch is a group of children ages 8-13, born after the turn of the 21st Century, and they are each unique human beings with way more talent than Mr. Mulaney.
With the brilliant musical chameleon and Emmy nominated composer Eli Bolin, Mulaney and his co-writer Marika Sawyer put together some songs and then were joined by guests like David Byrne, Tony Awardwinner André De Shields, Annaleigh Ashford, Shereen Pimentel and Jake Gyllenhaal.
There are probable hits like ‘Grandma’s Boyfriend Paul’, inspired by the breezy piano pop of Carole King’s ‘Really Rosie’. ‘Plain Plate of Noodles’ may be a child’s existential food lament but you can still dance to its Three Dog Night-inspired funk. ‘I Saw a White Lady Standing on the Street Just Sobbing (and I Think About It Once a Week)’ is a daydream made of the rich major 7th chords of Laura Nyro layered with the warm flugelhorn that seems to whisper Burt Bacharach.
Calypso, New Orleans jazz and even the Alan Parsons’ Project’s ‘Eye in the Sky’ make up the DNA of other Sack Lunch songs. David Byrne lent his time, his voice and his whole essence for a song that demands the listener ‘Pay Attention’. Bolin, Byrne, Sawyer and Mulaney wrote it in 2019 but it’s also a nod to a bizarre boy back in the 1980s named John who was thunderstruck by Talking Heads’ ‘Warning Sign’ and its command: “Pay Attention, Pay Attention/I’m talking to you and I hope you’re concentrating.”
Imagine a shoreline alone, carved from the continent, without land or water to border it, a rind of possibility, a moon-colored border between land and sea, knowing and unknowing. This is Conceptual Beach, a place John Rossiter, vocalist/guitarist of Los Angeles-based Young Jesus, describes as his long-time mental refuge, where he imagines himself living—like a medieval, stigmata-wrought hermit—all his needs for okay-ness finally met. Their new album, Welcome to Conceptual Beach, first took form as a physical zine in 2016, when the four members of the band were on their first tour together. At that time, it was still somewhere Rossiter inhabited alone, protective of his solitude. Now, he is allowing others to join him there. “The reason it’s called Welcome to… [Conceptual Beach] is because I’m inviting other inner landscapes into it,” Rossiter explains as he describes the transformation of the beach’s terrain into a whole varied emotional world.
Indeed, Welcome to Conceptual Beach elucidates the balance between many contrasting forces: the individual and the collective, the rational and the emotive, the tame and wild. It transforms the complex musicality of much post- and math-rock into a radical, crystalline practice, vibrant and light-casting. The band’s members––including Marcel Borbon (bass), Eric Shevrin (keys), and Kern Haug (drums) in addition to Rossiter himself––refract and reconnect throughout the record, experimenting with new kinds of sounds and composition. They artfully balance the wandering riffs of previous records with irresistible hooks, woven into their characteristic swathes of improvisation to create a shimmering, molten tapestry.
“Faith,” the opening track, runs parallel to the album as a whole: dynamic and groovy and psychedelic and emotional. Each musician has a moment to shine and to speak. Opening with Kern’s version of the Purdie Shuffle, to Marcel’s polyrhythmic bass, to Eric's organ solo, and held together by John's whispered prayer that, “we just might grow,” Young Jesus offer a music uniquely in service to emotion. “(un)Knowing” is a “meditation celebration,” a song about the confusion and pain of re-examining a life—of committing to a life of experience and curiosity. Mixing the spirit and experimentation of OK Computer with the sincerity of Bon Iver, “Root and Crown” is the first song that offers a way out of the traps and patterns of a life. A commitment to grieving, listening, and growing. A devotion to spring, sung from the depths of winter.
Whether it’s a bank-vault-turned-concert-hall in San Francisco, a Brooklyn artists’ collective, a house show in central Connecticut, or a recording studio, a Young Jesus performance is unique and unrepeatable. Recordings are only snapshots of their songs in a given moment. Over dozens of shows, a single song will metamorphosize each time it’s played, taking on infinite new geometries. When they play live, their jamming—a self-selected, unaffected and doggedly genuine term for their complex improvisations—is a visceral, communal experience. They render sound an instinct, filling the space with urgency and joy. The intensity of feeling and connection between the band members and to their music is a thick, palpable force that sweeps audiences up, propelling them into uncharted territories.
On Welcome to Conceptual Beach, Young Jesus pries our sobs from parentheticals and wields them with a brutal but tender force. They take these elements and translate them into a spacious ground for growth, for ourselves, our communities, our world. They affirm that change starts with how we reckon with ourselves as individuals, that we are all magicians, as the closing track of Welcome to Conceptual Beach suggests, “making love and doing dishes,” capable of conjuring new worlds for ourselves, and to live in others’.
Indeed, Welcome to Conceptual Beach elucidates the balance between many contrasting forces: the individual and the collective, the rational and the emotive, the tame and wild. It transforms the complex musicality of much post- and math-rock into a radical, crystalline practice, vibrant and light-casting. The band’s members––including Marcel Borbon (bass), Eric Shevrin (keys), and Kern Haug (drums) in addition to Rossiter himself––refract and reconnect throughout the record, experimenting with new kinds of sounds and composition. They artfully balance the wandering riffs of previous records with irresistible hooks, woven into their characteristic swathes of improvisation to create a shimmering, molten tapestry.
“Faith,” the opening track, runs parallel to the album as a whole: dynamic and groovy and psychedelic and emotional. Each musician has a moment to shine and to speak. Opening with Kern’s version of the Purdie Shuffle, to Marcel’s polyrhythmic bass, to Eric's organ solo, and held together by John's whispered prayer that, “we just might grow,” Young Jesus offer a music uniquely in service to emotion. “(un)Knowing” is a “meditation celebration,” a song about the confusion and pain of re-examining a life—of committing to a life of experience and curiosity. Mixing the spirit and experimentation of OK Computer with the sincerity of Bon Iver, “Root and Crown” is the first song that offers a way out of the traps and patterns of a life. A commitment to grieving, listening, and growing. A devotion to spring, sung from the depths of winter.
Whether it’s a bank-vault-turned-concert-hall in San Francisco, a Brooklyn artists’ collective, a house show in central Connecticut, or a recording studio, a Young Jesus performance is unique and unrepeatable. Recordings are only snapshots of their songs in a given moment. Over dozens of shows, a single song will metamorphosize each time it’s played, taking on infinite new geometries. When they play live, their jamming—a self-selected, unaffected and doggedly genuine term for their complex improvisations—is a visceral, communal experience. They render sound an instinct, filling the space with urgency and joy. The intensity of feeling and connection between the band members and to their music is a thick, palpable force that sweeps audiences up, propelling them into uncharted territories.
On Welcome to Conceptual Beach, Young Jesus pries our sobs from parentheticals and wields them with a brutal but tender force. They take these elements and translate them into a spacious ground for growth, for ourselves, our communities, our world. They affirm that change starts with how we reckon with ourselves as individuals, that we are all magicians, as the closing track of Welcome to Conceptual Beach suggests, “making love and doing dishes,” capable of conjuring new worlds for ourselves, and to live in others’.
The ideal of the residency was to mix things up with special guests, different band lineups, and varied set lists, keeping things fresh and new week-to-week, and this show was the wild card of the bunch.
That's because although Ryan and I have played together for years, and Dave and Spencer have played together for years, neither half of the band had ever met each other. I was tangentially aware of Dave and his music and was intrigued by what I'd heard, so I thought it was a cool idea when Chris Tart, the residency promoter, suggested a collaboration.
So, about 30 minutes after we'd all heard each others voices for the first time, we got up and played for a little over an hour, uninterrupted. The only thing discussed beforehand was that we shouldn't discuss anything beforehand - not a key or a riff to start with, nothing - so as to preserve maximum spontaneity.
I think this music demonstrates a real connection on stage. In other words, each player was completely present and actively listening on the bandstand. Listening back, there are moments I can hear Ryan saying - musically - "Hey, let's go over here! Check this out!," or Spencer being like "Wouldn't it be cool to go down this path?" And we followed. And it was cool.
In my mind, that listening thing is the number one most important factor in any collaboration or cooperative effort, but especially in improvised music.
And I think it's fair to say that a little more listening, a little more presence, would do the whole world some good right about now, don't you think?
-Chris Forsyth
That's because although Ryan and I have played together for years, and Dave and Spencer have played together for years, neither half of the band had ever met each other. I was tangentially aware of Dave and his music and was intrigued by what I'd heard, so I thought it was a cool idea when Chris Tart, the residency promoter, suggested a collaboration.
So, about 30 minutes after we'd all heard each others voices for the first time, we got up and played for a little over an hour, uninterrupted. The only thing discussed beforehand was that we shouldn't discuss anything beforehand - not a key or a riff to start with, nothing - so as to preserve maximum spontaneity.
I think this music demonstrates a real connection on stage. In other words, each player was completely present and actively listening on the bandstand. Listening back, there are moments I can hear Ryan saying - musically - "Hey, let's go over here! Check this out!," or Spencer being like "Wouldn't it be cool to go down this path?" And we followed. And it was cool.
In my mind, that listening thing is the number one most important factor in any collaboration or cooperative effort, but especially in improvised music.
And I think it's fair to say that a little more listening, a little more presence, would do the whole world some good right about now, don't you think?
-Chris Forsyth
Cardinal Fuzz / Rooster are pleased to bring to you for your listening pleasure – The Heads ‘Vertigo Swill’. Previously available as a CDr release via The Heads own archives and compiled by Paul A. Allen from recordings The Heads made between 1994-2002 (rehearsal room, live and a remix). What we have here are is a maelstrom of Heads music that feels like the bastard child of that mix tape you made of long forgotten freaky Krautrock and 60s garage music, cut up and feed through a Chrome like blender. Over two heavy sides of vinyl be ready for a disorientating blast of these Heady Heads at play as Paul Allen runs his fingers down you spine to access your melting plastic brain as full on wah meltdowns segue into experimental tone generators all intercut with words of wisdom from H.O.Morgan & Simon Price. Not for the faint of heart.
FORMAT INFORMATION
LP Info: 500 Pressing. Heavy Black Vinyl. Gloss Laminated Outer Sleeve.
Strut present the first ever compilation bringing together classics and rarities from the seminal spiritual jazz and conscious soul label Black Fire, covering 1975 to 1993.
Formed by DJ and record producer Jimmy Gray in Richmond, Virginia, and following in the footsteps of other influential black-owned independent labels like Strata-East and Tribe, the foundation of Black Fire coincided with saxophonist James “Plunky” Branch returning to the city from New York to form Oneness Of Juju. The band’s ‘African Rhythms’ album in 1975 was the perfect fusion of jazz, deep African polyrhythms and empowering lyrics and bassist Muzi Branch, a trained artist, created the first of many Black Fire handillustrated sleeves for the label’s debut release.
The album set the tone for a series of landmark releases on the label including Oneness Of Juju’s ‘Space Jungle Luv’ (1976) and debuts from soulman Wayne Davis (1976) and early go-go pioneers Experience Unlimited (1977). Gray continued to use his influence and strong A&R instincts to bring in more key artists – great jazz players like Byard Lancaster and Hamiet Bluiett, Ghanaian master percussionist Okyerema Asante and collectives including Southern Energy Ensemble and music / drama troupe Theatre West. Due to personal and cashflow issues, many releases had to be canned and only later surfaced on CD during the early ‘90s
‘Soul Love Now’ brings together some of the many highlights from the label onto one essential compilation. Opening with Theatre West’s powerful soul message ‘Children of Tomorrow’s Dreams’, the tracks include a Byard Lancaster recording with Tunde Kuboye’s Drummers Of Ibadan in Nigeria and Lon Moshe’s driving jazz dance classic ‘Doin’ The Carvin’ For Thabo’. Wayne Davis brings the explosive gospel rare groove ‘Look At The People’ while Plunky’s JuJu and Oneness Of Juju feature with three tracks spanning their career, including a storming previously unreleased version of the classic ‘African Rhythms’ recorded in DC in 1975.
The release features extended sleeve notes features extended sleeve notes around the history of the label alongside interviews with featured musicians. The 2LP format includes a reprint of one of the three original Black Fire magazines published by Jimmy Gray which predated the launch of the label.
