January Clearout


Bargains galore to be had here including many titles half price or less. We've only got very small quantities of most of these so grab 'em quick.


Shapes & Colors

    If you find the time, please come and stay a while in abracadabra’s beautiful neighbourhood; a magically wonky wonderland where strangers leave as friends to a block party soundtrack as eclectic as it is infectious. The California duo’s album ‘shapes & colors’ is a dazzling collage of psych-fuelled synthscapes and contemporary Baroque-pop of anti-capitalist movements and escapism, precisely pieced around their own working lives in a blue-collar town. In the heart of Oakland’s industrial Jingletown above a former auto-repair shop in what was once a mechanics’ break room where poker rounds ensued, Hannah Skelton (Vocals, Synthesizers) and Chris Niles, (Bass, Synthesizers) constructed the angular 80s-tinged anthems (think John Hughes montages to Talking Heads) of their new album, to positively offset the pandemic’s amplification of dysfunctional society. “It reflects our current reality: a huge mess that is systematically broken but isn’t entirely lost,” Hannah tells. “We’re inviting listeners to conjure up every drop of hope and willpower left inside them, pour that into the giant vat of anger and frustration bubbling inside us all, and with this potion collectively enact the necessary change to bring love and light into this dark space.”

    When Covid forced Hannah from her salon in San Francisco to become a backyard mobile hairdresser, what she saw inspired them both and the lyrical foundations for their new record. “I’d drive to mansions and people would complain about how hard the pandemic had been next to their swimming pool and tennis courts.” First meeting after the album’s co-producer Jason Kick (Mild High Club, Sonny and the Sunsets) recruited the pair for a Halloween band covering Eurythmics’ art-rock debut ‘In The Garden,’ the pair hit it off and shapes & colors is a product of the years that followed. It combines Chris’ own rhythmic demos following years on the road touring and opening for Amon Tobin, Matthew Dear and Generationals in Maus Haus with Hannah’s lyrical musings honed from project Cassiopeia, so even when topics are as heavy as the beats, they’re met with luminously positive arrangements of hope and warmth.

    The by-product of a psychedelic New Year’s Eve escaping a monotonous 2020 reality, the title track itself captures fireworks over East Oakland as viewed from the pair’s couch whilst listening to Mort Garson’s Plantasia for 6 hours straight. The daydream collage of ‘inyo county’ is “a little souvenir taking me back into the bottled-up essence of a slow lazy morning, waking up in bed far from home,” Hannah tells recalling those enforced stay-at-home days. “It fell out of me because I was craving that blissful flavour.” Meanwhile ‘dawn of the age of aquarius’s new parallel reality evolved from a happy accident when their demos had reset to a drone which Jason reworked into a Laurie Anderson-esque breathy vocoder effect. Even bloops and beeps from a forgotten recording session at the Vintage Synthesizer Museum in Emeryville can be heard, where the pair used Mini Moog, Fairlight EMI and ARP 2600 to arrange their sound into shapes whilst distortion and dirt from mixing on 1979 Neve 5313 Console added to the recordings’ color.

    Casting a brighter rainbow still, in all its pastel-hued glory, Hannah, also illustrated a self-portrait of the band for the album artwork. “It reflects our makeshift recording studio to encapsulate all aspects of that time and space,” she shares of their abode where, over an intense two-week period and fuelled by the aroma of fermenting vino from the winery below, their single chord, bass and drum-heavy, groove-first momentum took them on an unexpected journey whilst the next-door couple would fire pizzas in their yard and a grandfather across the road would sweep the street clean. “We’d drink coffee and start the day, consistently working, without interruption,” Chris tells of finding their flow. “The loft is a cool space with skylights, tall ceilings and no shared walls so we could be as loud as we wanted to be.”

    Just as well. Diving into decades of electronica and crunchy sound effects, field recordings and animal sounds, blended with an infectious Latin influence, shapes & colors is bolstered by live percussionists Greg Poneris (drums), K. Dylan Edrich (Vocals, Percussion: congas, bongos, chimes, cow bells and wood blocks, tone drum and tri-tone whistle) and Tom Smith (Guitar, Synthesizers, Vocals). It shimmies with the charismatic energy of ESG, Tom Tom Club, Lizzy Mercier Descloux, and the dub hits of King Tubby, the melodic sensibilities of Prince, Stereolab, and idiosyncratic Deerhoof offering an ornate alternative to traditional guitar pop chord progressions as they layer wrecking ball-sized danceable motifs to rumble the dust off the cars on the street from the nearby concrete factory. “We take some big swings to create interesting moments,” Chris explains. NIMBY crews grab those earplugs now. abracadabra is your new noisy neighbour, and there’s no turning this party down.


    Side A
    1. Talk Talk
    2. In A Photo
    3. Telling Time
    4. Swim
    5. Inyo County
    Side B
    6. Don't Like U
    7. Impactor
    8. At The Zoo
    9. Shapes & Colors
    10. Dawn Of The Age Of Aquarius

    A stunning cover version of Errol Dunkley’s ‘Movie Star’ originally released on Brooklyn label Witty in 1987. Produced by Paul Beecher, the 707 drums are phat & crisp and the keys shine brightly in the mix to complement the incredibly soulful vocal from Melody Beecher. Backed with Dub Version and an extended 12” mix, housed in a sky blue and red IOJ Island Disco sleeve with sticker designed by Bradley Pinkerton.


    Paul says: Another cover from Beecher! I've been seriously digging her versions of these 80s hits. "Movie Star" is a true classic - but it works so well as a reggae-rub-down!


    Movie Star
    Movie Star (Dub)
    Movie Star (Extended 12" Mix)

    Andy Bell

    I Am A Strange Loop

      “It was so great to see what came back when I gave these tracks from Flicker to various comrades, friends and heroes to play with,” says Andy. “They’ve given them a new technicolour life.” “David Holmes requested the opening track as he had formed a bit of a connection with it, and what he came up with turns the song into an hallucinogenic beast, taking pride of place here as the opening track but in a whole different way to how Flicker opens. “James Chapman AKA Maps has taken ‘It Gets Easier’ to a bigger, brighter and shinier place, he’s given quite a downbeat track a euphoric and epic sheen. James is an absolute master of electronic production and he’s taken the same care and attention over this remix as he does with his own wonderful music. “I couldn’t put Richard Norris’ lovely widescreen take on ‘Something Like Love’ better than the man himself – in his own words he found the ‘hitherto undiscovered sweet spot between ‘Roscoe’ and ‘Outdoor Miner’’ and he tapped into the melancholy euphoria at the core of the song. “bdrmm’s remix of ‘Way Of The World’ is one for headphones. There are so many great moments to love, all held together by a bassline worthy of Jah Wobble (by way of Andrew Weatherall). Astonishing!”


      Barry says: 'I am a Strange Loop' is the first in the trio of Andy Bell recordings this week, seeing the hugely talented Ride legend Andy Bell reworked by a number of today's most renowned musicians. This time we get ambient legend Richard Norris as well as the brilliant bdrmm, Maps and David Holmes. Ace


      A1. The Sky Without You (David Holmes Radical Mycology Remix)
      A2. It Gets Easier (Maps Remix)
      B1. Something Like Love (Richard Norris Remix)
      B2. Way Of The World (bdrmm Remix)

      Andy Bell

      See My Friends EP

        The two tracks from Andy Bell’s debut solo single reworked by Pye Corner Audio, with the original tracks remastered by Heba Kadry.


        1.The Commune (Pye Corner Audio Remix)
        2.Plastic Bag (Pye Corner Audio Remix)
        3.The Commune
        4.Plastic Bag

        Andy Bell

        The Grounding Process

          Stripped down versions of tracks from Flicker. “On my debut solo album The View From Halfway Down I did all of my promotion via Zoom and pre-recorded interviews and acoustic sessions,” explains Andy of the EP. “I enjoyed making the acoustic versions and decided to do some more for this album.” “‘Something Like Love’ is the most popular song from Flicker and one of the oldest, starting life in the ’90s. It’s probably the only one that dates back to the Ride era.“The riffs for ‘World Of Echo’ were written while I was on tour with Oasis, at the height of my La’s obsession. It went through a few iterations from then onwards, but never had a final melody until last year.“’She Calls The Tune’ was the first song I wrote after I joined Oasis, ending a period of writers’ block which I had started going through some time in 1999. The very first performance of it was to an audience of Liam Gallagher, Gem Archer and Richard Ashcroft in a Milan hotel room. No pressure! I don’t think I ever saw this as an Oasis song, but I have them to thank for the fact that I was able to write songs again at all.” ‘Lifeline’ was another riff I came up with while on tour with Oasis. I remember being on a UK tour with Shack, and sitting around backstage on acoustics with Mick and John Head jamming around the Simon & Garfunkel version of ‘Scarborough Fair’. The riff for ‘Lifeline’ followed soon after. It was always called ‘Lifeline’ but I never found the right lyric for it until recently.


          Barry says: The Grounding Process has some of the lesser well known (but equally superb) pieces in the Andy Bell canon, being written while on the road and in various cities around the world. Another lovely addition to the discography.


          A1. Something Like Love
          A2. World Of Echo
          B1. She Calls The Tune
          B2. Lifeline

          Andy Bell

          Untitled Film Stills

            Songs that inspired Flicker by Yoko Ono, Pentangle, The Kinks and Arthur Russell. “The idea was that I would be covering songs which helped in some way to colour in the edges of the picture of the influences that make up Flicker,” explains Andy.“The song ‘Jenny Holzer B. Goode’ on the album refers to a few of the female artists from the music and art worlds who I find inspiring, including Yoko Ono, so it felt right to include a cover of ‘Listen, The Snow Is Falling’, my favourite Yoko Ono song. “Pentangle’s ‘Light Flight’ came out in 1970, the year I was born, and I’ve loved it ever since I heard it on the 1997 folk compilation Transatlantic Ticket. “Nat Cramp, the head honcho of Sonic Cathedral, requested that I cover ‘The Way Love Used To Be’. I’d never heard this song despite being a big fan of The Kinks, but it’s lovely and it felt very natural to do a version of. All hail Ray Davies! “Arthur Russell has been a big reference point for all my music away from ‘band world’. There is something impressionistic and open-ended about his records. I guess you could describe the production style I’m trying for on ‘Our Last Night Together’ as ‘World Of Echo meets This Mortal Coil doing Skip Spence’.”

            STAFF COMMENTS

            Barry says: A lovely bunch of covers here seeing the light of day from the ever-talented Andy Bell. Yoko Ono gets the cover treatment as well as Pentangle's brilliant 'Light Flight'

            TRACK LISTING

            A1. Listen, The Snow Is Falling
            A2. Light Flight
            B1. The Way Love Used To Be
            B2. Our Last Night Together

            Hailing from Liege in Belgium, David Body has been put on our radar with releases on the fine Endless Music, but this EP for Exploited’s cult collected Black Jukebox series is truly next level house music!

            Timed perfectly for that sweet Summer release, "I Bird You" is a seriously charming affair, led by a colourful, sugary-sweet refrain that twinkles and sparkles in cute fashion. A warm deep house groove crafted through swirling Rhodes chords builds the vibe before the flowery melody explodes into life, pushing the track into an altogether more magical direction. Playing this at one of the first festivals of Summer 2022 could be a truly spiritual occassion! There's 'nuff tension from the last two years to warrent a full-on maximum love in; and tracks like this could be the perfect catalyst!

            "Jack Me Baby" channels rubbery bass and a galloping house beat, with minor piano chords creating a dramatic feel as a classic vocal sample whoops away in delight. The enormous snare-roll propelled build-up thrusts the track into overdrive, with a delightful, balmy synth line woven in to provide a mystical counterbalance. Another hand-aloft rush of euphoria to sound track the party season. 

            "The Talking Mouettes" is a supremely feel-good slab of Balearic-tinged peak time house, with choice piano chords cut up and cascading over a high-energy groove. Big squelchy melodic bass wiggles under the chords and shoulder-popping chime riff, with plenty of power and punch scattered throughout to keep the vibes rolling. Cleverly warped vox the icing on this sweet slice of sonic cake.  

