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Brian Jonestown Massacre burst into 2019 with the release of their 18th full-length album, just 7 months after their last one. The self-titled 9-track album was recorded and produced at Anton’s Cobra Studio in Berlin and is release on Anton Newcombe’s A Recordings.

Recorded last year, the album features Sara Neidorf on drums, Heike Marie Radeker (LeVent) on bass, Hakon Adalsteinsson (BJM / Third Sound & Gunman & Holy Ghost) on guitar and Anton Newcombe on multiple instruments. Also making a guest vocal appearance on ‘Tombes Oubliées’ is Rike Bienert who has sung on previous BJM albums.

STAFF COMMENTS

Mine says: You would think that after 17 studio albums fans might get a bit bored - or that a band might have lost its momentum - but the opposite is true on the aptly titled 'Brian Jonestown Massacre'. Despite sounding 100% like Anton Newcombe, the record feels fresh and relevant, much more so than the only recently released 'Something Else' if you ask me. Highly recommend!

FORMAT INFORMATION

Coloured LP Info: 180 gram clear vinyl LP in superb deluxe packaging.

Karen O says:  “After making music for the past twenty years and embarking on making this record with Danger Mouse I knew a couple things: one was that the spirit of collaboration between us was going to be a pure one, and two was that the more I live the less is clear to me. When you create from a blurry place you can go places further than you’ve ever been. I think we both were excited to go far out.”


STAFF COMMENTS

Barry says: Half way between the glitter-laiden dancefloor of a sweaty disco club and a smokey jazz-lounge, 'Lux Prima' is the perfect balance between downbeat electronics and pitch-perfect production courtesy of legendary producer and musician DM, and Karen O's undeniably enchanting vocal prowess. They are both in top form here, and this will undoubtedly go down as some of the best work from either of them. Lovely stuff.

FORMAT INFORMATION

Coloured LP Info: Indies exclusive red vinyl, gatefold LP jacket + fold out poster.

Coloured LP includes MP3 Download Code.

LP includes MP3 Download Code.

The Cinematic Orchestra are back with a definitive new album that explores a timeless question of vital importance in 2019 - what to believe? Founding member Jason Swinscoe and longtime partner Dominic Smith have enlisted album contributions from collaborators old and new: Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend (vocalist on Bonobo’s 'First Fires’), Dorian Concept and Tawiah (Mark Ronson, Kindness). Miguel Atwood-Ferguson (Flying Lotus, Anderson Paak, Thundercat, Hiatus Kaiyote) features on strings and photographer and visual artist Brian “B+” Cross collaborated with Swinscoe and Smith on the album’s concept. The record was mixed by multiple Grammy winner Tom Elmhirst (David Bowie, Frank Ocean, Adele) in Jimi Hendrix’s legendary Electric Lady Studios. The album artwork comes courtesy of The Designers Republic™ (Aphex Twin).

In 2019 it is easy to see the band’s influence, jazz is all around us, London and LA have recently produced scenes more prolific than anyone expected; Kamasi Washington has been nominated for both Grammy and Brit Awards, Sons Of Kemet a Mercury Prize, BADBADNOTGOOD provide jazz soundtracks to high fashion shows and Kendrick Lamar has put the jazz palette at the top of the charts. When The Cinematic Orchestra released their critically acclaimed debut album “Motion” it helped pave the way for this moment, incorporating as it did an interpretation that had been lacking in the oeuvre and encouraging a new generation of musicians to break rules. “To Believe” doesn’t shy away from this ethos - its articulation of the band’s unique sonic language, encompassing not only jazz but the sort of transcendental orchestration combined with the elegant electronics of artists like Ólafur Arnalds and Floating Points, artists they have helped forge a path for, has never been more cohesive and compelling.

STAFF COMMENTS

Barry says: From brittle, ambient electronics to soaring, progressive modern-classical touches, the Cinematic Orchestra have crafted a beautifully diverse collection here, wonderfully accentuated by a perfect choice of guest artists hand-picked to perfectly fit their chosen tracks. With moments of calm before frantic, busy instrumentation, this is an absorbing and beguiling listen from start to finish.