Formed by DJ and record producer Jimmy Gray in Richmond, Virginia, and following in the footsteps of other influential black-owned independent labels like Strata-East and Tribe, the foundation of Black Fire coincided with saxophonist James “Plunky” Branch returning to the city from New York to form Oneness Of Juju. The band’s ‘African Rhythms’ album in 1975 was the perfect fusion of jazz, deep African polyrhythms and empowering lyrics and bassist Muzi Branch, a trained artist, created the first of many Black Fire handillustrated sleeves for the label’s debut release.
The album set the tone for a series of landmark releases on the label including Oneness Of Juju’s ‘Space Jungle Luv’ (1976) and debuts from soulman Wayne Davis (1976) and early go-go pioneers Experience Unlimited (1977). Gray continued to use his influence and strong A&R instincts to bring in more key artists – great jazz players like Byard Lancaster and Hamiet Bluiett, Ghanaian master percussionist Okyerema Asante and collectives including Southern Energy Ensemble and music / drama troupe Theatre West. Due to personal and cashflow issues, many releases had to be canned and only later surfaced on CD during the early ‘90s
‘Soul Love Now’ brings together some of the many highlights from the label onto one essential compilation. Opening with Theatre West’s powerful soul message ‘Children of Tomorrow’s Dreams’, the tracks include a Byard Lancaster recording with Tunde Kuboye’s Drummers Of Ibadan in Nigeria and Lon Moshe’s driving jazz dance classic ‘Doin’ The Carvin’ For Thabo’. Wayne Davis brings the explosive gospel rare groove ‘Look At The People’ while Plunky’s JuJu and Oneness Of Juju feature with three tracks spanning their career, including a storming previously unreleased version of the classic ‘African Rhythms’ recorded in DC in 1975.
The release features extended sleeve notes features extended sleeve notes around the history of the label alongside interviews with featured musicians. The 2LP format includes a reprint of one of the three original Black Fire magazines published by Jimmy Gray which predated the launch of the label.
Bass-heavy dub and contemporary club culture are the foundations for Joe Armon-Jones’ phenomenal second album. “Turn to Clear View” builds on the celebrated keys player’s singular vision, exhibiting a sound with flourishes of R&B, hip-hop and p-funk, and featuring regular bandmates Oscar Jerome, Moses Boyd and Nubya Garcia. He builds on his close-knit core personnel with guest spots from artists he’s long admired, including Georgia Anne Muldrow (Brainfeeder, Stones Throw), Obongjayar (XL) and Jehst.
From character-fuelled raps to Afrobeat-influenced jams, Armon-Jones channels the diversity of the ascendant scene that surrounds him. Co-produced with longtime collaborator Maxwell Owin, the record has a carefully plotted feel that reflects their meticulous approach. The duo carefully perfected every touch, with Armon-Jones ever-present throughout the mixing and mastering processes.
Between his highly acclaimed solo career and his work with the influential Ezra Collective, Armon-Jones is building on a rush of acclaim – winning Session of the Year at Gilles Peterson’s Worldwide Awards and being nominated for UK Act of the Year at the Jazz FM Awards. His electric, open-ended live shows have brought him to Glastonbury, SXSW, Boiler Room and a sold-out headline show at London’s Village Underground.
From character-fuelled raps to Afrobeat-influenced jams, Armon-Jones channels the diversity of the ascendant scene that surrounds him. Co-produced with longtime collaborator Maxwell Owin, the record has a carefully plotted feel that reflects their meticulous approach. The duo carefully perfected every touch, with Armon-Jones ever-present throughout the mixing and mastering processes.
Between his highly acclaimed solo career and his work with the influential Ezra Collective, Armon-Jones is building on a rush of acclaim – winning Session of the Year at Gilles Peterson’s Worldwide Awards and being nominated for UK Act of the Year at the Jazz FM Awards. His electric, open-ended live shows have brought him to Glastonbury, SXSW, Boiler Room and a sold-out headline show at London’s Village Underground.
STAFF COMMENTS
Millie says: Joe Armon-Jones’ outstanding second album ‘Turn To Clear View’ is every bit as good as you’d expect, mellow R&B vibes, rich Jazz and Afrobeat rhythms woven into this incredible album. Armon-Jones is joined by the legendary names Nubya Garcia, Jehst & Georgia Anne Muldrow, all together leading the rise and creating platforms for talented jazz artists.FORMAT INFORMATION
LP Info: Reissue of the brilliant 2019 album in non-gatefold sleeve, on black vinyl.
I’ve always loved the cover song aspect of live performance. Most musicians are fans first and covers are a way for bands to show this. They can add an improvisational tone to an otherwise rehearsed feeling set, and give a sense that songs are owned not only by the people who write them but by the fans that know them and the other musicians that take influence from them.
About three years ago we started playing cover songs on stage, and a couple of unforseen things started happening. First off, people would ask me - not knowing it was a cover - when the new songs they heard were coming out on an upcoming Black Marble LP. Sadly, I’d have to tell them that a) I didn’t write the song, and b) me playing this new material was not evidence of the impending new release they were hoping for. The other thing that would sometimes happen is people would come up to me who already knew the songs I was playing. These people were stoked to hear an old favorite worked into our set, but again they would often wonder if they could ever hear them outside of the live setting.
After awhile it became obvious that we eventually wanted to record the covers we’d been playing live for the fans that wanted to hear them. Also, we’ve played a lot of shows in the past three years. We crossed the full U.S. several times and met a lot of great people and this covers EP is a cool way for us to remember that time as well.
As far as process, I recorded and mixed this one myself shortly after, and as a way to come down from, the process of writing and recording the Bigger Than Life LP. I took some of the mixing and arranging things I was working through for a year on Bigger Than Life and was able to apply to this record fairly quickly and easily, so I think from an engineering perspective this recording is the culmination of that way of thinking about presentation before I move on to the next phase.”
-Chris Stewart, Black Marble, April 2020
About three years ago we started playing cover songs on stage, and a couple of unforseen things started happening. First off, people would ask me - not knowing it was a cover - when the new songs they heard were coming out on an upcoming Black Marble LP. Sadly, I’d have to tell them that a) I didn’t write the song, and b) me playing this new material was not evidence of the impending new release they were hoping for. The other thing that would sometimes happen is people would come up to me who already knew the songs I was playing. These people were stoked to hear an old favorite worked into our set, but again they would often wonder if they could ever hear them outside of the live setting.
After awhile it became obvious that we eventually wanted to record the covers we’d been playing live for the fans that wanted to hear them. Also, we’ve played a lot of shows in the past three years. We crossed the full U.S. several times and met a lot of great people and this covers EP is a cool way for us to remember that time as well.
As far as process, I recorded and mixed this one myself shortly after, and as a way to come down from, the process of writing and recording the Bigger Than Life LP. I took some of the mixing and arranging things I was working through for a year on Bigger Than Life and was able to apply to this record fairly quickly and easily, so I think from an engineering perspective this recording is the culmination of that way of thinking about presentation before I move on to the next phase.”
-Chris Stewart, Black Marble, April 2020
Aventura is an American bachata group that broke into the mainstream with their 2002 hit "Obsesión (featuring Judy Santos)". With a line-up comprising Romeo Santos, Lenny Santos, Henry Santos and Max Agende Santos, they are regarded as one of the most influential Latin groups of all time. They have sold out many arenas including the world famous Madison Square Garden. Aventura has been nominated for awards such as American Music Awards, the Latin Grammy Awards, Billboard Latin Music Awards, and Premio Lo Nuestro.
Behind The Mask” was originally to be the second Incognito album. Still floating on the high of the success of their debut album “Jazz Funk”, Jean-Paul ‘Bluey’ Maunick started work on new material recruiting friends and strangers from London’s buzzing music scene. Where “Jazz Funk” in 1981 had by name and nature been achieved from the influence of Jazz Funk and Soul music that we had been listening to in the 70’s, “Behind The Mask” from has a strong leaning towards the harder Fusion trend of that time. Innocence and earthy tones were replaced by a bright and bold flurry of cascading arpeggios and screaming solos. Brass arrangements that had been created by singing a man a line were now leaping out of reams of paper scored by the wizard that is Richard Niles. However, still present and leading the charge was the unmistakable, funky, pulsating and irresistible bass lines of the late Paul “Tubbs” Williams.
Justo Almario comes from Colombia, plays sax and flute. The first of his dozen jazz albums was recorded for Uno Melodic, largely composed and all produced by Roy Ayers. Before this solo album he recorded with Mongo Santamaria, Jon Lucian, Dom Salvador and then on sax for the first time with Roy Ayers on the 1976 album “Vibrations” which included “Searchin’”. He also played with James Mason on the album “Rhythm of Life” which included “Sweet Power Your Embrace”, then again with Roy on the “Lifeline” album which included “Running Away”. Demand for this album has grown in recent years through the aforementioned associations and for the stunning title track
Marlowe is a collaborative alt-rap project from North Carolina-based hip-hop producer L'Orange and rapper Solemn Brigham. Their unique blend of quick-fire vocals and dusty breakbeats is most well-known on tracks such as "Lost Arts" and "Tales From The East." The project came together in 2018 with the intent of marrying Brigham's lyrics concerning social commentary, police brutality, and poverty with L'Orange's thudding beats and crackling vinyl samples to achieve a new, refreshing take on hip-hop in modern times. Marlowe 2 seeks to continue that legacy.
Southern American folklore tells of song-catchers: individuals who possess a spiritual, almost supernatural, connection to the music of a culture. They gather important songs and preserve them, providing voices to give them life and ensuring they’re remembered. Rumer is such a song-catcher. On Nashville Tears, Rumer immerses herself in the catalog of Hugh Prestwood, a songwriter whose name is spoken with reverence by his colleagues. An album to savor, Nashville Tears collects fifteen of Prestwood’s finest songs, many never recorded until now, revealing truths of the heart, both intimate and universal, realistic and romantic.
Following the release of Dana’s debut album “Yesterday Is Gone” in March 2020, Wind Songs brings together 5 cover tracks recorded in London shortly after, whilst in lockdown. Stream “I Talk To The Wind” now. The other 4 tracks will be slowly revealed over the next couple of months. This sheet will update with every new track write-up upon release.
As fierce as the inclement weather itself, the ethereal tones of Serbian-Canadian musician Dana Gavanski can stir a breeze and destroy like a storm. With her new covers EP Wind Songs Dana serendipitously teases her debut album from her new home in London across both sides of enforced isolation, to show an artist making the best of unfortunate circumstance and seeking comfort in the familiar strangers of her musical heroes.
As fierce as the inclement weather itself, the ethereal tones of Serbian-Canadian musician Dana Gavanski can stir a breeze and destroy like a storm. With her new covers EP Wind Songs Dana serendipitously teases her debut album from her new home in London across both sides of enforced isolation, to show an artist making the best of unfortunate circumstance and seeking comfort in the familiar strangers of her musical heroes.
EVEN IN EXILE is the second album by Manic Street Preachers frontman James Dean Bradfield “It’s a record that draws you in, first with its story, and then with its songs. A wonderful break from the day-job.” Q, 4* An ultra-vivid eulogy to a brilliant life cut short, EVEN IN EXILE is a beautiful collection of songs that loosely trace to story of the life and death of Chilean poet-singer-activist Victor Jara. At points pure and biographical, at others dreamlike and opaque, Bradfield sets words written specifically for the album by poet/playwright Patrick Jones to some of the most addictive and affecting melodies he’s ever composed.
FORMAT INFORMATION
Coloured LP Info: Indies only blue vinyl edition.
The much sought after debut album from Manchester's Liam Frost & The Slowdown Family is back by popular demand.
• Includes the singles "The Mourners of St Paul's" and "The City Is At Standstill“
• Pressed on 180g translucent blue vinyl.
• Signed by Liam Frost
• Recently featured on Tim Burgess’s Twitter Listening Party
• Released originally in 2006, Liam Frost is described by Guy Garvey as "the UK’s answer to Bright Eyes".
• "Young, fun and riotously talented, Liam Frost And The Slowdown Family are a free-wheeling 21st century folk carnival" -- NME
• Includes the singles "The Mourners of St Paul's" and "The City Is At Standstill“
• Pressed on 180g translucent blue vinyl.
• Signed by Liam Frost
• Recently featured on Tim Burgess’s Twitter Listening Party
• Released originally in 2006, Liam Frost is described by Guy Garvey as "the UK’s answer to Bright Eyes".
• "Young, fun and riotously talented, Liam Frost And The Slowdown Family are a free-wheeling 21st century folk carnival" -- NME
FORMAT INFORMATION
Coloured LP Info: Translucent blue LP.