            "Endless Love" is an absolute monster to close the EP, a soaring, triumphant electro-disco beauty that overflows with euphoric melody and ecstatic, eyes-closed-and-rolling tingles. It just keeps building and building through layer upon layer of synth mastery to an explosive, epic climax.

            Shir Khan's series has always been a big hitter here at Picc HQ but this is one of the biggest 12"s from the firm for some time. Get them orders in quick! 

            STAFF COMMENTS

            Martin says: It's been an eternity since Shir Khan's had us cantering around the shop. It's with huge delight that I can state, with authority, that David Body's launched us into the party season with this collection of open air festival house anthems.

            TRACK LISTING

            A1. David Body - I Bird You
            A2. David Body - Jack Me Baby
            B1. David Body - The Talking Mouettes
            B2. David Body - Endless Love

            Camila Fuchs follow up their superb 2016 outing 'Singing From Fixed Rung', with 'Heart pressed Between Stones' their debut release for the legendary ATP recordings. Seemingly more focused upon De Laborde's hypnotic echoing vocals from the outset, 'One On One' is almost a ritualistic chant, heard from a clearing deep in the woodland, soaring atop a solid bedrock of shadowy beats and sidechained synth throbs. 

            'Heatwave (Coming Towards You)' keeps things reasonably minimal in comparison, brilliant driving but with the flickering delay and filter-swept synth pulses gradually growing into a euphoric fuzzy stasis before vapourising into the ether. 

            On the reverse, 'Direct Truth' floats in a dreamlike reverie washing a softly sung melodic structure in a warm bath of flanger and phasers, twisting the contruct into a warped version of itself and turing the chord shifts into hallucinogenic washes of light and torn lacerations of dark, while 'Battlefield' and 'For All Stable Appearances, He Was Wild' perfectly illustrate the artists ability to for a cohesive musical conclusion to the climactic legacy they've forged in the preceeding pieces. Brilliantly closing off a conceptually perfect sextology, each additioin as balanced as they are necessary. 

            TRACK LISTING

            1. One On One
            2. Heatwave (Coming Towards You)
            3. My Body
            4. Direct Truth
            5. Battlefield
            6. For All Stable Appearances, He Was Wild

            Alongside a killer long player from label mainstay Lexx, Phantom Island treat us to a new solo effort by Zurich based Drummer and Multi Instrumentalist Domi Chansorn. He is best known for playing in and producing numerous Swiss bands like Fai Baba or Evelinn Trouble. Everything you hear was written, played, sung, arranged, produced, recorded and mixed by Domi Chansorn. With "Strawberry Moon" he has created a timeless psychedelic Pop-Opus which takes the listener on a trip to another sphere. The aforementioned Lexx pops up on remix duties, dropping a typically Balearic mix combining dub swelter, open hearted melodies and an irresistible day time disco groove.

            TRACK LISTING

            A1. Strawberry Moon
            B1. Strawberry Moon (Instrumental)
            B2. Strawberry Moon (Version By Lexx) 


            Freefall EP

              Formed in Reading in 1987, Chapterhouse took the unusual step of rehearsing and gigging for well over a year before recording even a demotape. Initially, the band got lumped in with the British acid rock scene of the time, a mistake hardly rectified by the band's early performances supporting the rather laidback Spacemen 3. Chapterhouse eventually escaped from one genre only to find themselves amongst the infamous shoegaze groups of 1991 such as Lush, Moose and Slowdive.

              Freefall was their 1990 debut EP and includes the popular track “Falling Down”, which was also included in their debut full-length album Whirlpool. The other three tracks, “Need (Somebody)”, “Inside Of Me” and “Sixteen Years”, were never included on their albums on vinyl and only appeared on this EP.

              TRACK LISTING

              1. Falling Down
              2. Need (Somebody)
              3. Inside Of Me
              4. Sixteen Years


              Second Day Of Spring

                At just 23-years-old, identical twin sisters Sophia and Jo Babb had faced a decade of darkness. Then, as Companion, they built lighthouses. With their debut album Second Day of Spring, the duo arrive at the start of a blooming new season, holding a work that softly glows with a sincerity, vulnerability, and hopefulness that they fought hard to find along their way. “A lot of this album is rooted in healing from grief and familial hurt,” says Sophia. “There are songs about marriage and healing from mistrust. Family ties that have been broken.” Second Day of Spring introduces two brilliant songwriters and mesmerizing singers as they share their stories with gazes at once light and weighted, offering listeners comfort in despairing corners.

                The now Fort Collins, CO-based sisters were raised and homeschooled on nine farmland acres just outside of Norman, OK. Their lives changed abruptly at 13 when their father, who suffered from Parkinson’s disease, took his own life. “Mental health is such an undervalued issue that’s not talked about enough – so we talk about it through our music,” says Sophia. The loss pushed the girls to write. Sourcing inspiration from their shared love of artists like Gillian Welch, Alison Krauss, and Samantha Crain, the duo began to form their own style through a freedom of thought, expression, and directness that can only result from such an intimate, symbiotic bond – even if they had their creative differences at times. “Writing came pretty naturally, but as siblings, there was friction,” Jo says. “Our closeness as twins allows for a sometimes brutal honesty that other collaborators might shy away from.” The tension made the songs even better.

                On the album, a gradual march toward openness, possibility, and warmth is underway, tracing Sophia and Jo’s real-world path of healing. “It’s been 10 years since our dad died, and it’s taken 10 years for us to get to this point where we feel like trusting,” Sophia says. “We don’t feel drawn toward chaos or constant darkness, whether it was self-manufactured darkness or just bad luck. We both feel better. We’re not unhappy every day anymore. And this album is like that next step toward this new phase of life.” Hope peeks through early songs on Second Day of Spring, like grass growing up through sidewalk cracks, before sprawling out into lush meadows by the album’s end. Produced and recorded in a Colorado barn by a close-knit, all female team, the process of creating Second Day of Spring was as heartfelt as the album itself. Acoustic guitar is a constant companion to the twins’ blood harmonies, joined at turns by standout instrumentation ranging from viola to organelle to trumpet to piano, and even the earthly, tender sounds of the natural beauty that surrounded them.

                The sisters’ songwriting prowess is evident across Second Day of Spring, as their exquisite lyricism elevates each story of heartache, growth, relationships and new beginnings to deeply moving and achingly relatable heights. Album opener “How Could I Have Known” meditates on the permanence of impermanence: “I was engaged to my now husband when I wrote this song. He was dealing with some concerning medical issues, and I developed an over-awareness of how quickly I could never see him again,” explains Sophia. “Having lost family members without warning in the past, I became anxiously aware that just as soon as he came into my life, he could leave it, too. Though this thought, at its core, is a very scary one, when I looked beyond the fear of losing something I held so dearly, I could see the incredible gift it is to have something to hold dear in the first place.”

                “Arms Length” looks at the pain of longing to love while still feeling the hurt of broken trust (“Maybe I’m not warmed up yet / I’m wearing armor from a different past / Demanding trust, an impossible thing / Akin to being taught to laugh”). Sophia wrote album standout “If I Were a Ghost,” a spellbinding feat of songwriting, after arguing with her mother and retreating to a small chapel on their family’s property that their father built by hand. “My mom and I were having difficult relationship issues, but I knew she was still in grief,” Sophia says. “This was just five years after her husband’s death. So, I was just trying to really put myself where she was standing, just to understand what she was feeling.” The result is gorgeous commiseration, heartbreaking and soul-affirming in its empathy. “I don’t really cry when I write songs,” Sophia says. “But I was sobbing while writing this one.”

                “23rd Street,” “Second Day of Spring'' and “Newborn of Springtime” (“You've hurt me so badly / You've healed me so sweet / The trees are rustling / A loving word leaves”) see the band turning a corner. “Some of the songs, like ‘Forfeit,’ ‘If I Were a Ghost,’ and ‘Arms Length,’ feel very much like fall and winter––the winter of my life,” says Sophia. “And then we move into springtime.” Jo adds, “It was very important to me to make sure ‘Second Day of Spring’ sounds like it’s heading towards a new season, and to end the album on a spring note.” Warm relief floods “Waiting for You,” as the record closes with hope that seems to swell like the chorus of instruments supporting Companion’s soaring vocals. “The line’s gettin’ thinner / Between what I want / and what’s in front of me / Like the light that glinted off the river / Like the bloom that lifted the winter / I’ve been waiting for you.”

                Poetically written and earnestly expressed, Second Day Of Spring represents a new hope for the band, and arrives as a balm to anyone in need of a similar comfort. “I saw an older man the other day, just walking down the street with headphones over his ears, and he was just smiling so big,” says Jo. “That’s the feeling I want Second Day of Spring listeners to have––that feeling of, wow. There’s beauty even in the simplest things.”

                TRACK LISTING

                Side A
                1. How Could I Have Known
                2. Forfeit
                3. Arm’s Length
                4. If I Were A Ghost
                5. Snowbank
                Side B
                6. 23rd Street
                7. Second Day Of Spring
                8. Newborn Of Springtime
                9. Sunday Morning
                10. Waiting For You

                Bonus 7”
                To Be Still

                Charlie Coxedge


                  Charlie Coxedge is a musician and writer from Manchester, best known as a member of MONEY. As a solo musician, his compositions weave layers and loops of guitars, synth textures and soft pianos, building from melodic, ambient noises to multi-faceted soundscapes.

                   Cloisters, as the title suggests, is about finding those secluded spaces, those empty archways where we hear the echoes of ourselves, and finding some peace within the solitude.  As so often happens in these empty spaces, thoughts enter and start to repeat themselves in our minds, bouncing off the walls until a new thought joins in, until all these different ideas are intertwined with each other, playing out in an almost endless cycle.

                  The music of Cloisters comes from these spaces, from moments of solitude found in childhood homes, walks through the city or even in memories - remembered spaces that invoke a certain feeling or atmosphere.

                  Recorded mostly in two different studios in Liverpool, with some bedroom recordings thrown in for good measure, everything on Cloisters was performed by Coxedge, simply using the studios to effectively capture the many layers and textures.  The sounds of the record, and the layers that build them, are as much about the spaces they create as the spaces they fill.  

                  'I’ve always been a bit of a collector of effects pedals, and have used them subtly within MONEY to enhance our sound, both on record and live – making loops, drones etc – but with this solo work I really get to expand on that, and a lot of the music comes from playing around with different sounds.'


                  Phantasea Farm EP

                    New York City four-piece c*mgirl8 (aka cg8) announce their debut 4AD EP 'Phantasea Pharm'. Made up of Lida Fox (bass), Veronika Vilim (guitar), Chase Lombardo (drums) and Avishag Rodrigues (guitar), phantasea pharm was born out of an obsession with Ella Fitzgerald’s ‘Old McDonald’ ahead of a show in Charlottesville, Virginia. The band decided to pay homage. Vilim dressed up in a cow leotard with pig accessories, Lombardo in a g-string and apron that read ‘The Grillfather,’ Rodrigues became a lawn mower, and Fox took on the role of a sexy rooster. “We went on stage that night and told everyone we were a ‘Fantasy Farm.’” They knew then that would become the basis of their new EP.

                    Last month’s single ‘cicciolina’ was a perfect introduction, a tribute to the Hungarian-Italian pornstar turned politician Ilona Staller, aka Cicciolina. The new single ‘gothgirl1’ opens another chapter. Written with Nick Launay (Kate Bush, Yeah Yeah Yeahs, The Slits), during the band’s stay at Barbizon, “a magical artist hotel nestled on the edge of a mushroom forest,” the result is a four-minute cut of hypnotizing eroticism that perfectly captures the dark mysticism of its genesis.

                    phantasea pharm follows last year’s standalone single ‘dumb bitch’ and EP’s c*mgirl8 (2020) and RIPc*mgirl8 (2021), and arrives in the midst of their headlining EU/UK tour and festival run that has seen them play Primavera, The Great Escape, London Calling, and more. c*mgirl8 will then make their return to UK later this Summer joining the line-up for Greenman and Core Festival after having opened for Le Tigre in North America.