FORMAT INFORMATION

2xDeluxe LP Info: To Believe deluxe edition vinyl including 180g clear vinyl and 180g white vinyl housed in roughboard sleeve with black foil detail and glossy printed inners. Art and design by The Designers Republic. Download code included.

2xLP Info: To Believe double 180g black vinyl housed in roughboard sleeve with glossy printed inner sleeves. Art and design by The Designers Republic. Download code included.

Seahawks

Eyes Of The Moon - Piccadilly Exclusive Violet Coloured Vinyl

From their coastal studio in Cornwall, Seahawks deliver a collection of mystic pop, sparkling new age and psychedelic ambience. Since forming in 2009, the UK duo (consisting of visual artist Pete Fowler and prolific musician / Lo Recordings label co-founder Jon Tye) has steadily accrued an impressive catalogue, spanning several albums and including collaborations with Laraaji, Peaking Lights, Laurel Halo and more. Eyes Of The Moon, their latest album as Seahawks — and their first for Cascine — is a transportive aural journey.

STAFF COMMENTS

Matt says: Cosmic voyagers Seahawks are as much a permanent fixture in our shop as Pasta Paul's dog, Tommy. Unlike Tommy, they always smell super fresh and sound sublime. Now, if they'd just step their instagram game up....

FORMAT INFORMATION

Coloured LP Info: Exclusive transparent violet coloured vinyl.
This is only available via Cascine's webstore / Bandcamp and ourselves.

The rumours are true: the secret electronic album that Stephen Malkmus has been telling everyone about sees the light of day through Domino. But Groove Denied is not a full-blown plunge into EDM or hiptronica. In fact, there aren’t any purely instrumental tracks on the album. Every song is precisely that: a song, featuring Malkmus staples like an artfully askew melody and an oblique lyric. Groove Denied is Stephen playing hooky from his customary way of going about things, jolting himself out of a routine. As Malkmus commented, “It’s fun to mess with things that you’re not supposed to.”

The first taste of Stephen’s new groove can be sampled today, with the release of single ‘Viktor Borgia’, and its accompanying video starring Stephen alone in a dance club. The title playfully merges the name of the comedian-pianist and the ruthless dynasty of Italo-Spanish nobles. With its stately melody and the almost-English-accented vocal, the coordinates here are early Human League or even Men Without Hats. “I was thinking things like Pete Shelley’s ‘Homosapien’, the Human League, and DIY synth music circa 1982,” says Stephen, adding “and also about how in the New Wave Eighties, these suburban 18-and-over dance clubs were where all the freaks would meet – a sanctuary.”

STAFF COMMENTS

Barry says: It's bloody brilliant this, with hints of post-punk garage and most of all 80's synth, Malkmus clearly shows his wealth of influence on 'Groove Denied', swinging from snappy grunge to 70's psychedelia without batting an eyelid. Though the diversity in sound shines through, it's not without the Malkmus charm, with his vocal prowess shining through the stylistic patchwork.

FORMAT INFORMATION

Coloured LP Info: Indies exclusive clear vinyl.

Coloured LP includes MP3 Download Code.

LP Info: Black vinyl.

LP includes MP3 Download Code.

Daniel Thorne

Lines Of Sight

    On March 15th Erased Tapes presents the invigorating and powerful debut solo album Lines of Sight by Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne.

    Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles – effectively capturing what the birth (or death) of a planet might sound like.

    In Daniel’s own words, “Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.”

    Every strand is fresh, vital and purposeful. The description ‘seamless’ might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical, a touch of jazz and traces of Wyatt-style contemporary folk come together, each occupying their own space while acquiescing with the whole.

    “Several compositions are derived from ratios and processes, and are highly calculated, while others evolved in a much more organic way. I wanted to create music that blurred lines between acoustic and electronic, organic and synthetic, composition and improvisation.

    I’ve long been a fan of studio-based composition, but have always found the infinite possibilities on offer daunting and, often, a stumbling block. To get around this I set myself a challenge of limiting myself to the physical instruments in my possession – a few different saxophones and a bass synth, with no more than four tracks to record them,” he adds.

    Lines of Sight follows Thorne’s work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6’s Mary Anne Hobbs as “a remarkable new piece of music”. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others.