The new decade is only a few months old, and already the only certainty is that certainties have ceased to exist. Yet as we traverse through new and intimidating terrain unfamiliar a short while ago, two collaborators have come together to unwittingly create a record curiously suited to an intimidating and unpredictable new era. ‘Deafbrick’, the multiplication sum of Säo Paulo’s sonic warriors Deafkids and London’s pulverising duo Petbrick is a veritable force against adversity, and less a polite meeting of minds than a fiery collision whose impact and incandescence extend beyond the horizon. The project first came to light by way of a collaboration at Roadburn Festival, which in itself was the result of the friendship between Deafkids and Petbrick’s Iggor Cavalera (also of Sepultura /Soulwax/ Cavalera Conspiracy) who had met the band in Brazil, “We had so much fun doing the collab and there was a real chemistry between the five of us, so it seemed like a natural progression to actually get into a studio together and write a record.” – reckons Petbrick’s Wayne Adams (also of Big Lad/ Death Pedals).
The results run the gamut through a litany of uniformly invigorating audial landscape – this is an arena where Deafkids’ appetite for lysergic punk-damaged tumult and Petbrick’s ventures into dystopian synth-driven soundscapes can happily engage in gladiatorial contest. From the unearthly percussive clangour of ‘Hyperkinetic Mass Disordert’ to the DHR-addled chaos of the paint-stripping ‘Mega Ritual’, every second of ‘Deafbrick’ is infused with malevolent charisma and iconoclastic élan. Yet perhaps the ultimate destructive moment of this particular demolition derby comes via a thrillingly monomaniacal take on Discharge’s ‘Free Speech For The Dumb. Not that it necessarily met the approval of Discharge themselves, who make a cameo appearance on the song’s outro. “I asked them to record some quotes saying how much they hated our version” laughs Iggor. “One of them even said that Metallica did a better job. That really freaked me out!” Metallica, it’s fair to say objectively, do not do a better job.
The results run the gamut through a litany of uniformly invigorating audial landscape – this is an arena where Deafkids’ appetite for lysergic punk-damaged tumult and Petbrick’s ventures into dystopian synth-driven soundscapes can happily engage in gladiatorial contest. From the unearthly percussive clangour of ‘Hyperkinetic Mass Disordert’ to the DHR-addled chaos of the paint-stripping ‘Mega Ritual’, every second of ‘Deafbrick’ is infused with malevolent charisma and iconoclastic élan. Yet perhaps the ultimate destructive moment of this particular demolition derby comes via a thrillingly monomaniacal take on Discharge’s ‘Free Speech For The Dumb. Not that it necessarily met the approval of Discharge themselves, who make a cameo appearance on the song’s outro. “I asked them to record some quotes saying how much they hated our version” laughs Iggor. “One of them even said that Metallica did a better job. That really freaked me out!” Metallica, it’s fair to say objectively, do not do a better job.
FORMAT INFORMATION
Coloured LP Info: Red & Black splatter LP.
Packaging will be a gatefold card wallet & will include 16 page lyric booklet. Pandemic Songs is songwriter Robb Johnson’s chronicle in song of the unprecedented events of the first half of 2020. His critically-acclaimed family histories of the 20th Century Gentle Men & Ordinary Giants use song to dramatise past lives & narrate significant historical events & processes. Pandemic Songs uses songs to provide a media-free perspective of contemporary history, with thirteen tracks written between March & June of this year, that record & comment on the global pandemic, from Robb’s local UK perspective. The songs are angry, sad, affectionate, elegiac, satirical, anxious, & compassionate. They celebrate our lives in lockdown & the endurance of our keyworkers, & catalogue the vanities, incompetence, hypocrisy & failures of those in power. Pandemic Songs was recorded with a socially-distanced pared-down version of The Irregulars; John Forrester on bass & vocals, Arvin Johnson on drums, percussion & Spanish guitar, & Fae Simon on vocals. The result is a powerful, visceral album, a significant creative response to these very significant times. Robb Johnson is now widely recognised as one of the UK’s finest songwriters:
Polymath percussionist Thor Harris inaugurated Thor & Friends in the autumn of 2015 after five years of touring as the percussionist of iconic avant-rock ensemble Swans. The project is intended as a vehicle for experimentation with the conceptual vocabulary of American Minimalism collaborating with a rotating cast of Austin-based musicians. The ensemble has three core members, Thor Harris, Peggy Ghorbani and Sarah 'Goat' Gautier - with its line-up expanding and contracting with the flux of compositional and improvisational contexts.
Thor & Friends draws on classic Minimalist composers, including Terry Riley and Steve Reich, but also amalgamate such diverse influences as Brian Eno, Aphex Twin, Moondog and The Necks around a polyrhythmic core of mallet-struck instruments, primarily marimba, xylophone and vibraphone. Circling these core motifs are shifting streams of everything from processed pedal steel and analog synthesizer to violin, viola, stand-up bass, clarinet, duduk and oboe. Thor & Friends, '4' is the band's fourth LP. Initially put out as part of Joyful Noise Recordings, 2019 Artist in Residence, it is now being released far and wide through Joyful Noise. Thor writes, "Thor & Friends is a collective of musicians. Some players are classically trained, others are punk musicians with no reading skills, just spirit and will. Through friendship and musical collaboration, this album brings together Craig Ross, Alan and Mimi from Low, Bill Callahan, and Jolie Holland; strings from the likes of Mollie Fischer, Travis Weller, Lindsey Verrill, Andrea Calderon, and Nino Soberin; and even more instrumentation from Jeff Johnston on saw, Christopher Cundy, Andrea Belfi, and Adam Harding."
Thor & Friends draws on classic Minimalist composers, including Terry Riley and Steve Reich, but also amalgamate such diverse influences as Brian Eno, Aphex Twin, Moondog and The Necks around a polyrhythmic core of mallet-struck instruments, primarily marimba, xylophone and vibraphone. Circling these core motifs are shifting streams of everything from processed pedal steel and analog synthesizer to violin, viola, stand-up bass, clarinet, duduk and oboe. Thor & Friends, '4' is the band's fourth LP. Initially put out as part of Joyful Noise Recordings, 2019 Artist in Residence, it is now being released far and wide through Joyful Noise. Thor writes, "Thor & Friends is a collective of musicians. Some players are classically trained, others are punk musicians with no reading skills, just spirit and will. Through friendship and musical collaboration, this album brings together Craig Ross, Alan and Mimi from Low, Bill Callahan, and Jolie Holland; strings from the likes of Mollie Fischer, Travis Weller, Lindsey Verrill, Andrea Calderon, and Nino Soberin; and even more instrumentation from Jeff Johnston on saw, Christopher Cundy, Andrea Belfi, and Adam Harding."
FORMAT INFORMATION
Coloured LP Info: LP on limited Medicine Mint Vinyl
Polymath percussionist Thor Harris inaugurated Thor & Friends in the autumn of 2015 after five years of touring as the percussionist of iconic avant-rock ensemble Swans. The project is intended as a vehicle for experimentation with the conceptual vocabulary of American Minimalism collaborating with a rotating cast of Austin-based musicians. The ensemble has three core members, Thor Harris, Peggy Ghorbani and Sarah 'Goat' Gautier — with its line-up expanding and contracting with the flux of compositional and improvisational contexts. Thor & Friends draws on classic Minimalist composers, including Terry Riley and Steve Reich, but also amalgamate such diverse influences as Brian Eno, Aphex Twin, Moondog and The Necks around a polyrhythmic core of mallet-struck instruments, primarily marimba, xylophone and vibraphone.
Circling these core motifs are shifting streams of everything from processed pedal steel and analog synthesizer to violin, viola, stand-up bass, clarinet, duduk and oboe. Thor & Friends, '3’ is, naturally, the band's third LP. Initially put out as part of Joyful Noise Recordings, 2019 Artist in Residence, it is now being released far and wide through Joyful Noise. Thor writes, "This record was made over several years and in many locations. Only by the grace of the brilliant Jeremy Barnes was it all sewn together into this fantastic tapestry of sound you are lucky to now behold." Musicians who played on this record include, Jennifer Wasner, Tuvan throat singing is Soriah, Jeremy Barnes and Heather Trost of A Hawk and a Hacksaw, John Dieterich from Deerhoof, Thierry Amar and Tim Herzog from Godspeed You! Black Emperor, Adam Torres, Michael Gira, Jarboe, Stine Janvin Motland, John Congleton and many others.
Circling these core motifs are shifting streams of everything from processed pedal steel and analog synthesizer to violin, viola, stand-up bass, clarinet, duduk and oboe. Thor & Friends, '3’ is, naturally, the band's third LP. Initially put out as part of Joyful Noise Recordings, 2019 Artist in Residence, it is now being released far and wide through Joyful Noise. Thor writes, "This record was made over several years and in many locations. Only by the grace of the brilliant Jeremy Barnes was it all sewn together into this fantastic tapestry of sound you are lucky to now behold." Musicians who played on this record include, Jennifer Wasner, Tuvan throat singing is Soriah, Jeremy Barnes and Heather Trost of A Hawk and a Hacksaw, John Dieterich from Deerhoof, Thierry Amar and Tim Herzog from Godspeed You! Black Emperor, Adam Torres, Michael Gira, Jarboe, Stine Janvin Motland, John Congleton and many others.
Includes “For the Damaged Coda”, the theme song for Evil Morty from the popular animated show Rick and Morty. “The beauty of Blonde Redhead’s music fries my brain. They are my only friend.” - Guy Picciotto…. Originally released 20 years ago on June 6, 2000, Blonde Redhead's 3rd Touch and Go Records album was recorded earlier that year at Bear Creek Studio in Washington State from January 15th til February 18th with Ryan Hadlock and Guy Picciotto. With Guy twisting the knobs and helping to shape the sound of the record, Simone, Kazu, and Amedeo found themselves in an ideal environment to create a distinctive record.
From the first notes of "Equally Damaged", you are drawn in - starting with a simple, twisted melody, augmented bit by bit with rhythms and the distinctive vocals and lyrics which are the center of these songs. Moved dramatically to the front of the mix, the vocals on this record are rich and melodic, sometimes recorded with three mics at once to get the depth of the sound. These songs are reminiscent of the twisted sentimentality of Serge Gainsbourg. Using basic instruments, melodies, and rhythms, the recording, the instrumentation, and the general presentation of each song create intricately layered, provocative, and genuinely emotional songs that continue to play themselves in your head for days. The mix of the guitars, the power of the drums, and the infectiousness of the rhythms, combined with the remarkable vocals and lyrics, make Melody of Certain Damaged Lemons a beautiful release.
* Gatefold LP jacket with New Cover Art and Unreleased Photos from the Original Recording Session *
From the first notes of "Equally Damaged", you are drawn in - starting with a simple, twisted melody, augmented bit by bit with rhythms and the distinctive vocals and lyrics which are the center of these songs. Moved dramatically to the front of the mix, the vocals on this record are rich and melodic, sometimes recorded with three mics at once to get the depth of the sound. These songs are reminiscent of the twisted sentimentality of Serge Gainsbourg. Using basic instruments, melodies, and rhythms, the recording, the instrumentation, and the general presentation of each song create intricately layered, provocative, and genuinely emotional songs that continue to play themselves in your head for days. The mix of the guitars, the power of the drums, and the infectiousness of the rhythms, combined with the remarkable vocals and lyrics, make Melody of Certain Damaged Lemons a beautiful release.
FORMAT INFORMATION
Coloured LP Info: Limited Edition of 2000 LP pressed on 180 gram Opaque Pink Vinyl* Gatefold LP jacket with New Cover Art and Unreleased Photos from the Original Recording Session *
The greatly missed trumpeter Harry Beckett has become incredibly collectable in recent times, with this album reaching significant sums, appealing to both Brit-jazz fans and the digging community after those elusive open drum breaks. The music is amongst the best he made in his career and features the funky guitar of Ray Russell in a number of superb Latin and Caribbean jazz fusion workouts. A gem and a lost classic.