                    TRACK LISTING

                    1. Cicciolina
                    2. Dead Pixels
                    3. Cursed Angel
                    4. Picture Party Ft. Christeene
                    5. Gothgirl1
                    6. Pritney Llc

                    Das Koolies

                    The Condemned EP

                      Hit-writing anti-icons, Das Koolies emerge to explode three decades of digression as Super Furry Animals with their electronic depth-charge debut EP: The Condemned. Huw Bunford, Cian Ciarán, Dafydd Ieuan and Guto Pryce restore original Furry vision with techno-inspired, heavy-tech sound inspired by illegal rave roots.

                      A past fades out for a future to begin as the long-running, secretive DAS KOOLIES ‘dream project’’, emanating from Cardiff’s post-industrial docklands, delivers its first consignment of complex, wired euphoria: The Condemned. Chains of decayed connection and shackles of genre-expectation are audibly broken as Huw Bunford, Cian Ciarán, Dafydd Ieuan and Guto Pryce re-route their paths as notorious scientists of sound, taking the outside lane to arrive close to where it all began for Super Furry Animals.

                      Soldering human touch to synths and samplers, Das Koolies come through on their manifesto pledge of incinerating acoustic guitars while unsafely loading as much noise- making machinery onto their studio mains supply as possible. The Condemned, a confrontational, synth-driven outsider anti-anthem comes through as a warm-blood-on-cold- steel rope act of strict automation and humanity, commanding computers and code to find compromise with Ieuan and Bunford’s vocals.

                      All tracks from the forthcoming EP were produced by Das Koolies and mixed in collaboration with Chris Shaw (Public Enemy, A Tribe Called Quest, Run-DMC). In a brief statement, Das Koolies say: “Everything for a reason and a reason for everything. A beginning catalysed by the past. Of machines and of man. Let the beat now lead the way.”

                      TRACK LISTING

                      01. The Condemned
                      02. Dim Byd Mawr
                      03. You Killed My Robot
                      04. Grab A Slice

                      The Dead C


                        Some bands struggle to transcend their initial mythos, those stories that introduce them to the public eye. But The Dead C is a notable exception. They appeared in 1986 under a cloud of mystery, their unconventional location (South Island, New Zealand) helping to fuel their erratic sound. Name-dropped through the nineties by groups like Sonic Youth and Yo La Tengo, they gained influence and acclaim but never strayed from their original mainlined performing technique, which can sound like chaos to the casual listener.

                        What kind of a world greets them and their new album Unknowns in 2020? New Zealand culture is better known throughout the world, not to mention a low-virus paradise. Yes, isolated as in the past, but this time for being a nation of efficacy in tackling a public health crisis. But what about the rest of the world? The music of Mssrs. Robbie Yates, Bruce Russell and Michael Morley endures, partially because their errant sounds, once so alienating, now feel like they’ve been made flesh in a large part of the modern day world.

                        Continuing to delve inwards for inspiration with tin ears towards trends, styles and technique, The Dead C forge onward. Unpolished, dusty and gritty, these three have again taken two guitars and drums, a combo which has less to say than ever, and leave the listener stunned. Unknowns has Morley slurring over spiraling dissemblance, with tracks ricocheting from intense to assaultive to drained, yet consistently magnificent. As reliable as ever, The Dead C are firmly grounded as an unassailable Truth.

                        TRACK LISTING

                        1. Grunt Machine
                        2. Still
                        3. The Sky Above
                        4. Glitterness
                        5. The Field

                        Django Django

                        Off Planet

                          Entitled Off Planet, the 5th studio album from Django Django is a 21 track album splitted into four parts. Originally destined to be four experimental EPs but immediately transformed into a proper album when they started the recording session, Off Planet features some of the most exciting and dynamic music Django Django have ever produced. Harking back to their more experimental and electronic roots, the album also features guest such as Self Esteem, Jack Penate and others. 

                          STAFF COMMENTS

                          Liam says: Django Django are back with an absolute banger of a project! Originally planned as 4 EPs, 'Off Planet' eventually merged into this 21 track cosmic odyssey. With features from the likes of Self Esteem and Stealing Sheep, Django Django delve into hypnotic disco, interplanetary acid house and psych-rock slop - mega, mega stuff!

                          TRACK LISTING

                          Vinyl Tracklisting:
                          A Side (Off Planet Part 1)
                          1. Wishbone
                          2. Complete Me Feat. Self Esteem
                          3. Osaka
                          4. Hands High Feat. Refound
                          5. Lunar Vibrations Feat. Isabelle Woodhouse
                          B Side (Off Planet Part 2)
                          1. Don't Touch That Dial Feat. Yuuko
                          2. Back 2 Back Feat. Patience
                          3. Squid Inc.
                          4. Come Down
                          5. Golden Cross
                          C Side (Off Planet Part 3)
                          1. No Time Feat. Jack Peñate
                          2. A New Way Through
                          3. Galaxy Mood Feat. Toya Delazy
                          4. The Oh Zone
                          5. Dead Machine Feat. Stealing Sheep
                          6. Dumdrum
                          D Side (Off Planet Part 4)
                          1. Fluxus
                          2. Slipstream
                          3. Who You Know Feat. Bernardo
                          4. Black Cadillac
                          5. Gazelle

                          CD Tracklisting:
                          CD1 (Off Planet Parts 1 & 2)
                          1. Wishbone
                          2. Complete Me Feat. Self Esteem
                          3. Osaka
                          4. Hands High Feat. Refound
                          5. Lunar Vibrations Feat. Isabelle Woodhouse
                          6. Don't Touch That Dial Feat. Yuuko
                          7. Back 2 Back Feat. Patience
                          8. Squid Inc.
                          9. Come Down
                          10. Golden Cross
                          CD2 (Off Planet Parts 3 & 4)
                          1. No Time Feat. Jack Peñate
                          2. A New Way Through
                          3. Galaxy Mood Feat. Toya Delazy
                          4. The Oh Zone
                          5. Dead Machine Feat. Stealing Sheep
                          6. Dumdrum
                          7. Fluxus
                          8. Slipstream
                          9. Who You Know Feat. Bernardo
                          10. Black Cadillac
                          11. Gazelle

                          Exit North

                          Anyway, Still

                            Exit North are: Japan co-founder, solo artist Steve Jansen, Swedish singer songwriter Thomas Feiner, pianist Ulf Jansson, and renowned Swedish producer/multi-instrumentalist Charlie Storm. Their 2nd studio album ‘Anyway, Still’ continues the quartet’s appetite for exploring provocative song structures. Weaving classic elements such as piano and strings into the layered threads of the bands material. Where intimacy and atmospherics give way to powerful dynamics, animated rhythms and grooves, driving distortions and crescendos in cinematic scale. Like excavators with uncompromising autonomy, Exit North relish the exploration of every nuance and detail of the recorded performance. Artwork contains full lyrics. 

                            STAFF COMMENTS

                            Barry says: There aren't many composers more qualified to compose dynamic, surprising electronic music than the great Steve Jansen of Japan, and this project sees him team up with Thomas Feiner and Charlie storm for a touching and airy suite of rich modern-classical topped with Feiner's soft but imposing vocal talents. Reminiscent of Michael Gira's vocals atop a more restrained, brittle background hum.

                            TRACK LISTING

                            1. I Only Believe In Untold Stories
                            2. Your Story Mine
                            3. The Unforeseen
                            4. Where The Coin Fell
                            5. Bled Out
                            6. Us In Half
                            7. A Battle Cried
                            8. With All The Indifference
                            9. In The Game
                            10. The Signal

                            Very in demand and hard to find LP, comes with alternate cover and Includes the banger ''Wantin’ U''..

                            "Exit" was recorded in Barbados in 1985. The best reissues succinctly capture a moment in time and this album provides a snapshot of island life in the Caribbean region of the America’s in the middle of the 1980’s. The LP encompasses new wave, funk and early house rhythms with a backbone of calypso.

                            The idea for Fire Flight started with 'Carl Beaver' Henderson, a musician, arranger and producer who initially provided back up band services for the Royal Bank of Trinidad & Tobago’s annual staff Calypso competition. In 1981 the idea quickly evolved into the 15 piece band that was Fire Flight who took Trinidad and Tobago’s performance spaces and annual carnival by storm with their electrifying life performances. The band also travelled to Toronto, Montreal and New York for their annual carnivals. In 1984 the band entered the now defunct Coral Sound Studios in Barbados to record their debut album. The driving force behind the LP was the band’s main songwriter Francis Escayg’s desire to explore alternative avenues of recognition for the band and to perform and thrive in the carnival off season. Highlights from the LP include the slow new wave funk of "Best Shot" & "White Horse", the melting pot of calypso, zouk and reggae influences on "Hard Life" & "Mornin Lovin" and the tropical proto house of "Wantin U" that was a highlight of the Fire Flight live show.

                            Original copies regular fetch upwards of £400 on 2nd marketplaces...

                            This official reissue is pressed with new full sleeve artwork from Bradley Pinkerton. 

                            TRACK LISTING

                            Heartbreak City
                            Best Shot
                            Hard Life
                            Wantin’ U
                            Brown Sugar
                            White Horse
                            I'm In Love
                            Mornin’ Lovin

                            Aoife Nessa Frances


                              In spring of 2020, Aoife Nessa Frances moved out of the city for the first time in her life. After packing up her things in Dublin, she moved to rural County Clare on the west coast of Ireland, and there, amidst the stillness, she worked on the songs that would become her second album, Protector. The resulting body of work deftly juxtaposes golden hours and arguments, affection and alienation, and above all marks a crucial period of her life that was transformative and left her wiser.

                              "I might have been running away from my problems," she admits. "I was disconnected from myself and from nature, but I found peace far away from the city, where there were no distractions. I isolated myself with nothing to do but make music.” Writing Protector provided Frances an essential sounding board for this journey. "I felt a growing inner strength that guided me through the making of this album. It was like sculpting with my eyes closed, this intense sense of self-preservation leading me and growing with each song I wrote. When I started, I didn't recognise myself. With each song, I became more human.”

                              Aoife spent that summer with her dad and two sisters. “It was a very special time for my family as we had never been that tight knit before,” she says, “and we all became very close…driving the country roads and swimming in the Atlantic Ocean and lakes of Clare. I had one CD in my car: Jim Sullivan’s UFO and we listened to it over and over again.” Like many people in their late twenties shaking off youthful rebelliousness, Frances experienced a solidification of familial ties like never before, and felt the formation of a protective, impenetrable shell. “For me, Protector acknowledges the part of myself that steers me towards a brighter path. The almost psychotropic power of nature gave me a connection I never felt before. As the countryside seeped into me and lines of communication opened up with my family, I developed an ability to perceive myself and my choices within an expanded world.”

                              Protector builds pastoral landscapes through light flourishes and open spaces. Songs float along effortlessly, remaining anchored by Frances’ deep voice. Contemplative tempos tug along atmospheric synths, minimal bass, and shimmering guitar notes, conveying a serenity like early morning. Frances found that the noiselessness allowed her, at long last, to listen to herself. “I got up every day before sunrise and took my guitar to a place where nobody could hear me,” she discloses. “These songs were written in the magic hour before the world wakes up.”

                              Recording took place in a small house in County Kerry, at the foothills of the Annascaul, along with Brendan Jenkinson (producer, keys, bass, synth, clarinet) and Brendan Doherty (drums). “We’d wake up early every day and swim at Inch Beach before making music,” Frances describes. “This ritual was crucial for our process. There was an unexplainable joy happening between the three of us.” The arrangements grew with later contributions from Ailbhe Nic Oiroictaigh (strings), Meabh McKenna (harp), and Conor O’Brien (horns). No matter how it expanded in scope and involvement, Frances never let it stray from a central focus on deep truths. “I wanted my voice to be as up front and dry as possible, to create a sense of raw and powerful vulnerability, like Serge Gainsbourg’s ‘Histoire de Melody Nelson’ where the voice feels right in front of you.”