    Prior to leaving Australia, Daniel was fortunate to work with some of the country’s leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts. In the UK he was the recipient of the prestigious Dankworth Prize for Jazz Composition, and also undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.

    As the first track under Thorne’s own name, ‘Iroise’ was recorded for the Erased Tapes 10th anniversary release 1+1=X, alongside works by Nils

    Frahm, Penguin Cafe, A Winged Victory For The Sullen and Rival Consoles. He also recently remixed Manu Delago, known as the live percussionist for Björk and Ólafur Arnalds.

    After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.

    STAFF COMMENTS

    Barry says: Dense synthetic soundscapes mix beautifully with shimmering post-apocalyptic drone into a richly textured and highly hypnotic suite of electronic soundscapes. With the tender touch of modern-classical (no surprise being an Erased Tapes release) slowly moving into soaring euphoric musique concrete.

    New World Science's Osmos (Movements) is a sincere foray into fourth-world fantasy, where disparate synthesizer styles are tied together by harmonized saxophone musings. Comprised of four recordings/jams between Francis Latreille (Priori–mastermind behind the project), Adam Feingold (Ex-Terrestrial), and Emmanuel Thibau, and featuring appearances by Phoebe Guillemot (Ramzi) and Richard Wenger (R Weng), these multi-stream compositions float in the uncertain spaces between electronic and acoustic, improvisation and production, old and new. Beautiful, subtle, and entrancing compositions suited to suborbital meditations. 

    STAFF COMMENTS

    Patrick says: Priori, Ex-Terrestrial and Emmanuel Thibau use Jon Hassell as a spirit guide here, navigating imaginary brushland, rainforest and desert. Meeting Ramzi and R Weng on the way, this group of Canadian producers craft a gorgeous LP for fans of ambient, esoteric and Balearic moods.

    On Trust In The Life Force Of The Deep Mystery, the Mercury Music Prize-shortlisted futurist jazz voyagers The Comet Is Coming are making music for these crisis times of chaos and mass meltdown. The title of the album, the band say, concerns “finding meaning in that which you cannot grasp”, it considers “truth in the existence of a primordial energy”. It asks “What does it mean to be human? The music on the trio’s second record, out on impulse! in March 2019, fluctuates between pulsating, danceable, electronic groove-centric pieces and quieter, melodic jazz-infused compositions.

    The Comet Is Coming are: Danalogue (keyboards/electronics), Betamax (drums) and King Shabaka (saxophone).

    STAFF COMMENTS

    Millie says: Comet is Coming have sparked electricity with their new album, high energy jazz and a mixture of everything in between, hints of electronic and melodic interludes woven in masterfully. The trio are channeling existential questions and ideology but have certainly nailed their cosmic jazz sound, that’s for certain!

    A unique voice within the new UK jazz generation, 'Infection in the Sentence' is shaped by London's thriving and diverse live music scene.

    Swiftly rising to become one of the most in-demand players of her generation, Sarah Tandy has performed on keys for Jazz Jamaica, Nu Civilisation Orchestra, Maisha, Where Pathways Meet, Camilla George, Nubya Garcia, Nerija, Daniel Casimir, Binker Golding, Clark Tracey and many more. She is also a member of Ronnie Scotts House Band, the W3 Collective.

    On 'Infection in the Sentence', Tandy's technical virtuosity showcases a fearless approach to her own individual brand of piano-led jazz. "The music developed gradually through many years playing on London's underground music scene... In the album I'm seeking to find a continuum between the jazz music which I grew up listening to, and the multi-faceted, genre-melting sounds of present day London", she says.

    A finalist in BBC Young Musician of the Year, she also held a residency at Servant Jazz Quarters in Dalston where she met band members Femi Koleoso (Ezra Collective, Jorja Smith), Mutale Chashi (Kokoroko, Jorga Smith), and Binker Golding (Binker & Moses), who were pivotal to her development. The inimitable Sheila Maurice-Grey plays trumpet in the band.

    She's performed at Love Supreme, Berlin Jazz Festival, and twice with her her trio at the Ronnie Scotts International Piano Trio Festival supporting Robert Glasper.