Personnel: Harry Beckett (trumpet, flugelhorn), Ray Russell (guitar), Brian Miller (piano, electric piano, synthesizer), Darryl Runswick (bass, electric bass), Martin David (congas), Nigel Morris (drums)
Personnel: Harry Beckett (trumpet, flugelhorn), Ray Russell (guitar), Brian Miller (piano, electric piano, synthesizer), Darryl Runswick (bass, electric bass), Martin David (congas), Nigel Morris (drums)
Featuring Drive By Truckers as backing band with Jason Isbell. European tour with Drive By Truckers. Exclusive European release. Who the hell is Jerry Joseph? Well Patterson Hood and Jason Isbell think he is one of the best songwriters and performers ever, so much so they backed him up on his newest album. While he has been flying just under the radar in the US he is unknown in Europe and that is all about to change. This is his first ever European release and will be three months ahead of the US release. Not only are Drive By Truckers the backing band on his upcoming tour but they also recorded the entire new album with Jerry as his backing band. Jason Isbell features on one of the key tracks 'Dead Confederate' and Patterson Hood also produced the entire record. While Jerry is a legend in the US he has never had a British release after playing for over 30 years - with the Truckers supporting him on many of his early shows having. Woody Harrelson is a long time fan whom followed Jerry on tour in his early days - with the pair even writing together.
Jerry has toured the world playing in Japan, Australia, SE Asia, Latin and South America etc while remaining largely off the radar in the UK. His first major dates were supporting Richmond Fontaine on their farewell tour and now he returns for a European tour. This record was recorded at Matt Patton's studio, Dial Back Sound, in Water Valley, Mississippi with all the Truckers taking part. It is Jerry's strongest ever songwriting and written over a period of years while travelling the world, while Jerry also ran guitar school charities for children in the war zones of Iraq, Syria etc (a project which was recently covered by Rolling Stone US and France). His live shows are a force to be reckoned with, and he will be touring into 2021 throughout Europe.
Jerry has toured the world playing in Japan, Australia, SE Asia, Latin and South America etc while remaining largely off the radar in the UK. His first major dates were supporting Richmond Fontaine on their farewell tour and now he returns for a European tour. This record was recorded at Matt Patton's studio, Dial Back Sound, in Water Valley, Mississippi with all the Truckers taking part. It is Jerry's strongest ever songwriting and written over a period of years while travelling the world, while Jerry also ran guitar school charities for children in the war zones of Iraq, Syria etc (a project which was recently covered by Rolling Stone US and France). His live shows are a force to be reckoned with, and he will be touring into 2021 throughout Europe.
FORMAT INFORMATION
2xLP Info: Vinyl limited to 300 only.
'Datblygu have only one thing in common with other Welsh bands and that is their shared use of the language, nothing else. Datblygu's only message is a hope that you don't choke whilst dancing and coughing in the ruins.' David R.Edwards June 2020 'Cwm Gwagle' ('Void Valley') is the new Datblygu album created by David R.Edwards and Patricia Morgan and released by Ankst Musik Records this summer. It will be available initially as a limited edition physical 12'' album (with bonus download material) in independent record stores before appearing on streaming and download sites two weeks later. This new collection follows on from the 2015 collection 'Porwr Trallod (Tribulation Browser), a Welsh Music Prize album of the Year nominee and a triumphant return for the band after a hiatus of nearly two decades.
Datblygu's cultural impact and artistic legacy is already assured, recognised as trailblazing pioneers with their extraordinary back catalogue, which includes the imperishable trilogy of albums Wyau(1988), Pyst(1990) and Libertino(1993)) and their fruitful relationship with the late John Peel. They are the band who have rightly been held up as 'The Welsh Gospel' (according to no less a fellow pioneer than Super Furry Animals frontman Gruff Rhys) and the appearance of the extraordinary poetic visions collected in the grooves of Cwm Gwagle proves that they are still fearlessly leading from the front.
Recorded over a weekend mere weeks before the great lockdown with Cardiff producer Frank Naughton there seems to be a whole alternative uni- verse conjured up here for our delight. Songs work as signposts on our journey through this far from green and pleasant valley. Some of the tales are humorous (of the dark kind!) others are seemingly personal recollections built from real painful memories (Cariad Ceredigion), whilst others are pure fabula (Ffon Bagal Dyffryn Cwnin), surreal fictions that couldn't possibly have occurred (or could they?).
Some tracks exist as pure attitude and primal disgust (Cymryd y Cyfan) next to quiet laments for lost causes and dreams that are in David's own words, up against - Ugly Hymns from St Fag-end – and sometimes all we have is a single voice fighting to be heard over the wailing sirens in the street. (1 2 3 Dim Byd) They may share the language with other bands from Wales but they sure don't use it in the same way. David's lyrics have developed and simplified over the years and are digging much deeper into the world of pure poetic imagery, creating vision, sounds and rhythms that hit hard and so also has the music being provided by Patricia Morgan – no waste, no diversions, only structure, atmosphere, feelings and support telepathically woven into the music.
Very little of what you hear here owes its existence to anyone else, it is for us, from Dave and Pat, but always at a price, as Dave gnomically warns on 'Y Coleg Abnormal' -' as the grass is always greener on the dark side of the moon, don't end up penniless, heaving blood into the spittoon'. Sometimes Cwm Gwagle is a dark vision but always a human and real one, never too far away from cracking a smile - it does also contain the funniest line Datblygu have ever recorded ( 'Ok,Ie'). So in 2020 as the world wobbles we have a new Datblygu album to enjoy and treasure, one that is stuffed with poetic brilliance, like the skewering of optimism revealed in my choice for the chorus of the year, 2020 defined - 'Un, Dau, Tri,- Dim Byd'. Genius.
LP includes MP3 Download Code.
Datblygu's cultural impact and artistic legacy is already assured, recognised as trailblazing pioneers with their extraordinary back catalogue, which includes the imperishable trilogy of albums Wyau(1988), Pyst(1990) and Libertino(1993)) and their fruitful relationship with the late John Peel. They are the band who have rightly been held up as 'The Welsh Gospel' (according to no less a fellow pioneer than Super Furry Animals frontman Gruff Rhys) and the appearance of the extraordinary poetic visions collected in the grooves of Cwm Gwagle proves that they are still fearlessly leading from the front.
Recorded over a weekend mere weeks before the great lockdown with Cardiff producer Frank Naughton there seems to be a whole alternative uni- verse conjured up here for our delight. Songs work as signposts on our journey through this far from green and pleasant valley. Some of the tales are humorous (of the dark kind!) others are seemingly personal recollections built from real painful memories (Cariad Ceredigion), whilst others are pure fabula (Ffon Bagal Dyffryn Cwnin), surreal fictions that couldn't possibly have occurred (or could they?).
Some tracks exist as pure attitude and primal disgust (Cymryd y Cyfan) next to quiet laments for lost causes and dreams that are in David's own words, up against - Ugly Hymns from St Fag-end – and sometimes all we have is a single voice fighting to be heard over the wailing sirens in the street. (1 2 3 Dim Byd) They may share the language with other bands from Wales but they sure don't use it in the same way. David's lyrics have developed and simplified over the years and are digging much deeper into the world of pure poetic imagery, creating vision, sounds and rhythms that hit hard and so also has the music being provided by Patricia Morgan – no waste, no diversions, only structure, atmosphere, feelings and support telepathically woven into the music.
Very little of what you hear here owes its existence to anyone else, it is for us, from Dave and Pat, but always at a price, as Dave gnomically warns on 'Y Coleg Abnormal' -' as the grass is always greener on the dark side of the moon, don't end up penniless, heaving blood into the spittoon'. Sometimes Cwm Gwagle is a dark vision but always a human and real one, never too far away from cracking a smile - it does also contain the funniest line Datblygu have ever recorded ( 'Ok,Ie'). So in 2020 as the world wobbles we have a new Datblygu album to enjoy and treasure, one that is stuffed with poetic brilliance, like the skewering of optimism revealed in my choice for the chorus of the year, 2020 defined - 'Un, Dau, Tri,- Dim Byd'. Genius.
FORMAT INFORMATION
LP Info: Indies only LPLP includes MP3 Download Code.
One only knows one. Two is balanced therefore stagnant. III both active and reactive. Charles Moothart, Ty Segall and Chad Ubovich are Fuzz. Fuzz is three. And III has returned. Songs for all, and music for one. III was recorded and mixed at United Recording under the sonic lordship of Steve Albini.
Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave the trio the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar-based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for the band—three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long one can hold on before getting thrown off. Three points reflected in three mirrors; a pyramid of sonic destruction and psychic creation. Nothing people feed the roots while the freaks fly free in the treetops—blind to vines, eyes closed, stuck in spit, triumphing the returning of beginnings and ends returning while beginning to see the time collapse. Love is the only way to annihilate hate, and sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.
Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave the trio the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar-based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for the band—three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long one can hold on before getting thrown off. Three points reflected in three mirrors; a pyramid of sonic destruction and psychic creation. Nothing people feed the roots while the freaks fly free in the treetops—blind to vines, eyes closed, stuck in spit, triumphing the returning of beginnings and ends returning while beginning to see the time collapse. Love is the only way to annihilate hate, and sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.
FORMAT INFORMATION
Coloured LP Info: Indies exclusive coloured vinyl. Very limited!!
Juanita Stein returns with her new album, Snapshot, the Howling Bells singer and guitarist’s third solo LP. Working with the producer Ben Hillier (Blur, Doves, Nadine Shah), Snapshot was written and recorded over a period of eight months following the sudden death of Stein’s father, Peter, in 2019. Juanita was exceptionally close to her dad - he was her earliest introduction to music and gifted her a childhood “exploding with sounds of 60s folk, rock’n’roll, delta blues, country and soul”. She describes feeling “a compelling inspiration I’d not felt before” during songwriting sessions for the album, which is entirely given over to Stein and her family’s changed world following Peter’s death. The title track, Snapshot, was the last song to be written and, she says, “is me clinging on to what I have left of him in my mind.”
Along with Hillier, Stein recruited her brother (and Howling Bells bandmate), Joel, on guitar, jazz drummer Evan Jenkins, and Jimi Wheelwright (bass) to help realise the songs. The album is a progression from her two previous solo LPs, which had both been recorded during intensive sessions of just a few weeks, and both in the U.S. The benefits conferred by the extra time and space, plus being close to home during this time of grief, can be heard in its more expansive, exploratory, sometimes downright psychedelic sound. Despite the album’s tough subject matter, Stein’s voice is, as ever, a balm.
Along with Hillier, Stein recruited her brother (and Howling Bells bandmate), Joel, on guitar, jazz drummer Evan Jenkins, and Jimi Wheelwright (bass) to help realise the songs. The album is a progression from her two previous solo LPs, which had both been recorded during intensive sessions of just a few weeks, and both in the U.S. The benefits conferred by the extra time and space, plus being close to home during this time of grief, can be heard in its more expansive, exploratory, sometimes downright psychedelic sound. Despite the album’s tough subject matter, Stein’s voice is, as ever, a balm.
Working for only the second time as a solo artist, The Coral’s drummer and occasional co-conspirator in Serpent Power headed out to Berlin in 2019 with a tailwind of creativity guiding him. An easy - going, collaborative atmosphere in the company of producer and guitarist/friend, Paul McKinnell, with Paul Pilot on mixing and recording duties, helped twelve new songs to flow effortlessly to tape in just one, happy week in the German capital.
Calling on the Jokerman to provide help on a day of despair, the single reveals a fissure of vulnerability and reflection on an album otherwise written specifically for the purposes of joy and escape. Written during a period Skelly associates with personal loss, he determinedly set out to craft a breezy, sonic antidote to what he was going through. Hitting on the formula to leave painful realities at the door, songs like Jokerman and the album’s first single, Captain Caveman , offered ample escape through their airy abandon and blurred lyrical outlines.
Skelly says: “To me, pouring your sad heart out on a song is self-indulgent. When I am feeling down, I just put on T-Rex really loud and escape. I couldn’t write any sad songs when I was working on ‘Drifters Skyline’, it just had to be upbeat. Friends and family really liked ‘Jokerman’ from the start, so it seemed a good vibe. Then, when we recorded it, the entire process turned out to be great fun. It felt exciting. What should have been work in the studio turned out to be a jolly.”
The release of Drifters Skyline accompanies more exclusive artwork from Skelly, who, as a prolific artist, has illustrated numerous of his own and The Coral’s album projects, including promotional videos, all featuring his darkly comic, gonzo collage work as well as photography and drawing. In line with the gradual release via digital and streaming sites , Skelly’s social media channels will premiere new artwork, animated by animator and film maker, Dom Foster , every day until the album is available in full.
A founder member of The Coral, releasing eight studio albums since their self - titled debut album in 2002, Skelly released his first solo album, Cut From A Star in 2012. Together with former Zutons guitarist, now a full - time member of The Coral, Paul Molloy, Skelly has released two, critically acclaimed albums as Serpent Power , including 2017’s Electric Looneyland .