                              Across eight songs, Frances found innovative ways to project her intentions. “Emptiness Follows” carries a striking sense of grace, the playfulness of the track’s instrumentation contrast lyrics about friends drifting apart (“the weight of the water, it holds you and tortures time away from you”). “Soft Lines,” spans weightless and brooding, the shimmer of the musical backdrop like a low-settled fog obscuring one’s way, as Frances sings of the illusion of idealized love (“All that I’d give for a life by your side”). “Chariot” is at the core of the record, a powerful testament to the strength and bonds of family and friendships.

                              With Protector, Frances has delivered a glowing act of restoration, informed by the power of connection. The songs find the resonance in the hum of life, trapping glimpses of light and crystalizing them into new modes of being. Each track is a nuanced take on a different subject. “Writing and recording this album was a spiritual experience. I experienced love for my family on a level I didn’t know existed, while slowly putting myself back together and watching the ‘protector’ in me grow much bigger.”

                              TRACK LISTING

                              Side A
                              A1 Way To Say Goodbye
                              A2 This Still Life
                              A3 Emptiness Follows
                              A4 Only Child
                              Side B
                              B1 Chariot
                              B2 Back To Earth
                              B3 Soft Lines
                              B4 Day Out Of Time

                              Dana Gavanski

                              When It Comes

                                There’s something mesmerising about the fingertips of Dana Gavanski. Conducting each note with a light gracefulness, they appear to dance whilst aiding their owner in expressing the stories behind each of her lighter-than-air tones. Stories which, on her new album When It Comes, may never have been heard if not for healing ‘lost’ vocal cords and a lesson in taking the rough with the smooth.

                                “In many ways this record feels like it is my first,” Dana tells. “When I could use my voice, I had to focus so there is an urgency and greater emotional trajectory than before… it’s very connected to vocal presence, which extended into an existential questioning of my connection to music. It felt like a battle at times, which I frequently lost.”

                                Arriving where introversion and extroversion meet, When It Comes is Dana’s most vulnerable record to date. A Canadian-Serbian artist unafraid of extremes, she seamlessly blends her love of music from the 50s-70s with mythology. Led by instinct in its purest form, Dana’s latest chapter is an ode to the voice as an instrument – its power, and how intricately it can deliver words to tug at, and tie knots in, every heartstring. “Words can be taken quite literally, but to me, a lot of the time, they are pivots. They point in a direction but don’t necessarily stay there,” she says.

                                Just as Dana’s debut Yesterday Is Gone and her covers EP Wind Songs were lauded for their intimacy captured through an innate sense of melody to convey a mood, they traced a timeline of Dana’s teenage years in Vancouver, a move to Montreal and visiting family homes for kitchen talks with her “Baka” (grandma) in Belgrade / Serbia. Her latest was started in Montreal before ending in Belgrade and whilst expressive with French Yé-yé flourishes – offers something altogether more atmospheric and widescreen.

                                “Yesterday Is Gone consisted of straightforward pop songs, this album is about searching for something to excite me back into songwriting,” Dana reveals. “It’s about finding the origins of my connection to music, that tenuous but stubborn and strong link - why it draws me and what if anything, I can learn from it. The album title has a heaviness to it but also a lightness, depending on your frame of mind. It’s about being open, and letting it come whatever it is, without judgement.”

                                Recorded in London, the original ideas for the record were played out on Dana’s toy Casiotone. Returning to Capitol K’s Total Refreshment Centre (TRC) with partner James Howard, the pair co-produced the songs together and felt very much at home. “James has an effortless musicality and we work together so well. The TRC is a special place, like a community centre,” she recalls. “It’s very understated but important to the people who come through it. It’s a rehearsal space, a recording studio, and there are a handful of music studios.”

                                Opening with music box sweetness, ‘I Kiss The Night’s twinkling piano melody paves the way for the baroque Wurlitzer-like nursery rhyme of ‘Bend & Fall’ and mystical lullaby ‘Under The Sky.’ Alongside humour and caricature (‘The Reaper’), mythological romance and spirituality (‘Knowing to Trust’) and idiosyncratic carnival arpeggio grooves (‘Indigo Highway’), the squelchy staccato and subtle jazzy flecks of ‘The Day Unfolds’ and tension release of ‘Letting Go’ dazzle like bokeh in a Nick Drake haze. The autumnal hymnal of ‘Lisa’ meanwhile, was one of the first, more fictional tracks written for the record, from the viewpoint of the sea, watching the protagonist pass by day after day, offering a metaphorical reflection on the natural world around us. “We don’t realize we are surrounded by all this beauty; we’re shut up inside, rushing to get to work, buying books online without ever leaving home. It’s about focus, recognising what’s in front of you.”

                                Now planning her headline tour with an expanded 5-piece line-up and taking to the stage for the first time since touring with Porridge Radio, Damian Jurado and Chris Cohen, Dana is currently perfecting her live performance by practising a voice ever more elaborate, and perfecting those subtle hand gestures to match. “I’m so inspired by David Bowie’s performances and discovered he practised mime with Lindsay Kemp early on in his career,” she says of seeking inspiration. “I’ve done some mime classes since and it’s become good practice to go deeper into the body and be less controlled by the humility of the mind.”

                                STAFF COMMENTS

                                Barry says: There are echoes here, without a doubt of Cyrk era Cate Le Bon, in Gavanski's swooning vocal style and keen melodic ear. There are moments of brittle, thoughtful vulnerability and unease but the general, overwhelming sense is of a warm and familiar wonder. Evocative and satisfying, 'When It Comes' is a beauty.

                                TRACK LISTING

                                1. Kiss The Night
                                2. Bend Away And Fall
                                3. Letting Go
                                4. Under The Sky
                                5. The Day Unfolds
                                6. Indigo Highway
                                7. Lisa
                                8. The Reaper
                                9. Knowing To Trust


                                Red Sun Titans

                                  Experimental North London alt-pop outfit Gengahr return with their anticipated new album, Red Sun Titans, produced and mixed by Matt Glasbey.

                                  Comprising of bassist Hugh Schulte, drummer Danny Ward, lead vocals/guitarist Felix Bushe and guitarist John Victor, Gengahr first arrived in 2015 with their debut album, A Dream Outside, gathering rave reviews for its dark take on dreamy shoegaze and updated approach to British-bred indie rock.

                                  The band promoted the record on a nationwide and European tour before getting to work on their sophomore effort Where Wilderness Grows (2017), praised by the likes of DIY and The Line of Best Fit. They returned in 2020 for their third LP, Sanctuary, capturing the magic from their debut and featuring hits ‘Heavenly Maybe’ and ‘Icarus’.

                                  'Red Sun Titans' is Gengahr at their finest – a bold collection of indie pop that sees the beloved UK outfit continue to push the boundaries. 

                                  STAFF COMMENTS

                                  Liam says: Well isn't this just lovely? Gengahr are back with another collection a sun-kissed indie alt-pop that channels the likes of Wild Beasts and Bombay Bicycle Club. My 18 year old indie kid self would have LAPPED this up and, to be honest, my haggard 27 year old self can't resist it either - check it!

                                  TRACK LISTING

                                  1. Alkali
                                  2. Red Sun Titans
                                  3. From Beruit (Interlude)
                                  4. A Ladder
                                  5. In The Moment
                                  6. Heels To The Moon
                                  7. Floating In The Undercurrent (Interlude)
                                  8. White Lightning
                                  9. Suburbia
                                  10. In My Way
                                  11. The Interview
                                  12. Haunted Spaces (Interlude)
                                  13. Napoleon
                                  14. Collapse

                                  Gentle Sinners

                                  These Actions Cannot Be Undone

                                    Rock Action Records are pleased to present Gentle Sinners, a project by James Graham of The Twilight Sad and....ta dah! Aidan Moffat of Arab Strap! "These Actions Cannot Be Undone" is the brilliant album from two pals who wanted to try something different musically. The outcome being an epic explorative set of songs that stands quite apart from their esteemed work with Arab Strap and The Twilight Sad.

                                    TRACK LISTING

                                    1 Waiting For Nothing
                                    2 Killing This Time
                                    3 Let Them Rot Feat. AKG
                                    4 The Cries
                                    5 Date & Sign
                                    1 Rent Free
                                    2 Shores Of Anhedonia
                                    3 Face To Fire (After Nyman)
                                    4 Don't Say Goodnight
                                    5 Landfill

                                    A.O. Gerber

                                    Meet Me At The Gloaming

                                      When we pick apart the pieces of our past, and turn them over in our hands, they can feel weighted, worn, and weathered with the smog of perspective. And as we try to stitch them together, how do we navigate our own pattern when what we might’ve been taught is too binary, too black and white, a thread woven too tight?

                                      On her new album Meet Me at the Gloaming, A.O. Gerber carefully grapples with the constraints she was taught as a child to reach for the flourishing that comes when we look past the black and white, and into the gray gauze of the in-between. “I was thinking about how damaging it can be to exist in that binary space of good and evil,” Gerber explains. “When we see everything in either/or’s, we lose the nuance and complexity that make life rich enough to be worth living.” By interlocking memory and imagination, Gerber crafts a gleaming future, where the light and the dark don’t just coexist––they create a new color entirely.

                                      Gerber’s debut LP Another Place To Need (2020) garnered critical acclaim for its candid, orchestral ruminations on splintered relationships and the cage of overthinking. While that record took three years to complete, and saw Gerber collaborate with much of her musical community in Los Angeles and the Bay Area – including Sasami, Madeline Kenney, Marina Allen and Noah Weinman (Runnner) – Gerber stripped back the team for Meet Me at the Gloaming. Once again co-producing with Madeline Kenney, Gerber shunned the usual process of seeking constant feedback, and instead leaned into a more isolated process, later producing much of the record at home. “I found a lot of healing while making this record because I had to be the person to call the shots,” she says. “I realized that I can exist as a musician completely outside of other people’s opinions of me.” Recording at Kenney’s home studio on nights and weekends in-between their day jobs, Alex Oñate joined Gerber and Kenney on drums while Gerber also collaborated remotely with Megan Benavente on bass and Lauren Elizabeth Baba on violin and viola.

                                      This somewhat secluded process serves as a mirror to the deeply introspective and thoughtful nature of Meet Me at the Gloaming. Here, Gerber explores her upbringing, much of which took place under the watchful gaze of a spiritual teacher who led her mother to completely uproot their lives, and move the family from Northern California to Southern Oregon. But this isn’t a scathing composition of redemption or revenge; instead, Gerber parses out her own history with care and grace. “It can be difficult to write about your childhood when you have a lot of shame around it,” she explains. “I wanted to approach it from multiple perspectives, to try to hold the complexity of formative experiences and relationships, and resist the temptation to over-simplify them.”

                                      Through unwavering, underwater synths and gentle plucked strings, ethereal opener “Disciple Song” chronicles the hold this spiritual teacher had on Gerber’s sense of self. “Arbiter of my worthiness / Arbiter of truth / Make me into a melody / I can sing when you are through,” she laments over a patient, kaleidoscopic arrangement. It’s a taster of the more avant-garde sonic palette that permeates Meet Me at the Gloaming, where Gerber leans into her curious producer side.

                                      On “Looking for the Right Things,” the production thrives under an electro-pop blanket, as bright percussion and sharp, vivid keys give rise to Gerber’s warm, velvet-smooth vocal. “I just wanna feel clean / I’m missing someone I knew once / Now she doesn’t exist,” she croons,
                                      charting the push-and-pull between wanting to be good, and the seeming impossibility of it. We are always at odds with ourselves, and “Looking for the Right Things,” peels back the desire to attain this idea of goodness while reckoning with the reality of our humanness, and the beauty of our imperfections. “As much as I’d like to make relationships as simple as figuring out how to be ‘good’ and that being enough, it’s always messier than that.”