    In an earlier incarnation, she has also appeared as a classical soloist with the BBC Symphony Orchestra. In 2019, Tandy will be one of many jazz re:freshed artists to appear at SXSW. She will be performing songs from 'Infection in the Sentence' at the album launch at Ronnie Scotts, London on the 4thMarch.




    STAFF COMMENTS

    Millie says: Emerging from London’s ever-expanding jazz scene, Sarah Tandy has worked with numerous jazz collectives on the piano, but now demonstrates her talent in fusing traditional jazz but also incorporating the genre-defying era of the new London scene. For fans of Nubiya Garcia, Binker & Moses and Emma-Jean Thackray. Make sure you don’t miss out on this one.

    Building from a reputation of enthralling live shows, Dublin based singer and musician Maria Somerville delivers her debut LP, "All My People", a collection of works recorded across Dublin, Cornamona and Inis Óirr. 

    Somerville draws on conventional folk forms alongside post-punk, traditional Irish motifs, starry eyed pop and hypnotic drones to create wholly original music that is a product of its environment. Channeling the wilderness of the Irish landscape through dense, ethereal soundscapes and bare boned percussion, Maria adds ghostly vocals that are ever present and all encompassing, like crystalline glints of sunshine peeking through dark stormy clouds. The duality of darkness and light is at play throughout the releases seven tracks, hinting at an uneasy optimism during difficult times. 

    At its genesis, social-media platforms posited themselves as new, innovative ways to connect with friends and family. You could share and promote your work, trade insights on the latest pop-culture phenomenon, coo over a friend’s new pet or baby—the possibilities seemed as boundless as the Internet itself had in the early ‘90s. But as one platform begot another, and then another, the proverbial milk started to curdle. Especially in the last decade, as algorithms evolve, Facebook and Twitter have morphed into warped personalized mirrors, where users can gaze at and react to left- or right-leaning news sources, specific-to-them advertisements, and—perhaps most relevant—fiery political opinions. Facebook in particular has become a breeding ground for hate speech and bullying, among other issues.

    This is precisely what troubles Omaha electro-punk pioneers The Faint on their forthcoming seventh studio album, Egowerk. “Social media is turning well-meaning people into self-important cruel monsters,” asserts lead singer Todd Fink. “Egowerk’s focus is on the current social state of the Internet: an amazing world of free knowledge, communication, and opportunity is proving to be a toxic battleground. One where the people most sure of their opinion are quick to take a stand and destroy anyone who doesn’t agree with them.”

    His sense of urgency unfurls over the album’s frenetic, cacophonous tracks. Opener “Child Asleep” echoes well-loved Faint singles from the Danse Macabre days, with rapidfire techno beats that sear so hot, your forehead will break into a sweat regardless of proximity to a dance floor. And though the synths should sound familiar to any Faint follower, the song’s monotone message is at once classic and current: “If I was wise, I would see I’m a child still asleep.” Elaborating further, Todd says, “It would be amazing if I could wake up from the world that I think I'm awake in already. If there’s a better way of understanding life, I'd love to be privy to it. You see the wisdom of all Gurus in the East, and you know they're not bothered by this or that. They've attained something, and the rest of us are just kind of banging into stuff, trying to figure out what to do with our lives.”

    But in terms of music creation, the band, which also includes drummer and backup vocalist Clark Baechle, keyboardist Graham Ulicny, and guitarist and bassist Michael “Dapose” Dappen, is very much wide awake. It’s been four years since the Saddle Creek flagship act dropped a proper studio album, and more than two decades since they first tore onto the Midwest scene, alongside area staples Cursive and Bright Eyes, with anxious electro-pop-punk anthems that meshed doomsday themes with thudding dance-floor hooks.

    Now with their latest effort, the group began to construct Egowerk shortly after releasing their 2016 career-spanning record, CAPSULE:1999-2016, with Baechle making frequent trips back to Omaha from his new home in Philadelphia to mix the record. “We came up with the foundation of nearly an entire song each day, every day,” says Fink. “We worked really fast and made a lot of progress at the beginning.”

    “As a band, we did the whole record ourselves,” says Baechle, who also oversaw the production on Egowerk. “We voted to produce it as a band. For me, personally, this was the biggest difference between this album and others.”