Calling on the Jokerman to provide help on a day of despair, the single reveals a fissure of vulnerability and reflection on an album otherwise written specifically for the purposes of joy and escape. Written during a period Skelly associates with personal loss, he determinedly set out to craft a breezy, sonic antidote to what he was going through. Hitting on the formula to leave painful realities at the door, songs like Jokerman and the album’s first single, Captain Caveman , offered ample escape through their airy abandon and blurred lyrical outlines.
Skelly says: “To me, pouring your sad heart out on a song is self-indulgent. When I am feeling down, I just put on T-Rex really loud and escape. I couldn’t write any sad songs when I was working on ‘Drifters Skyline’, it just had to be upbeat. Friends and family really liked ‘Jokerman’ from the start, so it seemed a good vibe. Then, when we recorded it, the entire process turned out to be great fun. It felt exciting. What should have been work in the studio turned out to be a jolly.”
The release of Drifters Skyline accompanies more exclusive artwork from Skelly, who, as a prolific artist, has illustrated numerous of his own and The Coral’s album projects, including promotional videos, all featuring his darkly comic, gonzo collage work as well as photography and drawing. In line with the gradual release via digital and streaming sites , Skelly’s social media channels will premiere new artwork, animated by animator and film maker, Dom Foster , every day until the album is available in full.
A founder member of The Coral, releasing eight studio albums since their self - titled debut album in 2002, Skelly released his first solo album, Cut From A Star in 2012. Together with former Zutons guitarist, now a full - time member of The Coral, Paul Molloy, Skelly has released two, critically acclaimed albums as Serpent Power , including 2017’s Electric Looneyland .
FORMAT INFORMATION
Ltd LP Info: 12" Heavyweight Vinyl.
First time repress Greensleeves 12” classic from 1979 - two more roots anthems back to back!
Deep and heavy extended workouts from ‘The Dark Prince of Reggae’
Both sides made big impressions on the sound system scene on raw dub-plate, continued heavy Jah Shaka rotation means they remain in-demand to this day.
Produced by Keith Hudson
Deep and heavy extended workouts from ‘The Dark Prince of Reggae’
Both sides made big impressions on the sound system scene on raw dub-plate, continued heavy Jah Shaka rotation means they remain in-demand to this day.
Produced by Keith Hudson
Long-awaited vinyl reissue of Goldfrapp’s third album, Supernature - out on 14 August 2020. The new edition of the album will be available on transparent green vinyl, packaged in a gatefold sleeve with an exclusive art print of the original artwork.
Originally Supernature marks the point when Goldfrapp brought their sound to an even wider global audience - the Grammy nominated album debuted at #2 in the UK Albums Chart and the album’s lead single, the pulsing, sophisticated, glam-pop dynamo ‘Ooh La La’, went straight to #4 in the UK Singles Chart.
The album generated further hits in the form of ‘Number 1’, ‘Ride a White Horse’ and ‘Fly Me Away’. Described by The Guardian as “a brash, beautiful celebration of love and dancing”, the album is a colossal, multi-layered, sonic-pop thriller, a radical, confident, bold record that took a joyous step forward from 2003’s Black Cherry.
Originally Supernature marks the point when Goldfrapp brought their sound to an even wider global audience - the Grammy nominated album debuted at #2 in the UK Albums Chart and the album’s lead single, the pulsing, sophisticated, glam-pop dynamo ‘Ooh La La’, went straight to #4 in the UK Singles Chart.
The album generated further hits in the form of ‘Number 1’, ‘Ride a White Horse’ and ‘Fly Me Away’. Described by The Guardian as “a brash, beautiful celebration of love and dancing”, the album is a colossal, multi-layered, sonic-pop thriller, a radical, confident, bold record that took a joyous step forward from 2003’s Black Cherry.
FORMAT INFORMATION
Coloured LP Info: Transparent green vinyl 140g LP in Gatefold Sleeve.
The Wytches announce their third album Three Mile Ditch, recorded with Luke Oldfield at Tile House Studios it will be released on their own label Cable Code Records on Friday 2nd October.
“This is the first thing that I've ever been proud of for longer than a week,” says The Wytches frontman Kristian Bell of the band’s latest album Three Mile Ditch. This sense of vigour and enthusiasm coming from Bell about the band’s third album is matched by its contents. The album is an explosive collection of 10 tracks that weaves seamlessly between gut-wobbling monster riffs, swampy rock, slick surf, and finely tuned songcraft. It’s also the result of a band coming back from the brink of collapse.
The band’s early trajectory was a steep and speedy one as they quickly established themselves as one of the country’s most exciting and pulverising new bands. Major festival slots stacked up at places such as Glastonbury, SXSW, Reading and Leeds, and British Summertime with the Strokes. As did the tours across the US with METZ, traversing Europe with Fat White Family and Death Grips. They garnered support from BBC 6 Music, DIY, MOJO, NME and more. However, when the ascent to the stratosphere is moving at such a speed, there’s a risk of burning out and imploding, and the band came close to this.
They were on the rocks for a while, unsure of themselves and if the band should - or even could - go on. “I had it in my head that this kind of thing only really happens once and to try it again might be a big waste of time,” Bell reflects. However, despite the difficulties, the powerful pull of the band was too great to ignore.
“We had an album’s worth of songs that was some of our best material. The mission became to complete a Wytches album rather than get The Wytches back on the touring circuit. This album helped us make the decision to try it again.”
Whilst the album is bursting at the seams with hard rock screamers, with hooks and riffs so infectious they burrow deep into the brain, there’s also other more nuanced elements at play. Bell’s love of classic songwriting from Bob Dylan to Elliott Smith via Big Star’s Alex Chilton can be heard reverberating throughout the record; the result is a blend between his honed and subtle knack for songcraft and crunchy, eruptive bursts of noise.
A leaving member left them feeling they couldn’t face introducing a new drummer and teaching them all the new songs so they simply pounced on their momentum and took on that role themselves, sharing drumming duties. Joining the two, was a familiar face in Mark Breed. “It was the first time Mark was present for most of the recording sessions. Mark was our original bassist before we moved to Brighton. He decided to stay in Peterborough to focus on his own work and a few years later re-joined us on guitar and keyboard. He added a lot of depth to the song arrangements. Also, I think when he saw things were starting to fall apart, he stepped in to help bring back the band dynamic we were missing.”
For Bell, the band has never felt more vital or alive and that’s come with a degree of confidence and assuredness when looking to the future. “Early on a few negative comments would be enough for me to disassociate from my own work. But you grow up and you mature. I never felt like I could stand behind what I was doing all that much but with this album I really can.”
• Exclusive signed 16 page full-colour fanzine.
• Exclusive Sticker Sheet.
• Numbered Dinked sticker.
• Limited edition of 500.
Coloured LP Info: Solid red coloured vinyl.
“This is the first thing that I've ever been proud of for longer than a week,” says The Wytches frontman Kristian Bell of the band’s latest album Three Mile Ditch. This sense of vigour and enthusiasm coming from Bell about the band’s third album is matched by its contents. The album is an explosive collection of 10 tracks that weaves seamlessly between gut-wobbling monster riffs, swampy rock, slick surf, and finely tuned songcraft. It’s also the result of a band coming back from the brink of collapse.
The band’s early trajectory was a steep and speedy one as they quickly established themselves as one of the country’s most exciting and pulverising new bands. Major festival slots stacked up at places such as Glastonbury, SXSW, Reading and Leeds, and British Summertime with the Strokes. As did the tours across the US with METZ, traversing Europe with Fat White Family and Death Grips. They garnered support from BBC 6 Music, DIY, MOJO, NME and more. However, when the ascent to the stratosphere is moving at such a speed, there’s a risk of burning out and imploding, and the band came close to this.
They were on the rocks for a while, unsure of themselves and if the band should - or even could - go on. “I had it in my head that this kind of thing only really happens once and to try it again might be a big waste of time,” Bell reflects. However, despite the difficulties, the powerful pull of the band was too great to ignore.
“We had an album’s worth of songs that was some of our best material. The mission became to complete a Wytches album rather than get The Wytches back on the touring circuit. This album helped us make the decision to try it again.”
Whilst the album is bursting at the seams with hard rock screamers, with hooks and riffs so infectious they burrow deep into the brain, there’s also other more nuanced elements at play. Bell’s love of classic songwriting from Bob Dylan to Elliott Smith via Big Star’s Alex Chilton can be heard reverberating throughout the record; the result is a blend between his honed and subtle knack for songcraft and crunchy, eruptive bursts of noise.
A leaving member left them feeling they couldn’t face introducing a new drummer and teaching them all the new songs so they simply pounced on their momentum and took on that role themselves, sharing drumming duties. Joining the two, was a familiar face in Mark Breed. “It was the first time Mark was present for most of the recording sessions. Mark was our original bassist before we moved to Brighton. He decided to stay in Peterborough to focus on his own work and a few years later re-joined us on guitar and keyboard. He added a lot of depth to the song arrangements. Also, I think when he saw things were starting to fall apart, he stepped in to help bring back the band dynamic we were missing.”
For Bell, the band has never felt more vital or alive and that’s come with a degree of confidence and assuredness when looking to the future. “Early on a few negative comments would be enough for me to disassociate from my own work. But you grow up and you mature. I never felt like I could stand behind what I was doing all that much but with this album I really can.”
FORMAT INFORMATION
Dinked Edition LP Info: • Exclusive Splatter vinyl.• Exclusive signed 16 page full-colour fanzine.
• Exclusive Sticker Sheet.
• Numbered Dinked sticker.
• Limited edition of 500.
Coloured LP Info: Solid red coloured vinyl.
The album opens with “Hypnagogia,” an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band’s choral objectives for Under the Spell of Joy are established right off the bat, with Bonnie Bloomgarden’s melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark.
The portentous simmer of the opening track yields to the ecstatic rocker “Hold My Hand,” where verses reminiscent of Velvet Underground’s “I’m Waiting For The Man” explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children’s choir chanting the album’s primary mantra “under the spell of joy / under the spell of love.”
Death Valley Girls have always vacillated between lightness and darkness, and on “Bliss Out” they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on “The Universe,” where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you’re looking for transcendental rock music, look no further.
“Death Valley Girls are a gift to the world.” Iggy Pop.
“If Charlie Spahn Ranch girls had formed a band that was part-Stooges, part-Bikini Kill, all groove, then they’d have sounded like this.” Classic Rock Magazine.
“A striking record, all brazen fury and bratty beats, something resembling hard rock before Sabbath” Noisey.
The portentous simmer of the opening track yields to the ecstatic rocker “Hold My Hand,” where verses reminiscent of Velvet Underground’s “I’m Waiting For The Man” explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children’s choir chanting the album’s primary mantra “under the spell of joy / under the spell of love.”
Death Valley Girls have always vacillated between lightness and darkness, and on “Bliss Out” they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on “The Universe,” where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you’re looking for transcendental rock music, look no further.
“Death Valley Girls are a gift to the world.” Iggy Pop.
“If Charlie Spahn Ranch girls had formed a band that was part-Stooges, part-Bikini Kill, all groove, then they’d have sounded like this.” Classic Rock Magazine.
“A striking record, all brazen fury and bratty beats, something resembling hard rock before Sabbath” Noisey.
FORMAT INFORMATION
Coloured LP Info: First LP pressing limited to 1200 copies on gold vinyl, LP comes with folded poster + DL coupon.
Serial Error was founded as a New Beat project when Jacob Korn was asked for a submission to the 'Our Beat Is Still New' compilation series on the Belgian We Play House label in late 2014. Knowing the retro-experienced skills of his label mates from Uncanny Valley, he teamed up with Credit 00 & Sneaker and they produced Drum Abuse, a track that finally became the cue for their first full 12'' maxi single in 2018 on Rat Life Records; a label curated by Credit 00. Now they keep on malfunctioning with a 4-tracker featuring the bizarre title Afro Gothic. The eponymous track was the first shot when they got together for a second EP in Jacob's studio in now demolished premises (the typical daily Rat Life). The slow, steamy roller captures the amateurish live percussion skills of Credit 00, while - on the other hand - he played one of the manuals of Jacob's 'Son of GX' organ along with Sneaker playing the other manual of the leading voice synth. On top, they added a classic acapella - a sudden strike of genius - 'perfectly matching the solemn vibe' (in their opinion; artist quote). A2 'Unter den Helmen' is ripping off the same organ's preset drum patterns run through a brutal EQ. Talking of the 70s - a duet by two anti-nuclear activists from the German Sponti movement of the time became the theme of this politically charged protest song! Oh yeah, somewhere I had to paste the striking fact that all is mastered & sent via reel-to-reel at our TailOut studio. Check! B1 and B2 are two versions of the same song who share their lyrics drawn from school days. To be precise from the tacky Dresden art academy they both - Sneaker and Credit 00 - visited. The B2 of 'Art Academy Talk' features the typical Sneaker vocals on a 4/4 beat, while - due to Credit 00's lean towards electro - the B1 got the vocoder treatment while Jacob and Sneaker went for lunch. As Jacob came up with the bass riff on his Chroma Polaris, Credit fiddled the knobs of his Ensoniq ESQ1 like a rusty raver. The freaked out FX-sounds we can cherish thanks to the Pearl DRX drum machine; modded and played by Jacob Korn. Due to the odd look also fondly nick-named 'the VCR'. The Pearl, of course, not Jacob.