                                      Later, “Hunger” sees Gerber pick apart the opposing forces of desire and restriction through soft-yet-persistent synths and cloud-reaching riffs. “I’ve spent so much of my life vacillating between these polarities, craving and negating,” she says. “Both states of being are a hunger for something, and I like to think there’s a reality where pleasure and accountability to yourself and others can coexist.” On the guitar-led gentle anthem “For,” Gerber wrestles yet ultimately welcomes the darker parts of her personality. Inspired by her experience with a struggling friend, Gerber admits that while we can recognize and see ourselves in another’s pain, we can also acknowledge our limitations in showing up for them, and how we may not feel able to help them through it.

                                      Closer “Only Mystery,” brings Meet Me at the Gloaming full circle, as Gerber unpacks her complex relationship with her father. Leaning into the eclectic sonic landscape of the album, fluttering strings dance alongside finger-picked guitar, while diaphanous synths coat lyrics of loneliness and betrayal. “Asking where you were / In the years / I called our backyard home” she sings, pointing to her solitary experience as a child. “I’m tenderly trying to meet someone as they are, while carrying the baggage of a life and past disappointments,” she says. “It’s exploring that complexity; of looking at this person who I barely know and who barely knows me, recognizing that there’s still this part of me that just wants to be seen as good, as having done my best, and hoping that’s good enough.”

                                      Meet Me at the Gloaming is certainly an album that pierces grief head-on but it’s not without hope or certainty. Like curtains strong enough to block the view, but thin enough to let in the light, Gerber is reclaiming the meaning of goodness, where the harsh overwhelming brightness is dimmed to a beautiful, iridescent blue. During the gloaming we are between two spaces, two worlds, two selves and it’s here that we can fully embrace everything that we are.

                                      Let us remember how dark the beginning of the day is ~ Maggie Smith

                                      TRACK LISTING

                                      Side A
                                      1. Disciple Song
                                      2. Walk In The Dark
                                      3. Looking For The Right Things
                                      4. You Got It Right
                                      5. Mount Washington Phone Company
                                      Side B
                                      1. Hunger
                                      2. For
                                      3. Just As A Child
                                      4. Noon Of Love
                                      5. PFS
                                      6. What Are You Reading?
                                      7. Only Mystery

                                      Grave Goods

                                      Tuesday. Nothing Exists

                                        London and Dublin based women-led independent label Tulle are back with 'Tuesday. Nothing Exists' - the debut album from three-piece Grave Goods.

                                        Featuring current and former members of PINS, Girls Names and September Girls, the Sartre-rock trio are based between Manchester, Belfast and Dublin. Taking influence from early post-punk and minimalist rock, Grave Goods music has been described as urgent and demanding, claustrophobic yet spacious - guaranteed to grab your attention. Their influences come from early post-punk and minimalist rock, and their music is visceral and angular, set against a lyrical backdrop of existential ennui.

                                        Their first track released 'Juice' was featured on A Litany of Failures Volume III, and in December 2021 they released new single 'Phonetic Fetish'. This highly anticipated debut full-length 'Tuesday. Nothing Exists' was recorded at Invada studios, Bristol.

                                        STAFF COMMENTS

                                        Liam says: Just the phrase "Debut album from current and former members of PINS, Girls Names and September Girls" pretty much sells this record itself. At times sparse, at others visceral and snarling, Grave Goods' 'Tuesday, Nothing Exists' is for those hankering for some proper gnarly post-punk.

                                        TRACK LISTING

                                        Side A
                                        Side B

                                        PJ Harvey

                                        The Hope Six Demolition Project - Demos

                                          Collection of ten unreleased demos written for the ninth PJ Harvey studio album The Hope Six Demolition Project, including demos of ‘The Wheel’ and ‘The Community Of Hope’. Features brand new artwork with cover art based on a drawing by Polly Jean Harvey, plus previously unseen photos by Maria Mochnacz and Seamus Murphy. Artwork is overseen by Michelle Henning with Rob Crane. Mastering by Jason Mitchell at Loud Mastering, under the guidance of long time PJ Harvey producer John Parish.

                                          TRACK LISTING

                                          Side A
                                          The Community Of Hope
                                          The Ministry Of Defence
                                          A Line In The Sand
                                          Chain Of Keys
                                          River Anacostia
                                          Side B
                                          The Orange Monkey
                                          The Ministry Of Social Affairs
                                          The Wheel
                                          Dollar, Dollar

                                          Peter Alexander Jobson

                                          The Piano Tuner - Signed Edition

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

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

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

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

                                            STAFF COMMENTS

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

                                            TRACK LISTING

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

                                            Side B
                                            1. Kesta


                                            A Life Diagrammatic

                                              With March 2023's 7" ‘Theme New Bond Junior’/‘Hopper On The Dial’ reaching No.1 in the UK Vinyl Single Chart, and April 2023's BBC/KEXP supported ‘Trauma Mosaic’ single announcing a debut fifteen date US/CA Tour for October 2023. JOHN consolidate their reputation as a truly uncompromising force with the announcement of their fourth full length A Life Diagrammatic.

                                              The album – which features collaborations with award-winning actor Simon Pegg, and Barry Adamson (formerly of The Bad Seeds and seminal post-punk act Magazine) – is released via Brace Yourself Records & Pets Care Records, and is the follow-up to 2021’s Nocturnal Manoeuvres LP which crashed the top 75 of the main UK album chart.

                                              “Limitations are key for us,” says drummer and vocalist John Newton. “I never view being a two-piece as a minus - it’s a key idiosyncratic element of what the project is.”

                                              For the last decade, and now over four albums, the duo of Newton and Johnny Healey have constantly redefined and expanded the role, function and parameters of what a guitar and drum two-piece can be. No more so is this apparent than on their latest A Life Diagrammatic, a record that harnesses the punch and intensity of their blistering live shows with the band’s increasingly textural, cinematic and expressive sensibilities. “We knew the direction we wanted to go in after the last record,” Healey says of Nocturnal Manoeuvres. “We had started moving towards soundscapes rather than straight-up noise and four to the floor structure.”

                                              The level of thought, ambition and scope is what makes JOHN such a captivating and genre-defying band, and A Life Diagrammatic such a rich and evocative listening experience. And the album artwork is perhaps a perfect metaphor for the band itself: a surface level glance may only reveal the basic function of an ostensible two-piece rock band but undertake a full service and you’ll discover a wealth of complexity, technicality, skill and function. Or quite simply, as Healey himself says, “we're not just a rock band. There's more to it than that.”

                                              Seth Manchester (Big Brave, Battles, METZ) was brought in to mix the album, with Frank Arkwright (Mogwai, Arab Strap, Squarepusher, Autechre) mastering it at the legendary Abbey Road Studios. The aim being to merge the powerful live presence of the band whilst also honing in on some of the more varied dynamics at play. “We wanted to further explore the space and ambience of our instrumentation,” says Newton. “To offer an album that deliberately pushes and pulls in a multitude of directions throughout its duration.”

                                              STAFF COMMENTS

                                              Laura says: On their fourth album John continue to evolve their sound, adding more experimentation to their driving guitar and drums onslaught. As with previous releases, the taut guitar riffs create a tension throughout the album as it sweeps between brooding atmospherics and explosive outbursts, but there’s a more nuanced, cinematic feel this time around. This is typified on “Media Res” which features a strange, slightly unnerving monologue from Simon Pegg - a distorted conversation that you only hear one side of. Typical of the whole album there’s an ambiguity to the narrative that sucks you in and forces you to listen. There’s no snappy sloganeering here, the lyrical depth is integral to the sound as a whole, it’s an album that demands your attention. Still not convinced? Then surely a nod of approval, in the shape of a collaboration on “Riddley Scott Walker”, from the king of cinematic noir, Barry Adamson, should surely seal the deal.

                                              TRACK LISTING

                                              1. At Peacehaven
                                              2. Media Res
                                              3. Côte D’Adur
                                              4. A Submersible
                                              5. A Whole House
                                              6. Service Stationed
                                              7. Construction Site/Summer_22
                                              8. Trauma Mosaic
                                              9. Riddley Scott Walker
                                              10. The Common Cold

                                              Gabe Knox / Pulsliebhaber

                                              Gabe Knox / Pulsliebhaber

                                                The Gabe Knox side collects a trio of hard-to-find rarities and ‘lost’ gems; kicking off with “Student Disco ‘81”, previously available on a limited Record Store Day 7”, it’s a sickly-sweet Krautrock inflected synthpop confection, with just enough bite to fill the dancefloors of a bygone era. The other two cuts, fan favourite “Carbon Bubble” and the ultra-rare “Cosmic Debris”, which amply showcases Knox’s more expansive, experimental-but-still-melodic side, made available for the first time on vinyl.

                                                On the flip, Mat Handley’s Pulsliebhaber project was an exercise in super-fast recording with as little computer use as possible (for sequencing or processing). Although, as Mat explains : 

                                                “my keyboard playing skills are rudimentary (at best), first takes were used just about every time. Each of my seven tracks were written and recorded in a single session with not one of them taking more than a couple of hours to finish, some of them significantly less than 60 minutes. I think the original intention was to record a bunch of tracks and revisit them later, but after sending them to Dom PY it was agreed to release them as they are with just a little sheen provided by Jez Butler’s mastering.

                                                So yes, some of the timings are shaky with the odd bum note here and there, but the process was very refreshing especially after spending five years each on the first two Pulselovers albums. Drums were all provided by Volca Beats and the Volca Kick (with maybe one appearance of the Drum Brute). Synths used were the MFB Dominion X, the Korg MS20 Mini and my trusty old Bass Station 2. Everything was fed through a variety of noisy guitar pedals and recorded either onto tape or directly into Audition, whilst titles were all selected from a half hour spent down a Wikipedia rabbit hole and mean absolutely nothing. Thanks go to Gabe for agreeing to share this piece of plastic with me, to Jez for making my synth noodles (almost) presentable and especially to Dom for his enthusiasm and for giving us all Polytechnic Youth”

                                                STAFF COMMENTS

                                                Barry says: Two of my favourites here, with Gabe Knox filling his side with typically gorgeous motorik synth fare, while the affable and talented Handley modestly describes his side as quickly pieced together, but the result is both brilliantly evocative and entirely at odds with the rushed creation. A talented duo on another beautiful piece of PY wax.

                                                TRACK LISTING

                                                1. Gabe Knox - Student Disco 81 / Carbon Bubble 10:23
                                                2. Gabe Knox - Cosmic Debris 10:04
                                                3. Pulsliebhaber - Catching Buckets 02:27
                                                4. Pulsliebhaber - Synthetic Aperture Radar 02:55
                                                5. Pulsliebhaber - Domestic Fission 02:49
                                                6. Pulsliebhaber - NDT Bomb 02:28
                                                7. Pulsliebhaber - FFWD>> 03:20
                                                8. Pulsliebhaber - Transient Emotion 03:04
                                                9. Pulsliebhaber - Underground Architect

                                                Sarathy Korwar


                                                  Sarathy Korwar returns with new album KALAK. The follow up to the politically charged, award-winning More Arriving is an Indo-futurist manifesto - in rhythmic step with the past and the present, it sets out to describe a route forward. It celebrates a rich South Asian culture of music and literature, which resonates with spirituality and community, while envisaging a better future from those building blocks.

                                                  Recorded at Real World studios with meticulous production by New York electronic musician, DJ and producer Photay, who translates these communal rhythms and practices into a timeless and groundbreaking electronic record. There’s a spirituality and warmth at play in the polyrhythms, group vocals and melodic flourishes.

                                                  The KALAK rhythm is the fulcrum upon which the 11-track project balances. After an intense lockdown induced period of reflection and meticulous note-making, Korwar boiled this down to the circular KALAK symbol which he then presented to his band before recording began. With the symbol projected on the walls in order to de-code and improvise around, Korwar had utter faith in the musicians he’d assembled and conviction in the concept.