    Recording at Enamel Studios in Omaha, The Faint composed 11 blistering tracks that explore society’s current relationship to, well, themselves. “I have work to do on my ego, and so does everyone else,” says Fink. “It's become really noticeable with the state of the world, especially when we're on communications platforms, social media and all that stuff. We have to ask ourselves why we're doing what we're doing. Is it an ego trip? Are we trying to make other people do what we wish we would do? Or are we just trying to feel better than other people and taking people down?”

    Despite The Faint’s nihilistic musings on Egowerk, Fink and Baechle remain optimistic that things can improve if society is willing to absorb dueling perspectives. “The more you learn about any issue, any issue at all, the more you understand that it's more complicated than you think,” Fink says. “I'd like to see people less convinced that they're right about everything all the time. I guess I think we'll figure it out as time goes on.”


    The incomparable duo, Matmos, have done it again! Their new album, Plastic Anniversary, was created using only plastic. Highlighting the crises of convenience, the Duo make music from our refuse. True to form, the band have assembled a promiscuous array of examples of this sturdy-yet-ersatz family of materials: Dominos, Styrofoam coolers, police riot shields, polyethylene waste containers, PVC panpipes, pinpricks of bubble wrap, pills, silicone gel breast implants and most horrifically synthetic human fat. Where did this idea come from? Drew Daniels and M.C, Schmidts own “plastic” anniversary as a couple.

    Matmos glide from the tongue-in-cheek fun of “Breaking Bread” (literally smashing Bread LPs) to Cronenbergian body-horror of “Interior with Billiard Balls & Synthetic Fat.” The album is playful and poppy while conveying a very serious message and on the darker implications of ignoring the havoc we are imposing on the earth all for the sake of convienience

    A super special limited edition set will come with a sculptural album, embedded with plastic bottles, that while is the actual album, is rendered viruatlly unplayable by the pastic floating within. This edition also includes the album on a exclusive multi color mashup vinyl, a t-shirt, and a bonus track, all exclusive to the box. All proceeds from this special edition will benefit The Ocean Cleanup.

    FORMAT INFORMATION

    Coloured LP Info: "Teal Mashup" coloured vinyl.

    Art Of The Memory Palace

    Dusk At Trellick Tower

      Four years after their critically acclaimed debut on Static Caravan Records, Manchester / Dundee based duo Art Of The Memory Palace announce their highly anticipated new EP, ‘Dusk at Trellick Tower’. With this new work, the duo accelerate their trajectory since 2015’s incendiary debut, ’This Life Is But A Passing Dream.’ Upon its release the latter was called “Fresh and euphoric…an incredible debut” by The Quietus and “Fantastically addictive” by The Sunday Herald, while Shindig! Magazine proclaimed, “A spine-chillingly satisfying journey into kraut-influenced electronica”. In the years since, AOTMP have released a split 7” with esteemed Welsh psych label Fruits de Mer Records, a long sold-out spoken-word collaboration with acclaimed Scottish author James Robertson, and a limited-edition cassette-only French Noir soundtrack album on Horror Pop Records.

      Radio support has come from Gideon Coe and Tom Ravenscroft on 6Music, Vic Galloway on BBC Scotland and Andy Weatherall on NTS. Raz Ullah (synths / tape loops) has become an intrinsic part of Jane Weaver’s touring band, while Andrew Mitchell (vocals / synths / guitar / bass / drums) has released two albums under his ‘Andrew Wasylyk’ moniker. ‘Dusk at Trellick Tower’ is inspired by Hungarian Brutalist architect Erno Goldfinger; a towering presence in Modernism who courted controversy throughout his life. Known for being a humourless man prone to vicious rages, as well as the inspiration for Ian Fleming’s most notorious Bond villain, Goldfinger. Across the six tracks, Ullah and Mitchell channel the darkness and dystopia which grew from much of Erno’s work, building synth-heavy sonic edifices evoking lonely night time walks along empty echoing corridors, urban decay and towering, impassive concrete monoliths. Using analogue synthesizers, drums, bass and tape loops processed through long chains of effects pedals, Art Of The Memory Palace strive for greater depths with this release, weaving menacing hooks and icy vocals together with droning chords and ambient soundscapes and creating their own shade of dark, beautiful melodies in the process. 