DISCO, Kylie’s fifteenth studio album, is set to be a triumphant return to the dancefloor. Think Studio 54, pure pop, dance elation. ‘Say Something’ is the first track to be released. A sleek, modern disco-tinged record, it was produced by long-time collaborator Biff Stannard.
Collectively, Kylie’s singles have spent a combined 317 weeks in the official UK singles chart Top 40, 118 weeks in the Top 10 and 16 weeks at number 1. Since the 80s, she has at least one number 1 album and single in every decade. She has sold more than 80 million albums worldwide and her catalogue now boasts over half a billion streams globally. Kylie has multiple awards and accolades to her name, including 3 BRIT Awards, 2 MTV Music Awards and a Grammy. Her 2019 Glastonbury performance was the most-watched TV moment in the festival’s history.
2018 saw Kylie blend her unmistakable superlative pop style with a Tennessee twang, resulting in the chart-topping ‘Golden’ album. The album went straight to number one in the UK and Australia, and was the UK’s fasting selling vinyl album of the year. Lead single ‘Dancing’ went to number one in the UK as well as topping the Billboard US Dance Club Songs chart. ‘The Golden Tour’ also saw Kylie perform in 31 cities across Europe, US & Australia, including three nights at London’s The O2 Arena.
Collectively, Kylie’s singles have spent a combined 317 weeks in the official UK singles chart Top 40, 118 weeks in the Top 10 and 16 weeks at number 1. Since the 80s, she has at least one number 1 album and single in every decade. She has sold more than 80 million albums worldwide and her catalogue now boasts over half a billion streams globally. Kylie has multiple awards and accolades to her name, including 3 BRIT Awards, 2 MTV Music Awards and a Grammy. Her 2019 Glastonbury performance was the most-watched TV moment in the festival’s history.
2018 saw Kylie blend her unmistakable superlative pop style with a Tennessee twang, resulting in the chart-topping ‘Golden’ album. The album went straight to number one in the UK and Australia, and was the UK’s fasting selling vinyl album of the year. Lead single ‘Dancing’ went to number one in the UK as well as topping the Billboard US Dance Club Songs chart. ‘The Golden Tour’ also saw Kylie perform in 31 cities across Europe, US & Australia, including three nights at London’s The O2 Arena.
FORMAT INFORMATION
Coloured LP Info: Exclusive Transparent Blue Colour Vinyl.
This Willie record is an especially happy moment for Yala! as it marks their first wholly independent release. Willie made one of the great debut bedroom records in ‘People And Their Dogs’, which they were huge fans of and felt very lucky in the wake of that to get a chance to work him, firstly on the follow EP ‘666 Kill’, and latterly on this album. It's a real privilege/responsibilityfor them to have their label associated with Willie's music and to put it out into the world, but something they’ve taken to with real fervour.
Twin Heavy was recorded in a couple of wildly productive weeks at Echo Zoo Studios in Eastbourne with producer Loren Humphries (Florence And The Machine, Last Shadow Puppets, Arctic Monkeys, Tame Impala). It was a hard collection to land on because Willie has a habit of writing a new song every week, almost always an evolution and improvement on the last. It’s not a bad problem to have but something as a label you have to be mindful of when contextualising a piece of his work. They eventually settled on a selection and the band recorded straight to tape. The life and simultaneous naivety and nous captured in this have really made them feel like they’re sitting on a special little secret ever since they first heard it.
Willie spent his teens with his ambitions set on a life as an amateur boxer but an introduction to the music of Neil Young set him on an accidental path of discovering he had a very natural ease with melody. As he told them, it suddenly felt like a better alternative than being punched in the head every day. Yala! have been really excited to see him grow over the last few months into an artist really capable of voicing his leftfield eccentricities alongside his very natural classic song writing. This final collection of songs feels to them like all the very best stuff from this last year of writing and recording...and, in their opinion and set against the chaos, a total relief to be in the company of.
Twin Heavy was recorded in a couple of wildly productive weeks at Echo Zoo Studios in Eastbourne with producer Loren Humphries (Florence And The Machine, Last Shadow Puppets, Arctic Monkeys, Tame Impala). It was a hard collection to land on because Willie has a habit of writing a new song every week, almost always an evolution and improvement on the last. It’s not a bad problem to have but something as a label you have to be mindful of when contextualising a piece of his work. They eventually settled on a selection and the band recorded straight to tape. The life and simultaneous naivety and nous captured in this have really made them feel like they’re sitting on a special little secret ever since they first heard it.
Willie spent his teens with his ambitions set on a life as an amateur boxer but an introduction to the music of Neil Young set him on an accidental path of discovering he had a very natural ease with melody. As he told them, it suddenly felt like a better alternative than being punched in the head every day. Yala! have been really excited to see him grow over the last few months into an artist really capable of voicing his leftfield eccentricities alongside his very natural classic song writing. This final collection of songs feels to them like all the very best stuff from this last year of writing and recording...and, in their opinion and set against the chaos, a total relief to be in the company of.
FORMAT INFORMATION
Coloured LP Info: Limited yellow vinyl.
This 1967 sleazealogue about the sex and drug crazed San Francisco hippie underground is a strange trip soundtracked by the psychedelic sounds of sitar and tabla, backwards vocals, heavy breathing, satanic flutes bathed in tape delay, all underscoring the thoughts and hallucinations of the film’s plastered protagonists. It’s a sensual, id-shaking, mind-bending experience that may leave you forever changed!
FORMAT INFORMATION
Coloured LP Info: This LP is pressed on coloured vinyl and includes a dvd of the entire film!
Eyedress returns with a new album, 'Let's Skip To The Wedding' - a loved up remedy for uncertain times. Eyedress is an LA based Filipino singer, musician and producer. 'Let's Skip To The Wedding' is his first album since relocating from Manila to the US in late 2018. A passionate exploration of the themes of love, adjusting to life in a new city, and preparing to welcome a child into this ever changing world. His unique songwriting pairs lovesick lyrics with infectious guitar hooks & his trademark, cold wave inspired, woozy synths.
The album follows his Valentine's Day single, which was championed by Mike D on his Beats 1 show, and 2019's 'Jealous' EP, whose title track has grown to become his most popular to date. Over the past year Eyedress began collaborating with kindred spirits like Cuco, Triathalon and Inner Wave, and earned a reputation for his wild and unpredictable performances.
He’s shared stages with acts like Homeshake, Enjoy, Jasper Bones, N8NOFACE and B Cool Aid, as well as supporting Inner Wave on their 13 date west coast tour. His last album 'Sensitive G' was a personal reflection of Manila life told through the music of his youth; dreampop, punk & indie rock. In 2017 he released his debut album 'Manila Ice', a record about love and survival in the Philippines. Eyedress has previously collaborated with King Krule, VRITRA, Fazerdaze and Jess Connelly.
The album follows his Valentine's Day single, which was championed by Mike D on his Beats 1 show, and 2019's 'Jealous' EP, whose title track has grown to become his most popular to date. Over the past year Eyedress began collaborating with kindred spirits like Cuco, Triathalon and Inner Wave, and earned a reputation for his wild and unpredictable performances.
He’s shared stages with acts like Homeshake, Enjoy, Jasper Bones, N8NOFACE and B Cool Aid, as well as supporting Inner Wave on their 13 date west coast tour. His last album 'Sensitive G' was a personal reflection of Manila life told through the music of his youth; dreampop, punk & indie rock. In 2017 he released his debut album 'Manila Ice', a record about love and survival in the Philippines. Eyedress has previously collaborated with King Krule, VRITRA, Fazerdaze and Jess Connelly.
FORMAT INFORMATION
Coloured LP Info: Limited edition purple vinyl.
Pre-order the album for a chance to win one of 10 test pressings and signed lyric sheets!
Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is proud to announce the very first release of brand new music on the label. ‘In Memory Of My Feelings’ is the result of a one-off collaboration between Catherine Anne Davies and Bernard Butler. The album was recorded over writing and recording sessions covering a four year period, but amounting to just fifteen days in total. Prior to the creation of the record, the two had never met. There are ten songs featured in total on ‘In Memory Of My Feelings’.
Key tracks include the unearthly end-of-days address The Breakdown, the triumphant four-to-the-floor excoriations of Sabotage (Looks So Easy) and the luxuriant glam ache of No More Tears To Cry. Work on In Memory Of My Feelings was completed in 2014, but extraneous commitments forced Catherine and Bernard to postpone its release indefinitely. Of the record Butler says: “I’d got used to the idea that the record might never emerge. Occasionally, I’d listen to it on my headphones if I was on the bus, I always had the same thought, “I wish I could go to a record shop and buy this.” Davies adds: “For me, the best thing is that we still don’t know each other that well. The songs were the conversation.” Catherine is best known for her work as The Anchoress. Her debut album Confessions Of A Romance Novelist was released to widespread critical acclaim in 2016 and was named amongst the Guardian critics’ Albums of the Year, earned her the Best Newcomer prize at the PROG Awards and was also named HMV’s Welsh Album of the Year.
Since then she has played in the touring line-ups of Manic Street Preachers and Simple Minds. The second Anchoress album is scheduled for release early next year. Bernard Butler is a founding member of Suede, with whom he co-wrote and performed two era-defining albums. He then went on to enjoy top ten success with McAlmont & Butler and as a solo artist before focusing on writing and production work with artists such as Bert Jansch, The Libertines, Duffy, Teleman and Texas.
All vinyl copies of In Memory Of My Feelings come with a specially-recorded seven-inch single featuring a rearranged version of album track The Patron Saint Of The Lost Cause (retitled The Patron Saint Of Harmonia) and a stunning, pared-back version of Madonna’s Live To Tell. Of the latter, Butler says, “When I was 16, Live To Tell allowed me to join the dots in songwriting between True Blue and The Queen Is Dead.” Davies adds: “I don’t know what Madonna wrote it about, but the resonances in a post-#metoo world are impossible to miss.”
The songs are also featured on the CD and download versions. The artwork for In Memory Of My Feelings was the result of a collaborative process between Catherine Anne Davies, Bernard Butler and the acclaimed Belgian photographer Eva Vermandel, whose work is featured in the collections of the V&A and National Portrait Gallery. Vermandel’s work echoes aspects of the record itself: the relatively formal manner of the duo’s collaboration and the uncertainty that surrounded the outcome of the recording sessions.
Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is proud to announce the very first release of brand new music on the label. ‘In Memory Of My Feelings’ is the result of a one-off collaboration between Catherine Anne Davies and Bernard Butler. The album was recorded over writing and recording sessions covering a four year period, but amounting to just fifteen days in total. Prior to the creation of the record, the two had never met. There are ten songs featured in total on ‘In Memory Of My Feelings’.
Key tracks include the unearthly end-of-days address The Breakdown, the triumphant four-to-the-floor excoriations of Sabotage (Looks So Easy) and the luxuriant glam ache of No More Tears To Cry. Work on In Memory Of My Feelings was completed in 2014, but extraneous commitments forced Catherine and Bernard to postpone its release indefinitely. Of the record Butler says: “I’d got used to the idea that the record might never emerge. Occasionally, I’d listen to it on my headphones if I was on the bus, I always had the same thought, “I wish I could go to a record shop and buy this.” Davies adds: “For me, the best thing is that we still don’t know each other that well. The songs were the conversation.” Catherine is best known for her work as The Anchoress. Her debut album Confessions Of A Romance Novelist was released to widespread critical acclaim in 2016 and was named amongst the Guardian critics’ Albums of the Year, earned her the Best Newcomer prize at the PROG Awards and was also named HMV’s Welsh Album of the Year.