                                                  The final part of the KALAK project is realised in the cover artwork by New Delhi-based designer Sijya Gupta. Korwar and photographer friend Fabrice Bourgelle took a light sculpture of the KALAK symbol on a road trip around Southern India, through Chennai, Pondicherry and Auroville. The evocative shots appear on the cover of the various formats, with each one offering a different angle on the country, continent and culture that inspired the album.

                                                  STAFF COMMENTS

                                                  Barry says: A stunning selection of rhythmic counterpoints and vocal melodies, falling somewhere between deep house, traditional South Asian communal chant and jazzy funk. It's an intoxicating listen throughout. Ace.

                                                  TRACK LISTING

                                                  1. A1. A Recipe To Cure Historical Amnesia
                                                  2. A2. To Remember (feat. Kushal Gaya)
                                                  3. A3. Utopia Is A Colonial Project
                                                  4. A4. Back In The Day, Things Were Not Always Simpler (feat. Noni-Mouse)
                                                  5. A5. The Past Is Not Only Behind Us, But Ahead Of Us
                                                  6. B1. Kal Means Yesterday And Tomorrow
                                                  7. B2. Remember Begum Rokheya
                                                  8. B3. That Clocks Don’t Tell But Make Time (feat. Kodo)
                                                  9. B4. Remember Circles Are Better Than Lines
                                                  10. B5. Remember To Look Out For The Signs
                                                  11. B6. KALAK - A Means To An Unend

                                                  La Luz

                                                  La Luz - Instrumentals (RSD22 EDITION)

                                                    THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                    Instrumental version of the critically acclaimed 2021 album by La Luz. Released in October 2021.

                                                    Lo Five

                                                    Persistence Of Love

                                                      This collection of tracks came about during a period of transition for me, from changing the way I wanted to make music to a method that was more intuitive and free-flowing. I spent a lot of time experimenting with sequencing and different bits of hardware I'd acquired. I was also playing around with an old four track cassette recorder, which was loads of fun. I think the end result feels a little broader in sound and composition as all but one of these tracks were the result of recording a live jam down to a stereo mix. I recorded dozens of these until I'd found 'the one'.

                                                      That way of capturing a performance really excites me, it's like a crystallised moment in time when the planets have aligned. When you're really absorbed into the flow of it and there's something extra guiding you.

                                                      Thematically, it all reflects this ongoing interest I have in consciousnesses, spiritual enlightenment, truth realisation, whatever you want to call it. At the time I'd been reading a lot about advaita, which is Sanskrit for 'not two', or what western spiritual teachers call non-duality, where it's seen there is no separation between anything, no individual self, no subject and object, just this infinite eternal consciousness. I read a few of the classic teachings from gurus such as Ramaana Maharishi, Jiddu Krishnamurti and Nisargadatta Maharaj, which reflect modern accounts of contemporary teachers like Richard Rose, Jan, Frazier and Rupert Spira.

                                                      There seems to be this slow reconciliation between ancient eastern spiritual teachings and western psychology and neuroscience. That really fascinates me and seems to filter through to whatever I'm working on."

                                                      Neil Grant, Liverpool, May 2023. 


                                                      Christmas - Repress

                                                        Their attention to musical detail combined with the heavenly vocal harmonies of ALAN SPARHAWK and MIMI PARKER are perfectly attuned to both traditional carols like “Silent Night” and more contemporary tunes such as “Blue Christmas.”

                                                        Christmas contains a selection of seasonal songs, including four originals by the band, mostly recorded at Lowʼs 20º Below studio in Duluth, MN. “If You Were Born Today” and “Blue Christmas” were released as a 7-inch single in 1997 on the English Wurlitzer Jukebox label, while “Taking Down The Tree” is taken from a 1998 compilation of live recordings issue by the Dutch VPRO radio station.

                                                        STAFF COMMENTS

                                                        Laura says: "Just Like Christmas" is a sublime pop song with sleigh bells that give it a sprinkling of festive cheer without coming across all "Now That's What I Call Christmas"!

                                                        TRACK LISTING

                                                        Just Like Christmas
                                                        Long Way Around The Sea
                                                        Little Drummer Boy
                                                        If You Were Born Today
                                                        Blue Christmas
                                                        Silent Night
                                                        Taking Down The Tree
                                                        One Special Gift

                                                        Scottish five-piece band Marouli, led by musician and composer Graham McCusker unveil their debut album "Tall Tales From A Distant Uncle". A determined and heart felt record, it was recorded after McCusker successful beat lukemia and, with a unique and quirky turn, pays homage to Billy Connolly's storytelling tradition. 

                                                        It features Alex Hill on keys, saxophonist Josh Poole (Bill Laurance, The Beautiful South), bass player Nick Waldock and former drummer Xavier Winton (G4). The band, which now features Matt Brown on drums, has a sound that is inspired by jazz and pop artists like Steely Dan and Gregory Porter, as well as those from Graham’s classical roots, like J.S. Bach. It has a vintage sound which is hard to date, like a good tweed jacket. McCusker's vocal shines through like beautifully polished oak, rich and syrupy; whilst the muscians involved are deceptively locked into each others groove; natural yet complex arrangements flowing from the backline like luxurious carpet. There's a warmth like a good camp fire or freshly baked bread that's hard to articulate but instantly felt throughout the duration of the LP. Drawing elements from blues, rock and throwback pop "Tall Tales From A Distant Uncle" creates a cinematic sound that is classic yet fresh.

                                                        Songwriter Graham and keyboard player Alex Hill met when they were students in 2018 and with the addition of three college friends, the lineup was complete and Marouli was born. The album was recorded at Angelic Studios near Banbury and at Hope Mill Studios in Manchester. Artwork is by Paul Hemmingfield.

                                                        *** ALBUM LAUNCH PARTY plus special guests:

                                                        Friday 28th October - The Eagle Inn - 7:30pm. 

                                                        STAFF COMMENTS

                                                        Matt says: McCusker's tales sink deep into the psyche; a collection of songs that reflect the overcoming of adversity that the band leader has endured. It's a triumph - unshakingly sincere, with skilled and sophisticated song writing and arrangements that feel warm, friendly and inviting. One of those albums that feels like a long lost friend returning time and time again.

                                                        TRACK LISTING

                                                        1. Let Her Go
                                                        2. Shane
                                                        3. Thoughts On A Thursday
                                                        4. Where Do They Go
                                                        5. I'll Keep On Running
                                                        6. When You're Afraid
                                                        7. The Boy With The Stone In His Shoe
                                                        8. Fumblin'
                                                        9. Strange But True
                                                        10. Can't I Dream?

                                                        Nile Marr

                                                        Lonely Heart Killers

                                                          Following on from 2020's debut album 'Are You Happy Now?', Manchester's Nile Marr returns with Self Care, the first track off his sophomore LP 'Lonely Hearts Killers'.

                                                          "I wanted to this one to feel different to my previous album. Songs came out quickerand I mostly recorded it at night in the Mill, I just tried to go with the late night vibe" says Marr.

                                                          "I got back into listening to all the bands that made me want to write songs in the first place, like the Lilys and Neil Finn. I guess the whole album was trying to focus on song writing, and because I couldn’t play live during lockdown, I focussed more on song writing rather than ‘I know this works at our live shows', so I feel like this one differs in every wayfrom my previous album".

                                                          For fans of Broken Social Scene, Big Star and Elliott Smith

                                                          STAFF COMMENTS

                                                          Barry says: Nile Marr is back! This time sees him partially eschew the soaring britpop indebted groove of 2020's 'Are You Happy Now?' in favour of a more distinguished and broad palette of sounds, veering towards west-coast sunshine pop and jangling, grand stadium rock.

                                                          TRACK LISTING

                                                          A1 Lonely Hearts Killers
                                                          A2 The Rush
                                                          A3 Self Care
                                                          A4 You Pull Me In
                                                          A5 Birdsong
                                                          B1 Eyes Like Deer
                                                          B2 Skin
                                                          B3 Late Night Champion
                                                          B4 Two Words
                                                          B5 The Easiest Game
                                                          B6 Run The Last Mile

                                                          Growing Bin switches back into reissue mode with an off-kilter obscurity from Austrian eccentrics Molto Brutto. Equal parts amateur funk, indie jangle, art rock and idiot pop, "2" is a real weird bastard with a whole lot of charm. As the Bin continues to grow in all directions, there's plenty of space for new sounds to take root. Alongside patches of Ambient, Balearic, Kosmische and Jazz, Hamburg's audio allotment now stretches to accommodate the strange waves of Molto Brutto.

                                                          Basso dug their first LP a decade back in Stuttgart's Second Hand Records, embracing their abrasive style of sandpaper sonics and experimental urges. Interest piqued, he made the journey through their DIY catalogue, capturing excellent collaborations under the Ganslinger alias before bumping into the second of their two LPs. Originally released on their Golfdish imprint in 1988, "2" walks into the pub with an air of accessibility, but quickly unravels into glorious chaos - pissing in the corner and passing out on the bar. Pop structures are suggested then subverted.

                                                          Pints of Paisley slosh out of a broken Glass, tape loops spool onto shabby Material, and indie janglers are just a couple of stamps short of a Postcard.

                                                          Turning you tipsy, this loveable rogue starts to tell you his life story, but you're going to have to fill in some blanks. They miss 'Blackie', but who is he - a dog? What happened on the 'Deadly Vacation'? Is that song really about a 'Goldfish', or did they find out the name of America's horse? Words repeat until they lose all meaning, awkward poetry masks a lost laureate and a drunken Wurlitzer sends the room into a spin.

                                                          The pubs are shut, so get happy drunk with Molto Brutto.

                                                          STAFF COMMENTS

                                                          Patrick says: Growing Bin throw a fuzzed out curveball at the Balearic crowd here with a reissue of this Austrian post punk / DIY pop rarity from Molto Brutto. Coming out the gates with cold wave curios, nutso synth-funk, C86 style jangle, this is one weird bastard - and I love it!

                                                          TRACK LISTING

                                                          A1. Chant
                                                          A2. Sadman
                                                          A3. Blacky
                                                          A4. Deadly Vacation
                                                          A5. Smalltalk
                                                          B1. Time
                                                          B2. Secret Life
                                                          B3. No Monkey No Work
                                                          B4. Go Ahead Goldfish
                                                          B5. Psychobilly

                                                          *BIG FANFARE!!*
                                                          Mr. Fingers' highly anticipated second part of the "Around the Sun" series! The esteemed Chicago produer continues on the path from last years "Around the Sun part 1". Encompassing all his influences from jazz, r&b to house, techno and ambient; these lush tracks eminate with a warmth and feel that no one else expresses quite like him. Like before, featuring his own moody vocals; there's a couple of tracks featuring other musicians but generally it's fully composed and created by Larry Heard himself. Sequenced to perfection, the LP slowly submerges you into its sonic environment, and once there it gently but deliberately takes the mind and body on a deep and pleasurable journey. No need to further elaborate... Larry Heard at his finest.

                                                          TRACK LISTING

                                                          Were Drowning
                                                          Love To You
                                                          Country Rhodes
                                                          Touch Of Love
                                                          Rustling Leaves
                                                          The Icy Air Of Night
                                                          Supa Kool

                                                          “The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“.

                                                          Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

                                                          Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

                                                          Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

                                                          They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

                                                          Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

                                                          TRACK LISTING

                                                          1. Absolute Power
                                                          2. Earth Girls
                                                          3. Fearless Like A Child
                                                          4. Kids Today
                                                          5. Intermezzo
                                                          6. Sweet Smell Of Success
                                                          7. Obnoxiously Talented
                                                          8. Avoid Heaven
                                                          9. Take Me To Your Leader
                                                          10. They Will Pay
                                                          11. Pompeii

                                                          The Orielles

                                                          The Goyt Method

                                                            The Orielles on The Goyt Method: Our concept for The Goyt Method was birthed from our interest in cybernetics, improvisation and experimental electronic music. We wanted to zoom out of ‘Tableau’ (the band’s third album released in 2022) and disconnect all the pieces, rearranging them in new ways to create variations of songs, which encapsulate the whole record. We left this part of the process completely down to chance, adopting an online roulette wheel to choose our stems. This way of creating music was familiar to us from spending a lot of time remixing and record collecting, gaining an invested interest in deep listening and avant-garde electronic music.