      STAFF COMMENTS

      Barry says: There really is no better duo of thoroughly excellent people and oustanding musicians in the UK right now that Raz Ullah and Andrew (Wasylyk) Mitchell. It's an outstanding combo, with beautiful melodies and evocative synths shining any idea of winter out of your head. A beautiful, rich tapestry of sound and a huge progression than their already mindblowing cassette debut from 2017. Absolutely stunning.

      FORMAT INFORMATION

      LP Info: 300 edition 12” record on classic black vinyl with sleeve artwork by Andy Votel.

      Oozing Wound

      High Anxiety

        Chicago’s Oozing Wound are a mass of contradictions: weed lovers whose music hits you with its breakneck head banging force. The band deal with nihilism, yet remain addictively fun. Their music is equal parts sludge and thrash, noise and riff-loaded rock. High Anxiety is an unabashed mocking of the madness of modern living, its chemical induced adventures and establishment absurdity, deriding the industrial complex behind established institutions such as NASA while savaging those who deny science. Oozing Wound on High Anxiety are nihilistic pied pipers making us laugh our way to the apocalypse. The album finds guitarist and vocalist Zack Weil drummer Kyle Reynolds and bassist Kevin Cribbin blending their ferocious energy, sonic experiments and blunt lyricism for a pummeling enjoyable head-banger with an irresistible sneer.

        On High Anxiety, Oozing Wound’s songs have become more complex, their attacks more ferocious, and bass and guitar lines more captivating. The album was recorded in four days at Steve Albini’s Electrical Audio studio. The trio ripped through live-tracking and overdubs, leaving space to experiment with new sounds and effects. The band, having an affinity for the complexities of prog music, managed to bring prog elements to High Anxiety without sacrificing any of their songs punch. Subtle layers of saxophone, flutes and synths were blended into guitar tones, adding depth and texture without cluttering arrangements. Fist-pumping blasts of whitehot riffing become a Trojan horse for sonic weirdness. The resulting recordings are at once some of their most sonically rich, immediate, and impactful.

        High Anxiety drips with a caustic vitriol that is both riotous and intoxicating

        FORMAT INFORMATION

        Coloured LP Info: “Nuclear Waste Green” coloured vinyl.

        Coloured LP includes MP3 Download Code.

        The work of acclaimed L.A. rapper Blu is a hip-hop time capsule perfectly embodying the vibrant culture of the City of Angels. With no signs of slowing down, the talented artist continues to supply listeners with vivid lyrical imagery over exceptional production. The latest addition to his catalog is "A Long Red Hot Los Angeles Summer Night", a new album entirely produced by Oh No. The son of singer Otis Jackson and younger brother of beat god Madlib, Oh No has been among the most consistently relevant artists on the independent hip-hop scene since the release of his influential debut album 15 years ago. Equally skilled as an emcee and producer, Oh No’s storied career has included forming the duo Gangrene with Alchemist, composing the original score for the popular video game Grand Theft Auto, and producing for De La Soul, Mos Def, Action Bronson, Talib Kweli, Danny Brown, Prodigy, and many more.

        Now, these two unique and innovative artists are joining forces for an impressive full-length album. With Oh No’s dynamic, soulful production setting the stage, Blu’s effortless flows and streetwise storytelling are on full display. "It's a true honor to put it down with the legendary Jackson Brothers,” says Blu. “Oh No never fails and this project has been provided with straight heat for the streets." Featuring guest appearances from Abstract Rude, MED, Self Jupiter, Ca$hus King, and more, "A Long Red Hot Los Angeles Summer Night" is now available worldwide on CD and vinyl. 

        'Estudando O Samba' is an incredibly unique concept album from the one and only Tom Ze, originally released by Continental Brazil in 1976 - a tough one to find at a good price in its original form now. ‘Estudando do Samba’ (or ‘Studying The Samba’) is a post-Tropicalia studio experimentation laiden with layers of hypnotic percussion, effects & samples that deconstructs the ‘samba’ form. Recorded during what was arguably his most creative period. David Byrne found the record in Rio in the late 90’s and included several songs on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was not recording or touring much; playing low-key shows in Sao Paulo and contemplating a move back to Irara to work at a service station owned by one of his cousins. Byrne’s project helped to reignite his career and he hasn’t looked back since.