Since then she has played in the touring line-ups of Manic Street Preachers and Simple Minds. The second Anchoress album is scheduled for release early next year. Bernard Butler is a founding member of Suede, with whom he co-wrote and performed two era-defining albums. He then went on to enjoy top ten success with McAlmont & Butler and as a solo artist before focusing on writing and production work with artists such as Bert Jansch, The Libertines, Duffy, Teleman and Texas.
All vinyl copies of In Memory Of My Feelings come with a specially-recorded seven-inch single featuring a rearranged version of album track The Patron Saint Of The Lost Cause (retitled The Patron Saint Of Harmonia) and a stunning, pared-back version of Madonna’s Live To Tell. Of the latter, Butler says, “When I was 16, Live To Tell allowed me to join the dots in songwriting between True Blue and The Queen Is Dead.” Davies adds: “I don’t know what Madonna wrote it about, but the resonances in a post-#metoo world are impossible to miss.”
The songs are also featured on the CD and download versions. The artwork for In Memory Of My Feelings was the result of a collaborative process between Catherine Anne Davies, Bernard Butler and the acclaimed Belgian photographer Eva Vermandel, whose work is featured in the collections of the V&A and National Portrait Gallery. Vermandel’s work echoes aspects of the record itself: the relatively formal manner of the duo’s collaboration and the uncertainty that surrounded the outcome of the recording sessions.
FORMAT INFORMATION
LP Info: Limited LP & 7"
Heavy Salad’s Cult Casual is set for release this September 25th through Dipped In Gold Recordings and was recorded by producers Christophe Bride at Oxygene Studio in Manchester and with Ross Orton at McCall Sound in Sheffield. Christophe, known for this work with Spear of Destiny and Theatre of Hate has recently been busy producing the forthcoming ACR album ‘ACR Loco’ forthcoming on Mute Records and Ross, known for his work with Arctic Monkeys and Amyl & The Sniffers has recently produced the forthcoming album by Working Men’s Club on Heavenly Recordings.
The LP was written by Heavy Salad at their base in East Manchester by the core trio of Lee Mann (live bassist with The Moonlandingz), Rob Glennie and Allan Hutchison. The band are joined by live backing singers ‘The Priestesses’ and Oscar Remers. The band bonded over a joint interest in psychedelic horror films with Panos Cosmatos’ cult classic Mandy being a particular favourite, Heavy Salad loved the idea of the band being a psychedelic cult albeit a cult with no rules, hence Cult Casual! The album explores the idea of finding your own reality via hallucinogenic nights plagued with polar bears and conversations with the AI in your phone to imagining after death experiences and apocalyptic visions of the future. Heavy Salad share a love of melody and the sound of the album was influenced by their love of psych pop and acid rock. No distortion pedals were used in the making of Cult Casual.
The LP was written by Heavy Salad at their base in East Manchester by the core trio of Lee Mann (live bassist with The Moonlandingz), Rob Glennie and Allan Hutchison. The band are joined by live backing singers ‘The Priestesses’ and Oscar Remers. The band bonded over a joint interest in psychedelic horror films with Panos Cosmatos’ cult classic Mandy being a particular favourite, Heavy Salad loved the idea of the band being a psychedelic cult albeit a cult with no rules, hence Cult Casual! The album explores the idea of finding your own reality via hallucinogenic nights plagued with polar bears and conversations with the AI in your phone to imagining after death experiences and apocalyptic visions of the future. Heavy Salad share a love of melody and the sound of the album was influenced by their love of psych pop and acid rock. No distortion pedals were used in the making of Cult Casual.
Emma-Jean Thackray, an outstanding figure in the UK jazz scene, releases Um Yang, her long-dreamed project dedicated to the Taoist philosophy of duality and harmony. A highly ambitious and personal record that sees Thackray leading a septet featuring Soweto Kinch and Steam Down’s Wonky Logic, recorded straight to vinyl.
An accomplished trumpeter, beat-maker, singer, composer and DJ, Thackray draws on far wider influences than jazz. Her sound is distinctive; in the words of The Guardian like “Bitches Brew era Miles entering the dub chamber with a New Orleans marching band – in a good way”. Since debuting in 2016, Thackray has directed the London Symphony Orchestra, performed at the NY Winter Jazz Fest, played Glastonbury five times in 2019 alone, and launched her own record label, Movementt (in association with Warp).
Raised in Yorkshire, Thackray inherited a grounding in Taoism from her father, and approaches her music with the same pursuit of harmony between Um & Yang (the Korean Ying & Yang), balancing melody and rhythm, groove and free improvisation, cerebral and physical. For this one-off recording, Thackray has applied this ideology in every sense, even down to the ensemble itself featuring not one but two percussionists. Um commences with ethereal interplay between keys, percussion, and Thackray’s trumpet, recalling the spiritual jazz of Alice Coltrane’s classic records. As the piece builds, an earthy groove emerges. On both trumpet and vocals, Thackray leads the ensemble further out until the piece peaks with an epic breakdown. On the flip, Yang starts on the same cacophonous note but progresses to a joyful groove before returning to a peaceful state again, balance restored.
When Night Dreamer Records invited Emma to record Um Yang straight-to-disc at Artone’s vintage recording studio in Haarlem, Holland, Emma was excited by the idea of capturing this specific project in one-take, without overdubs or edits. “Recording in (Artone) was such a dream” Thackray recalls. “It had all the fantasy analogue equipment you daydream about one day being able to use. The desk looked like something Uhura would use. All the instruments were natural, woods and metals, no plastic in sight, and everything was to be hit or blown, all analogue. I really needed everything to be natural and real, because the music is about the universe, about the energy of all things, and what is more real than that.” Honest sound to match truly honest music. With Um Yang, Emma-Jean Thackray has created her most personal and defining work to date.
PERSONNEL:
Emma-Jean Thackray - Trumpet, Voice, Percussion
Soweto Kinch - Saxophones
Lyle Barton - Rhodes
Ben Kelly - Sousaphone
Dwayne Kilvington - Percussion
Crispin Robinson - Congas
Dougal Taylor - Drums
An accomplished trumpeter, beat-maker, singer, composer and DJ, Thackray draws on far wider influences than jazz. Her sound is distinctive; in the words of The Guardian like “Bitches Brew era Miles entering the dub chamber with a New Orleans marching band – in a good way”. Since debuting in 2016, Thackray has directed the London Symphony Orchestra, performed at the NY Winter Jazz Fest, played Glastonbury five times in 2019 alone, and launched her own record label, Movementt (in association with Warp).
Raised in Yorkshire, Thackray inherited a grounding in Taoism from her father, and approaches her music with the same pursuit of harmony between Um & Yang (the Korean Ying & Yang), balancing melody and rhythm, groove and free improvisation, cerebral and physical. For this one-off recording, Thackray has applied this ideology in every sense, even down to the ensemble itself featuring not one but two percussionists. Um commences with ethereal interplay between keys, percussion, and Thackray’s trumpet, recalling the spiritual jazz of Alice Coltrane’s classic records. As the piece builds, an earthy groove emerges. On both trumpet and vocals, Thackray leads the ensemble further out until the piece peaks with an epic breakdown. On the flip, Yang starts on the same cacophonous note but progresses to a joyful groove before returning to a peaceful state again, balance restored.
When Night Dreamer Records invited Emma to record Um Yang straight-to-disc at Artone’s vintage recording studio in Haarlem, Holland, Emma was excited by the idea of capturing this specific project in one-take, without overdubs or edits. “Recording in (Artone) was such a dream” Thackray recalls. “It had all the fantasy analogue equipment you daydream about one day being able to use. The desk looked like something Uhura would use. All the instruments were natural, woods and metals, no plastic in sight, and everything was to be hit or blown, all analogue. I really needed everything to be natural and real, because the music is about the universe, about the energy of all things, and what is more real than that.” Honest sound to match truly honest music. With Um Yang, Emma-Jean Thackray has created her most personal and defining work to date.
PERSONNEL:
Emma-Jean Thackray - Trumpet, Voice, Percussion
Soweto Kinch - Saxophones
Lyle Barton - Rhodes
Ben Kelly - Sousaphone
Dwayne Kilvington - Percussion
Crispin Robinson - Congas
Dougal Taylor - Drums
When Slowdive disbanded in 1995 music fans widely associated it with the demise of the shoegaze genre. Their last sign of life was Pygmalion (before they reunited in 2014) and it was, after Just For A Day and Souvlaki a totally different and more abstract album. Where the band attempted to put more song structures in place on Souvlaki, they began to incorporate more elements of ambient electronica on Pygmalion. Tracks like “Blue Skied An’ Clear” and “Crazy For You” demonstrate that the songs are still there, somewhere -- they’re just buried under more abstract sounds than before.
Available as a 25th anniversary edition of 3000 individually numbered copies on clear & green marbled vinyl. The package includes an insert.
The package includes an insert.
Available as a 25th anniversary edition of 3000 individually numbered copies on clear & green marbled vinyl. The package includes an insert.
FORMAT INFORMATION
Coloured LP Info: 3000 individually numbered copies on clear & green marbled vinyl.The package includes an insert.
Originally released in 1987, “Pleased To Meet Me” is the fifth studio album from American rock band, The Replacements. Formed in Minneapolis in 1979, The Replacements initially started out as a punk rock band but grew to be one of the pioneers of alternative rock. Pleased To Meet Me is the only album from the band recorded as a trio after guitarist Bob Stinson’s exit after the release of their fourth studio album “Tim”, and before the addition of guitarist Bob ‘Slim’ Dunlap.
The album is available here as a 3CD/1LP box set with The music presented in a 12 x 12 hardcover book with rare photos and a new historical liner note by Bob Mehr, author of Trouble Boys: The True Story of the Replacements.
The album received widespread critical acclaim with Rolling Stone describing it as “an album alive with the crackle of conflicting emotions and kamikaze rock & roll fire”, as well as Pitchfork rating it 9.3 out of 10. The album is often considered as one of the greatest albums of the 1980’s.
The album is available here as a 3CD/1LP box set with The music presented in a 12 x 12 hardcover book with rare photos and a new historical liner note by Bob Mehr, author of Trouble Boys: The True Story of the Replacements.
The album received widespread critical acclaim with Rolling Stone describing it as “an album alive with the crackle of conflicting emotions and kamikaze rock & roll fire”, as well as Pitchfork rating it 9.3 out of 10. The album is often considered as one of the greatest albums of the 1980’s.
FORMAT INFORMATION
Box set Info: 3CD / 1LP (180 gram) Box Set.
Frank is the debut album by Amy Winehouse, first released on October 20th 2003. The album has sold over 1 million copies and is certified triple platinum in the UK. It features the single ‘Stronger Than Me’, for which Amy won an Ivor Novello Award, as well as the singles Take The Box, In My Bed and F**k Me Pumps.
Half Speed Mastering is an artisan technique offered by Abbey Road Studios, that results in the very highest quality sound reproduction. UMC have created a range of bespoke vinyl pressings of iconic albums utilising this process and have carefully selected Frank to be a part of the series.
Heavyweight vinyl and the highest specification packaging come as standard to create a thoroughly bespoke vinyl experience that, most importantly, provides a sound quality superior to anything else currently available. The package includes a certificate of authenticity from Abbey Road and a branded obi strip.
Half Speed Mastering is an artisan technique offered by Abbey Road Studios, that results in the very highest quality sound reproduction. UMC have created a range of bespoke vinyl pressings of iconic albums utilising this process and have carefully selected Frank to be a part of the series.
Heavyweight vinyl and the highest specification packaging come as standard to create a thoroughly bespoke vinyl experience that, most importantly, provides a sound quality superior to anything else currently available. The package includes a certificate of authenticity from Abbey Road and a branded obi strip.
FORMAT INFORMATION
2xDeluxe LP Info: 2LP Half Speed.
What started out in LA with Jon Hill and was finished back in North Carolina at Sylvan Esso’s home studio, Free Love asks major questions about self-image, self-righteousness, friendship, romance, and environmental calamity with enough warmth, playfulness, and magnetism to make you consider an alternate reality. These are Sylvan Esso’s most nuanced and undeniable songs—bold enough to say how they feel, big enough to make you join in that feeling.
FORMAT INFORMATION
Coloured LP Info: Sky Blue Opaque colour vinyl.