                                                            The name itself comes from the initial location in which we remixed with Joel Patchett, a wintery and freezing cold Goyt Mill. From here, we coined the term ‘Goytism’ or ‘to Goyt’ which was basically our way of describing the process of repurposing and resampling acoustic sounds through digital production, making them unrecognisable from their original source.

                                                            The photograph on the sleeve was taken in winter 2020, our first visit to the Mill studio, our first Goyt session. 

                                                            TRACK LISTING

                                                            Side A:
                                                            1. Tableau 001
                                                            2. Tableau 002
                                                            3. Improvisation 002
                                                            Side B:
                                                            1. Tableau 003
                                                            2. Tableau 004 


                                                            Intercepted Message

                                                              A pop record for tired times. Sugared with bits of shatterproof glass to put more crack in your strap. At long last, verse / chorus. A weathered thesaurus. This is OSEES bookend sound. Early grade garage pop meets protosynth punk suicide-repellant. Have a whack at the grass or listen while flat on your ass. Heaps of electronic whirling accelerants to gum up your cheapskate broadband. Social media toilet scrapers unite! Allow your 24-hour news cycle eyes to squint at this smiling abattoir doorman. You can find your place here at long last. All are welcome from the get go to the finale…a distant crackling transmission of 80s synth last-dance-of-the-night tune for your lost loves. Suffering from Politic amnesia? Bored of AI-generated pop slop? Then this one is for you, our friends. Wasteland wanderer, stick around. Love y’all. For fans of Teutonic synth punk and Thee Oh Sees (who the fuck are they?)” — John Dwyer.

                                                              STAFF COMMENTS

                                                              Barry says: The brilliant OSEES are back with a vitriolic blast of fuzzy guitars, frenetic percussion and wonky synth sweeps. Dwyer and co are without a doubt at the forefront of the garage/indie movement, crafting a sound that's both hugely impactful and undoubtedly their own, with more than a hint of irony peeking through here and there. Brilliantly done, as ever.

                                                              TRACK LISTING

                                                              1. Stunner
                                                              2. Blank Chems
                                                              3. Intercepted Message
                                                              4. Die Laughing
                                                              5. Unusual & Cruel
                                                              6. The Fish Needs A Bike
                                                              7. Goon
                                                              8. Chaos Heart
                                                              9. Submerged Building
                                                              10. Sleazoid Psycho
                                                              11. Always At Night
                                                              12. LADWP Hold

                                                              Michael Price

                                                              Eternal Beauty - Original Motion Picture Soundtrack

                                                                Michael Price, one of the UK’s most sought after composers (Unforgotten, Sherlock, Dracula), releases the original soundtrack from director Craig Roberts’ (Submarine, Just Jim) latest feature Eternal Beauty, starring Sally Hawkins.

                                                                The Eternal Beauty soundtrack will be released on vinyl as the 73rd Dinked Edition, exclusive to the Dinked network of the UK’s best independent record shops.

                                                                The 16 track Première edition LP - exclusive to the Dinked network - is a limited edition on blue vinyl with multi-colour splatter and includes a signed and numbered print.

                                                                It becomes available to pre-order from October 2nd, coinciding with the cinema release and on demand première of the film. It will also be available exclusively on Bandcamp from the same date, before arriving on all other digital platforms in November.

                                                                Recorded and mixed by Andrew Dudman at Abbey Road Studios and The Control Room.
                                                                Mastered by Oli Morgan at Abbey Road Mastering.

                                                                Price’s score, as his so often do, serves as a narrator, a character helping to guide us through the true highs and lows of Jane’s (Sally Hawkins) rarely uneventful life. Price’s signature sweeping strings, underpinned by piano and a beautifully restrained use of sound design ensures that whilst the score drives the story forwards it never distracts from that which is unfolding before our eyes.

                                                                “A soundtrack that provides the rocket fuel for a story that unzips our understanding of ’normal’ " Adrian Bates, Eternal Beauty Producer

                                                                When Jane (Sally Hawkins) is dumped at the altar she has a breakdown and spirals into a chaotic world, where love (both real and imagined) and family relationships collide with touching and humorous consequences.

                                                                The reality we see through Jane’s eyes is vividly different, heightened in the film by the stylized palette, camera work and intoxicating score - a reality that the film celebrates and treats with dignity, humour and affection.

                                                                On writing the music, Michael Price explains:

                                                                "Finding a musical voice for Jane was a little daunting at first. Craig Roberts' kaleidoscopic writing, and Sally Hawkins' blazing performance seemed to fill so much of the air around me, that the first few notes to emerge were tiny and bird-like. In fact, there is literally bird-song, an Irish nightingale, that stayed in the score, early in the film when Jane sits and feeds the pigeons in the park. That became a key to unlocking Jane's interior world, as did using snippets of her vocalisations, which became percussion instruments and stretched into more ambient pads. Once I had opened the door to her world, though, the music came tumbling out - rich, romantic, delicate and tender, and sometimes terrifying. All of it brought into life by the writing and performance, and the opportunity to celebrate Jane's "superpower", as Craig described it.”

                                                                Shot in and around writer/director Craig Robert’s native South Wales, the inspiration for the character of Jane at the heart of Eternal Beauty came from people Craig was close to when growing up. He explains “The character came fully formed. I just kind of knew those people, to be honest.

                                                                On the recording, Michael Price recalls:

                                                                When we finally recorded the orchestra at Abbey Road Studios, I was touched to see that Craig had brought some of his family down to listen too. I think this is an incredibly personal film for him, and there was something about hearing the orchestra sounding majestic and noble, which seemed as if we had done musical justice to both the characters, and the people who had inspired their creation."

                                                                STAFF COMMENTS

                                                                Barry says: There's something inherently soundtracky about Michael Price's work for the decidedly soundtracky Erased Tapes records, so it's no giant surprise that this soundtrack of his for Craig Roberts' 'Eternal Beauty'. It's the perfect score, and displays wonderfully how talented a composer Price is.

                                                                TRACK LISTING

                                                                Side A
                                                                1. A Walk And A Wedding
                                                                2. Eternal Beauty
                                                                3. Different Dose
                                                                4. Where Have You Been
                                                                5. Cannibals
                                                                6. Beauty Pageant
                                                                7. Marry Me

                                                                Side B
                                                                8. Pot Plant
                                                                9. Unpacking
                                                                10. Making You Better
                                                                11. The Other Side
                                                                12. Towards The Light
                                                                13. Time To Go
                                                                14. More Friends Than You
                                                                15. Nice Or Really Nice?
                                                                16. The End

                                                                Lou Reed

                                                                Words & Music, May 1965

                                                                  Light in the Attic Records, in cooperation with Laurie Anderson, proudly announces the inaugural title in their ongoing Lou Reed Archive Series: Words & Music, May 1965.

                                                                  “To hear a tape containing their earliest demos, recorded on May 11, 1965, and locked away until now, is to hear traces of things rarely associated with The Velvet Underground: blues and folk, earthy and traditional, uncertain and hesitant… yet bristling with that rusty, caustic, Lou Reed spirit. It is a revelation.” – Will Hodgkinson, MOJO'.

                                                                  Released in tandem with the late artist’s 80th birthday celebrations, the album offers an extraordinary, unvarnished, and plainly poignant insight into one of America’s true poet-songwriters. Capturing Reed in his formative years, this previously unreleased collection of songs—penned by a young Lou Reed, recorded to tape with the help of future bandmate John Cale, and mailed to himself as a “poor man’s copyright”—remained sealed in its original envelope and unopened for nearly 50 years. Its contents embody some of the most vital, groundbreaking contributions to American popular music committed to tape in the 20th century. Through examination of these songs rooted firmly in the folk tradition, we see clearly Lou’s lasting influence on the development of modern American music – from punk to art-rock and everything in between. A true time capsule, these recordings not only memorialize the nascent sparks of what would become the seeds of the incredibly influential Velvet Underground; they also cement Reed as a true observer with an innate talent for synthesizing and distilling the world around him into pure sonic poetry.

                                                                  Featuring contributions from Reed’s future bandmate, John Cale, Words & Music, May 1965 presents in their entirety the earliest-known recordings of such historic songs as “Heroin,” “I’m Waiting for the Man,” and “Pale Blue Eyes”—all of which Reed would eventually record and make indelibly influential with the Velvet Underground. Also included are several more previously-unreleased compositions that offer additional insight into Reed’s creative process and early influences. Produced by Laurie Anderson, Don Fleming, Jason Stern, Hal Willner, and Matt Sullivan, the album features newly-remastered audio from the original tape by GRAMMY®-nominated engineer, John Baldwin. Rounding out the package are new liner notes from acclaimed journalist and author, Greil Marcus, plus in-depth archival notes from Don Fleming and Jason Stern, who oversee the Lou Reed Archive, while the release has been designed by multi-GRAMMY®-winning artist Masaki Koike.

                                                                  ● All tracks previously unreleased.
                                                                  ● Produced in partnership with Laurie Anderson and the Lou Reed Archive.
                                                                  ● Inaugural release in Light in the Attic’s Lou Reed Archive Series.
                                                                  ● Features the earliest-known recordings of “I’m Waiting for the Man,” “Pale Blue Eyes" and “Heroin" as made famous by The Velvet Underground.
                                                                  ● Includes seven unheard Lou Reed compositions.
                                                                  ● Remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin.
                                                                  ● Package designed by multi-GRAMMY®-winning artist Masaki Koike.
                                                                  ● Vinyl pressed at RTI.
                                                                  ● LP available on Standard Black Wax plus a Special Limited Color Edition.
                                                                  ● LP & CD include booklets featuring lyrics, archival photos, and liner notes by Greil Marcus, Don Fleming and Jason Stern (LP: 20-pgs, CD: 60-pgs)
                                                                  ● CD & Cassette include six unheard tracks recorded between 1958 and 1964, including early demos, a cover of Bob Dylan’s “Don’t Think Twice, It’s All Right,” and a doo-wop serenade recorded in ‘58 when the legendary singer-songwriter was just sixteen-years-old

                                                                  STAFF COMMENTS

                                                                  Andy says: This is an amazing find and incredible document of one of the greatest song writers of the 20th century. Lou Reed's widow Laurie Anderson feels these home recordings need to be preserved and though Lou had just hooked up with John Cale there is none of their arty explosive, scuzz and sleaze here; these are just pure songs, surprisingly in the folk idiom (though this is 1965 and it's just an acoustic guitar so it clearly makes sense), simply laid down as works in progress. If you're a Lou Reed fan, (and who isn't?), this is a must!

                                                                  TRACK LISTING

                                                                  I'm Waiting For The Man - May 1965 Demo
                                                                  Men Of Good Fortune - May 1965 Demo
                                                                  Heroin - May 1965 Demo
                                                                  Too Late - May 1965 Demo
                                                                  Buttercup Song - May 1965 Demo
                                                                  Walk Alone - May 1965 Demo
                                                                  Buzz Buzz Buzz - May 1965 Demo
                                                                  Pale Blue Eyes - May 1965 Demo
                                                                  Stockpile - May 1965 Demo
                                                                  Wrap Your Troubles In Dreams - May 1965 Demo
                                                                  I'm Waiting For The Man - May 1965 Alternate Version (CD/Cassette Only)
                                                                  Gee Whiz - 1958 Rehearsal (CD/Cassette Only)
                                                                  Baby, Let Me Follow You Down - 1963/64 Home Recording (CD/Cassette Only)
                                                                  Michael, Row The Boat Ashore - 1963/64 Home Recording (CD/Cassette Only)
                                                                  Don't Think Twice, It's All Right (Partial) - 1963/64 Home Recording (CD/Cassette Only)
                                                                  W & X, Y, Z Blues - 1963/64 Home Recording (CD/Cassette Only)
                                                                  Lou's 12-Bar Instrumental - 1963/64 Home Recording (CD/Cassette Only)


                                                                  High Art Lite

                                                                    TVAM self-released his much-acclaimed debut Psychic Data in the autumn of 2018, something of a cult-classic, the album joined the dots between Suicide’s deconstructed rock ’n’ roll, Boards of Canada’s irresistible nostalgia and My Bloody Valentine’s infinite noise. Psychic Data spawned an ‘Album Of The Day’ at BBC 6Music whilst signature tune ‘Porsche Majeure’ featured in HBO’s smash-hit ‘Succession’.