        K.O.G & The Zongo Brigade

        Wahala Wahala

        Under the guidance of the outrageously talented Ghanaian force of nature Kweku Sackey, aka K.O.G, and the whirlwind of energy that is Jamaican rapper Franz Von, the Zongo Brigade deliver infectious, high-energy West African grooves via Sheffield, drawing on Afrobeat, soul, funk, rock, hip hop and reggae which has fast gained recognition in London and all over the UK.
        K.O.G’s signature mix of high-energy songs, raps, operatic vocal effects, along with the hard-hitting patois raps from the spirited Franz Von and a dedicated band of serious musical badmen, has led the band to perform on some of the biggest stages including Glastonbury, Reading and Leeds Festivals and numerous clubs and venues around Europe.

        Deeply rooted in stories from Africa, the album draws on love, peace and social issues. K.O.G & the Zongo Brigade’s motto “Unity in Diversity” stems from Kweku’s African origins and also embraces the eclectic mix of nationalities which make up the band.

        With a backdrop of unmistakeable African rhythms that include electric brass, thunderous percussion and sharp-edge guitar, ‘Wahala Wahala’ takes possession of the body as the words excite the mind. Racism, rejection, inequality, exile - the subject matter is always serious but the delivery irresistibly upbeat and rhythmic, guaranteed to get the feet moving because in every pain, there is also joy.

        Stroom's restless release schedule continues to excite and amaze, in terms of both quantity and quality. The labels 5th release of 2019 (that's so far, there are two more titles slated for March), is a heroic dose of head music from Bruges musician Aponogeton, who makes his vinyl debut after a 2016 cassette and digital EP in 2017. As befits an artist named after an aquatic plant, "A Place Of Solace" is a deep and immersive creature, composed during a period of inner and outer reflection. Moods range from the intense (eventually) propulsive "Prologue" to the celestial calm of "The Night Sky Is Falling", by way of the anxiety ridden "This Concerns You" and "Artemievs Dream", but the message remains the same - turn on, tune in and engage your brain.

        Various Artists

        Dusty Ballroom Volume 2

          Here's Dusty Ballroom's 2nd set of sides - a rather eclectic, swingin blend of some 1940s Jump Blues, 50s exotic Mambo, kinky DooWop, wild eastern Surf and Hawaiian Rock'n'Roll, a coupla burlesque Instros and even a bit of groovy Twist and Soul. From Yma Sumac to Louis Jordan via Eatha Kitt, Sounds Incorporated Inc and many points between.

          Parisian label Chuwanaga follow up 2017's 'In The Red', with the imaginatively titled  'In The Red Vol. 2' (A Britfunk Selection by Saint-James). This second volume continues the focus on the Britfunk scene of the early eighties. Although mainly produced in London (with a few VERY notable Mancunian exceptions) its unique mix of Jazz-Funk, Disco and Boogie still sounds fresh forty years on.
          Parisian DJ, activist and producer Saint-James selection can't be faulted, if you were to splash out for this lot as individual 12"s you'd have a £300 hole in your pocket, and brother, I think we can all agree, that's one expensive hole.
          Stikki Stuff spent the early eighties touring with Level 42. Potion, feature none other than Brit Funk LEGEND, Everton McCalla, who, aside from being a member of FREEZ, also played with Side On, whose classic 12 'Magic' was recently reissued on Bewith Records.
          So, if you like your bass slapped and your horns, erm...horny best get your hand in your pocket, this is the album for you.



          STAFF COMMENTS

          Matt says: Chuwanaga return with their essential Brit Funk compilation. Part 2 sees more unfathomably rare gems from the UK underground proffered up on fresh wax. Funky!

          Stella Donnelly

          Beware Of The Dogs

          Stella Donnelly is a proud, self-proclaimed shit-stirrer. On lead single “Old Man,” the biting opener of her electrifying debut album, ‘Beware of the Dogs,’ she targets the song’s titular creep, “Oh are you scared of me old man or are you scared of what I’ll do? You grabbed me with an open hand. The world is grabbing back at you.” When something needs to be said, whether it’s to an abusive man, a terrible boss, or a clueless significant other, the 26-year old Fremantle, Western Australia-based musician is fearless in telling it like it is. Delivered entirely with a sarcastic wink and a full heart, ‘Beware of the Dogs’ proves across 13 lifeaffirming songs the power in sticking up for yourself, your friends, and what’s right.