Reissue on vinyl of the third PJ Harvey studio album To Bring You My Love. Produced by PJ Harvey with Flood and John Parish, and originally released in February 1995, To Bring You My Love features the singles ‘Down By The Water’, ‘C’mon Billy’ and ‘Send His Love To Me’. The album – which celebrates its 25th Anniversary this year – received wide critical acclaim on release, with nominations for Grammy Awards and the Mercury Music Prize.
Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator John Parish.
Full colour outer sleeve, with printed inner sleeve.
Download card.
Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator John Parish.
FORMAT INFORMATION
Ltd LP Info: 1LP, 180 gram black vinyl.Full colour outer sleeve, with printed inner sleeve.
Download card.
10 track collection of previously unreleased demos of all songs from the third studio album by PJ Harvey – To Bring You My Love – from 1995. Includes demo versions of the singles ‘Down By The Water’, ‘C’mon Billy’ and ‘Send His Love To Me’. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator John Parish. Features brand new artwork with previously unseen photos by Maria Mochnacz.
Full colour outer sleeve, with printed inner sleeve.
Artwork includes previously unseen photos.
Download card.
CD Info: Mini-gatefold outer sleeve.
Printed inner sleeve.
FORMAT INFORMATION
Ltd LP Info: 1LP, 180 gram black vinyl.Full colour outer sleeve, with printed inner sleeve.
Artwork includes previously unseen photos.
Download card.
CD Info: Mini-gatefold outer sleeve.
Printed inner sleeve.
The Danish four-piece Yung are back four years after the release of their 2016 debut LP A Youthful Dream on Fat Possum, which followed a series of EPs that brought them the attention of Pitchfork, Stereogum, NPR, The FADER and more. Now working with Stockholm, Sweden based indie label PNKSLM Recordings (ShitKid, Les Big Byrd, Hollow Ship etc) the band has refi ned their sound while embracing a wider palette of inspiration, coming through to the other side and reassessing their focus. The fi rst fruit of the new partnership is the Progress 7” which features new single “Progress” alongside the exclusive b-side “New Fast Song”, which showcases the band’s more punk-infused side.
Cardinal Fuzz (in conjunction with Centripetal Force for North America) presents the seventh full length album from veteran psychonauts White Manna. Long recognized as one of the leaders of the modern psychedelic movement, White Manna's ARC builds upon an already impressive discography and further develops the band's always evolving approach to sound and songwriting.
This nine song journey sees the band exploring new directions that are more meditative in nature, a welcome development in light of the current state of world affairs. The song "Mythic Salon" certainly demonstrates such intent, as well as growth. ARC, the band’s first release since last year's Ape on Sunday, was recorded at guitarist Anthony Taibi's 3D Light Studios in Humboldt County, California. The songwriting this time around took on more of an inward process, both musically and thematically.This shift allowed for more spontaneity and improvisation than their previous efforts.
This was especially true when it came to translating musical passages that had already become part of the band's live repertoire. ARC is not a concept album per se, but its focus on such an omnipresent icon certainly leaves the listener a variety of avenues for interpretation, making this the most daring and unique album in the White Manna discography.
This nine song journey sees the band exploring new directions that are more meditative in nature, a welcome development in light of the current state of world affairs. The song "Mythic Salon" certainly demonstrates such intent, as well as growth. ARC, the band’s first release since last year's Ape on Sunday, was recorded at guitarist Anthony Taibi's 3D Light Studios in Humboldt County, California. The songwriting this time around took on more of an inward process, both musically and thematically.This shift allowed for more spontaneity and improvisation than their previous efforts.
This was especially true when it came to translating musical passages that had already become part of the band's live repertoire. ARC is not a concept album per se, but its focus on such an omnipresent icon certainly leaves the listener a variety of avenues for interpretation, making this the most daring and unique album in the White Manna discography.
Cardinal Fuzz / Rooster are pleased to bring to you the latest volume in the Reverberations series – 'The Heads – Reverberations Volume 2'. This time we dive into The Heads archives for the Reverberations Series to bring you The Heads recorded live at the Thekla (6th December 2001) as part of the ‘The Gnostic Bash: A Tribute to Kenneth Anger'. This was part of a tribute programme (which included a performance of John Zorn and others playing to Anger’s ‘Magick Lantern Cycle at the Anthology Film Archives in New York) to help raise money for Anger’s long- cherished ambition to make a film of Aleister Crowley's Gnostic Mass, and documentary film-maker Jon Ausbrooks' then work in progress documentary about Anger, ‘Inside the Eye of Scorpio Rising’.
Sean Cook was tasked with putting a bill of artists together in which bands played to a partial recreation of Anger’s ‘Equinox of the Gods’ a live film of The Magick Powerhouse Of Oz band who featured Bobby Beausoleil (later imprisoned for life for the Manson Family-related murder of Gary Hinman). The energy captured within these grooves here is extraordinary; for over 40 minutes (with no breaks to catch your breath and get your head together) you are treated to primo Heads in full flight.
This two track performance starts with an utterly mind destroying version of k.r.t that lasts for near on 30 minutes. Playing to a back drop of Anger screenings and a barrage of strobes and smoke The Heads create an effect akin to your head been sucked through time and space and turned inside out – and that is before we even get to the grande finale of ‘Spliff Riff’ – a relentless onslaught that has you picking your head off the floor only for it to be sucked straight back down again. Take a deep breath, dive in and grin.
Sean Cook was tasked with putting a bill of artists together in which bands played to a partial recreation of Anger’s ‘Equinox of the Gods’ a live film of The Magick Powerhouse Of Oz band who featured Bobby Beausoleil (later imprisoned for life for the Manson Family-related murder of Gary Hinman). The energy captured within these grooves here is extraordinary; for over 40 minutes (with no breaks to catch your breath and get your head together) you are treated to primo Heads in full flight.
This two track performance starts with an utterly mind destroying version of k.r.t that lasts for near on 30 minutes. Playing to a back drop of Anger screenings and a barrage of strobes and smoke The Heads create an effect akin to your head been sucked through time and space and turned inside out – and that is before we even get to the grande finale of ‘Spliff Riff’ – a relentless onslaught that has you picking your head off the floor only for it to be sucked straight back down again. Take a deep breath, dive in and grin.
But would you bat an eye, waiting for war machines to pass you by? But aren’t we going out tonight? Aren’t we going out?"" Special Interest have returned with their sophomore LP. A dual release from Night School (UK) and Thrilling Living (US), The Passion Of... combines elements of glam rock and no wave pushed through a mangled filter of contemporary electronic forms. Special Interest present a precise and deranged vision of punk, an apocalyptic celebration, a step forward into a perverse and uncertain landscape. Recorded throughout 2019 with engineer James Whitten, The Passion Of finds the band with a fuller realization of their sound.
While their debut, Quintron-produced, album Spiraling documented a band discovering their purpose, The Passion Of… is both more chaotic and melodic, daring to finally live up to their notorious wall-of-sound live performances. Massive, juddering beats from an old Electribe sampler and distorted bass provide much of the rhythmic backbone. The effect is purely physical, circumnavigating the brain and heading straight to the body’s core, sounding at times like an Industrial take on the most brutal Gabber 12”s from the Groningen hardcore underground.
Crass, decolonized guitar work and haunting synth lines cut through the low end noise to serve the album’s layers of drama. It’s a cloying, intense dynamic that builds to almost unbearable fever pitch at points, threatening to overwhelm and overpower. Aided by mastering work by Rashad Becker, The Passion Of… is a true document of Special Interest as the intense and radical unit they are. Alli Logout’s razor sharp lyrics drip with the collective lust for life in the midst of painful truths. Offering moments of clarity and hope in their signature bratty maladjusted manner, switching from high camp satire to insightful political imperatives often within the course of one song.
The Passion Of... takes you on an odyssey, from celebrating the highs and lows of hedonism (Disco III), to dystopian anthems (All Tomorrow’s Carry) and disillusioned love songs (Street Pulse Beat). Ending in a powerful final decree (With Love) offering visions and desires for futures to come. The Passion Of... is a culmination of Special Interest’s long standing obsessions. Not just bearing witness but living and moving towards our innate desire for rapture in an urgent and raw testimony of the here and now. "Beyond blood we fight towards liberation"
While their debut, Quintron-produced, album Spiraling documented a band discovering their purpose, The Passion Of… is both more chaotic and melodic, daring to finally live up to their notorious wall-of-sound live performances. Massive, juddering beats from an old Electribe sampler and distorted bass provide much of the rhythmic backbone. The effect is purely physical, circumnavigating the brain and heading straight to the body’s core, sounding at times like an Industrial take on the most brutal Gabber 12”s from the Groningen hardcore underground.
Crass, decolonized guitar work and haunting synth lines cut through the low end noise to serve the album’s layers of drama. It’s a cloying, intense dynamic that builds to almost unbearable fever pitch at points, threatening to overwhelm and overpower. Aided by mastering work by Rashad Becker, The Passion Of… is a true document of Special Interest as the intense and radical unit they are. Alli Logout’s razor sharp lyrics drip with the collective lust for life in the midst of painful truths. Offering moments of clarity and hope in their signature bratty maladjusted manner, switching from high camp satire to insightful political imperatives often within the course of one song.
The Passion Of... takes you on an odyssey, from celebrating the highs and lows of hedonism (Disco III), to dystopian anthems (All Tomorrow’s Carry) and disillusioned love songs (Street Pulse Beat). Ending in a powerful final decree (With Love) offering visions and desires for futures to come. The Passion Of... is a culmination of Special Interest’s long standing obsessions. Not just bearing witness but living and moving towards our innate desire for rapture in an urgent and raw testimony of the here and now. "Beyond blood we fight towards liberation"
“No Longer is a suite of six absorbing, patient reveries on conflicted concupiscence and encroaching darkness by Berkeley songwriter Frank Ene, who composed the material in a period of solitude following the demise of his noise-pop group Pure Bliss. Ene abstained from socializing to write the songs, venturing outside mostly to work in the basement of a frame-shop or observe students on the nearby UC Berkeley campus, vintage self-help paperbacks stuffed in his pockets.
When it came time to record, he opted to play nearly every instrument himself. ‘Some songs are affirmations,’ he said. ‘The saddest ones I can’t remember writing, as if someone entered my mind and body in a really brutal way.’ “Suffused with an atmosphere of slow-simmering tension, No Longer traffics in understated grooves reminiscent of latter-era Nick Cave & the Bad Seeds, with Ene’s rich voice somehow sounding at once wispy and full-bodied.
‘Flesh In The Womb,’ one of the songs to feature songwriter and Fresh & Onlys guitarist Wymond Miles, channels the lasciviousness of Serge Gainsbourg as well as the beguiling sparseness of Dean Blunt. The lyrics to ‘Housing Alcove,’ a crushing meditation on childhood trauma, reveal competing, interconnected feelings of vulnerability and ambition (a duality captured by the evocative album art). A dynamic, repeat listen, No Longer stands among the most musically arresting and emotionally contoured Bay Area solo debuts in recent memory.” —Sam Lefebvre
When it came time to record, he opted to play nearly every instrument himself. ‘Some songs are affirmations,’ he said. ‘The saddest ones I can’t remember writing, as if someone entered my mind and body in a really brutal way.’ “Suffused with an atmosphere of slow-simmering tension, No Longer traffics in understated grooves reminiscent of latter-era Nick Cave & the Bad Seeds, with Ene’s rich voice somehow sounding at once wispy and full-bodied.
‘Flesh In The Womb,’ one of the songs to feature songwriter and Fresh & Onlys guitarist Wymond Miles, channels the lasciviousness of Serge Gainsbourg as well as the beguiling sparseness of Dean Blunt. The lyrics to ‘Housing Alcove,’ a crushing meditation on childhood trauma, reveal competing, interconnected feelings of vulnerability and ambition (a duality captured by the evocative album art). A dynamic, repeat listen, No Longer stands among the most musically arresting and emotionally contoured Bay Area solo debuts in recent memory.” —Sam Lefebvre
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You were all pretty quick yesterday getting those pre-orders in as the Dinked Archive Weyes Blood reissue has alrea… https://t.co/cb81y0eCRS
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Wise words!
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Just a heads up people: if you pre-ordered the new @fontainesdublin album ‘A Hero’s Death’ the links for A Night At… https://t.co/2nemXeZLFP
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PRESALE: DINKED ARCHIVE #2
@WeyesBlood 'Cardamom Times' Reissue
•Transparent Blue vinyl
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What can be better than starting the week with a new @dinkededition announcement eh?! Check back at 3pm to find out… https://t.co/ZHipHCBwI9
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