                                                                    Fast forward the VCR to 2022, High Art Lite takes a different tilt to its predecessor by emphasising the immediate and the personal.The colours are blown-out and the brightness is cranked up.TVAM’s take on role models, fictional movie character tropes, and fables of good and evil, are all tackled with the same suspicious cynicism but this time with an urgent belief in the human condition.

                                                                    A heady mix of Black Mirror’s modern fables, JG Ballard’s gated communities of sun-drenched wealth, and Mulholland Drive’s boulevard of broken daydreams, High Art Lite offers an all-inclusive package of redemption.

                                                                    High Art Lite is the first-ever Dinked Edition collaboration with Invada Records.

                                                                    TRACK LISTING

                                                                    Side A
                                                                    Future Flesh
                                                                    Every Day In Every Way
                                                                    Club Nautico (Part 1)
                                                                    Piz Buin
                                                                    Double Lucifer
                                                                    Shallow Ends
                                                                    Side B
                                                                    Say Anything
                                                                    Club Nautico (Part 2)
                                                                    High Art Lite

                                                                    Maria Uzor

                                                                    Soft Cuts

                                                                      This debut album from previous Sink Ya Teeth member Maria Uzor treads softly upon opening, before charging headfirst into a cosmic landscape of electro, avant-pop, footwork and stark techno.
                                                                      Nine tracks delivered as the building blocks for a world seen through Uzor’s eyes where there are no boundaries, there are no walls, just a gentle beckoning to be yourself. ‘Soft Cuts’ is a joyful and groove-led journey with unexpected twists through the darkness.

                                                                      Eclectic and esoteric, the album revels in it’s own diversity. There are echos of Aphex Twin in there, of Zapp, Kate Bush and Drexciya. And yet for all it’s influences, Maria has created a body of work that’s beautifully seamless in it’s amalgamations. Play loud and lose yourself to find yourself.

                                                                      This past year has seen Maria Uzor release the first single ‘Ventolin’ from the Soft Cuts album to praise and support from John Kennedy (Radio X), Amy Lame, Tom Ravenscroft, Deb Grant, and Jamz Supernova (BBC 6 Music). She has also played festivals including The Great Escape, Nox Orae (Switzerland) and Manchester Psych Fest, and collaborated with Acid Klaus, !!!, and A Certain Ratio.

                                                                      STAFF COMMENTS

                                                                      Barry says: As perfect as it is for home listening, there's no doubt that the endlessly talented Maria Uzor's music is courting the dancefloor, with shimmering arps and hefty percussives perfectly working beneath her haunting, perfectly produced vocals. A heady, dynamic mix of gothic wooze and dance-adjacent rhythm.

                                                                      "The Pink Album", is dawn and dusk, the epic and the intimate. This 22-track double album, its title inspired by the artwork of Julian House, features collaborations with Jarvis Cocker, Étienne Daho, Raven Violet and Jon Spencer. It has its modulations: shocking at times but signifying also tenderness, intimacy, the carnal. It knows the shades of love, its nuances, and how it can be delicious - and frightening. Marvellous - and aching. Rather than be the silver lining to the cloud, "The Pink Album" mines deeper, to a precious ore, dark and glittering.

                                                                      Unloved: Jade Vincent, Keefus Ciancia, David Holmes. In Los Angeles, Ciancia - producer, keyboardist & creator of soundtracks - met David Holmes, the innovative, inquisitive and ingenious Belfast DJ who recast himself as master of song and image for film and television. Ciancia invited Holmes to the Rotary Room in Los Feliz, where the extraordinary Jade Vincent was singing.

                                                                      Tuesday nights in the Rotary Room in Los Feliz: a place of thrilling sonic alchemy, where musicians could experiment and collaborate at Ciancia and Vincent’s long-running salon. Holmes was asked to DJ and then to curate another night – and then another.

                                                                      Nights bled into later nights. Conversation spun into collaboration. These three artists, kindred spirits, sonic familiars, spoke the same language, one whose lexicon included Jack Nitzsche, Morricone, Nino Rota, the electronic sounds of Raymond Scott, the vocabulary of vocal instrumentalists and fearless raconteurs, Edda Dell’Orso, Ruth White, Françoise Hardy, Connie Francis, Brigitte Fontaine, Jacques Brel, Elvis and Lee Hazlewood. Finding sound and programmed beats, Keefus and David excavated and innovated, experimented and re-interpreted, creating a landscape for Jade’s melodies and lyrics, for sublime songs of lament and confession. The legendary Hollywood Vox Studios was where the Unloved trio formally came together as a band, in a studio almost original to its 1936 incarnation.

                                                                      Unloved’s immersive power and playful menace has fitted the slippery thriller series Killing Eve like a velvet glove, the thread to the needle. The music and sound of Unloved plays an integral role as their music is the soundtrack, the score, one of the core characters unseen.

                                                                      And now, in 2022, it’s the magnificent, metaphysical "The Pink Album". Be seduced by the whispered, languorous, bluesy, not so sweet nothings of “Love Experiment” and the lippy insouciance of “Turn Of The Screw”. Thrill to the infinite variety: “Mother’s Been A Bad Girl” is brazen, and “I Don’t Like You Anymore” gloriously sultry. “Foolin’”, where languid, world-weary jazz sounds are skewed by a phantasmagoric organ from a funfair hallucinated, and there’s the sparkling fury and celestial chorus of “Rainbrose”, as though some flower-festooned goddess is emerging.

                                                                      Go from the jaunty keyboards and hey! hey! hey! of “WTC” to the melancholic poise of “Ever”, the jittery electropop of “Girl Can’t Help It”, to the spacious Morricone-tinged “Lucky”. Be reminded that the past is a snare, the future doesn’t care. All we have is Now. There is psychedelic world-warping sound, but also times when reality is acutely, achingly, present. “Number In My Phone” is a beautiful, wistful paean to those no longer here. Jade’s remarkable voice - whispering, icy, lush, wounded, smoky - unifies the album with its striking diversity.

                                                                      Unvarnished, unabashed, unbridled, uncensored: rising from the ashes, this is raw emotion transmogrified. This is experimental free-flow form, from instrumental arrangement to voice. It’s Man, Woman, Human, Love and Death.

                                                                      TRACK LISTING

                                                                      01. Rainbrose
                                                                      02. Waiting For Tomorrow
                                                                      03. Now
                                                                      04. Girl Can't Help It
                                                                      05. I Don’t Like You Anymore
                                                                      06. Foolin'
                                                                      07. Mother’s Been A Bad Girl
                                                                      08. Boowaah
                                                                      09. Lucky
                                                                      10. WTC
                                                                      11. Sorry, Baby
                                                                      12. Number In My Phone
                                                                      13. Call Me When You Have A Clue
                                                                      14. No Substance
                                                                      15. Love Experiment
                                                                      16. Turn Of The Screw
                                                                      17. To The Day I Die
                                                                      18. Walk On, Yeah
                                                                      19. Accountable
                                                                      20. There’s No Way
                                                                      21. Ever
                                                                      22. Thinkin' About Her

                                                                      Vintage Crop


                                                                        Geelong’s favourite sons Vintage Crop return with their much-anticipated fourth album, ‘Kibitzer’. Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

                                                                        ‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

                                                                        ‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

                                                                        Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound. 

                                                                        TRACK LISTING

                                                                        Side A
                                                                        01. Casting Calls
                                                                        02. The Duke
                                                                        03. Double Slants
                                                                        04. Hold The Line
                                                                        05. Impact Of Wisdom
                                                                        Side B
                                                                        06. Drafted
                                                                        07. The Bloody War
                                                                        08. 2K Hip Pocket
                                                                        09. Under Offer
                                                                        10. Switched Off

                                                                        Tom Waits

                                                                        The Black Rider - 2023 Reissue

                                                                          Celebrate 5 of Tom Waits’ albums from the Island years, all of which have had an incredible impact on music history.

                                                                          All remastered to HD audio.

                                                                          TRACK LISTING

                                                                          Side A
                                                                          Lucky Day Overture
                                                                          The Black Rider
                                                                          Just The Right Bullets
                                                                          Black Box Theme
                                                                          'Tain't No Sin
                                                                          Flash Pan Hunter/Intro
                                                                          That's The Way
                                                                          The Briar And The Rose
                                                                          Russian Dance
                                                                          Side B
                                                                          Gospel Train/Orchestra
                                                                          I'll Shoot The Moon
                                                                          Flash Pan Hunter
                                                                          Gospel Train
                                                                          Oily Night
                                                                          Lucky Day
                                                                          The Last Rose Of The Summer



                                                                            Woods are in bloom again, inviting you to disappear into a new spectrum of colours and sounds and dreams on ‘Perennial’.

                                                                            Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, ‘Perennial’ is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves.

                                                                            ‘Perennial’ grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s ‘Strange To Explain’. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks.

                                                                            The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel.

                                                                            Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges.

                                                                            For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound.

                                                                            Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do.
                                                                            Jesse Jarnow

                                                                            Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR.

                                                                            Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops
                                                                            Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals
                                                                            John Andrews - piano, organs, mellotron, drums, vocals
                                                                            Connor Gallaher - Pedal Steel
                                                                            Kyle Forester - sax, wurlitzer

                                                                            STAFF COMMENTS

                                                                            Andy says: Another masterpiece from Jeremy Earl and his psych-pop troubadours. They're just fantastic song-writers and vibe merchants. Woods are unique in that they're forever on an upward curve. After all these years this could actually be their best record yet.

                                                                            TRACK LISTING

                                                                            Side A
                                                                            1. THE SEED
                                                                            2. BETWEEN THE PAST
                                                                            3. ANOTHER SIDE
                                                                            4. WHITE WINTER MELODY
                                                                            5. SIP OF HAPPINESS
                                                                            Side B
                                                                            6. LITTLE BLACK FLOWERS
                                                                            7. DAY MOVING ON
                                                                            8. THE WIND AGAIN
                                                                            9. WEEP
                                                                            10. DOUBLE DREAM
                                                                            11. PERENNIAL


                                                                            No Words

                                                                              Zaya is a nomadic traveler currently residing in the Arab Emirates. ‘No Words’ is a collection of ideas worked on over a three year period with the occasional swapping of ideas with his best friend in rainy Manchester. A sun-kissed collage of hazy bedroom guitar instrumentals and blissed-out passages of psychedelic? rock..

                                                                              STAFF COMMENTS

                                                                              Andy says: If only Whyte Horses, with their beautiful way with melody, were to ever release an instrumental LP......waiiiiit a minute!!!

                                                                              TRACK LISTING

                                                                              SIDE A
                                                                              1. Lost Souvenir
                                                                              2. Triangular Dreams
                                                                              3. Interlude 01
                                                                              4. We Made It
                                                                              5. Interlude 02
                                                                              6. Long Way To Get There
                                                                              7. Tripoli
                                                                              SIDE B
                                                                              1. Lonely Jewel
                                                                              2. Interlude 03
                                                                              3. Taste Of Gold
                                                                              4. Interlude 04
                                                                              5. Thought I Told You
                                                                              6. Had To Go

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