          The album showcases an artist totally in command of her voice, able to wield her inviting charm and razor-sharp wit into authentically raw songs. It’s a resounding statement of purpose in recent memory and most importantly, it’s a portrait of Donnelly taking charge. She says, “this album made me feel like I was back in the driver’s seat. It was really liberating and grounding to realize that no one can fuck with this except me.”

          STAFF COMMENTS

          Barry says: There certainly is a coherent thread running between a lot of the music coming from Australia nowadays, not in terms of sound necessarily, but the attitude and pacing of the music. 'Beware Of The Dogs' epitomises that effortless cool without ever feeling like it's too loose. tightly woven melodies and strummed guitars form the perfect backdrop to the wry political meanderings and stunning vocals peppered over the top. This really is a killer LP, and one that is sure to appear in my top-10 come the end of year.

          FORMAT INFORMATION

          Coloured LP Info: Opaque olive vinyl.

          “What came before you is why you’re here now,” declares the man born Eric Brandon Pulido. “So embrace both the past and the present.”

          The current frontman of Texan legends Midlake embraces both past and present times for his glorious debut solo album, To Each His Own, under his new enigmatic alias E.B. The Younger. It’s a deeply personal record, rooted in Pulido’s love of warm, glowing rock, folk and country hues that came of age in the 1970s woven with contemporary recalibrations: guitars ripple, sigh and sizzle alongside gliding keyboards over crisp, choppy and becalmed rhythms. Pulido’s lyrics equally look back and forth, philosophising about his place in the world, the choices he’s made, and where they have taken him.

          Or, as he describes To Each His Own, “an eleven-song journey through the life and times of a wayward Midlaker seeking to find purpose in an uncharted land. Will he find his way? Listen, and ye shall find.”

          Pulido’s “wayward” phase began in 2014 with a break from Midlake, “to invest time in kids and musical projects less physically demanding”, he says. His first project was the transatlantic collective BNQT, a self-described ‘poor man’s Travelling Wilburys’ featuring Pulido, Ben Bridwell (Band of Horses), Fran Healy (Travis), Jason Lytle (Granddaddy) and Alex Kapranos (Franz Ferdinand) who recorded the 2017 album BNQT – Volume 1. But To Each His Own is all Pulido – or rather, E.B. The Younger.

          “It’s an antiquated way of naming a younger member of a family,” he explains. “I’m expressing, simply, that something greater came before me. It’s countering the idea in today’s culture that everything revolves around ourselves, that we’re the most important thing in the world. I feel that humility is a lost virtue – you only have to look at America’s current leader - which I want this record to represent. Honesty, empathy, love.”

          In this case, honesty begins at home. Solo debutantes typically distance themselves from their musical past, but Pulido freely acknowledges Midlake’s presence on To Each His Own, from the three Midlakers in his backing band to an album title that stems from his memories of band discussions.

          Says Pulido: “It’s very common in bands to have artistic differences, and we were no exception. Saying ‘To each his own’ was almost a way to collectively acquiesce and move forward when differences would arise. It’s OK that we feel differently, because both opinions are valid. The phrase is also about me doing something on my own, a statement that it’s OK to define who you are outside of what has defined you before.”

          With Pulido on lead vocals and acoustic guitar, he drafted in Midlakers (and BNQT contributors) Joey McClellan (electric guitar), McKenzie Smith (drums) and Jesse Chandler (flute), who dovetail with Scott Lee (bass), Daniel Creamer (keyboards) and Beau Bedford (keyboards) from local country-funksters The Texas Gentlemen to form an empathic ‘alt.Wrecking Crew’ of session

          players. Bedford is also the album’s principal producer, while studio engineer and Centromatic drummer Matt Pence acted as the overarching producer, alongside Pulido, as well as adding percussion and occasional drums.

          As Pulido explains, “Midlake self-produced and recorded everything, but as with BNQT, I wanted to embrace collaboration. I’d present songs with just voice and acoustic guitar and ask the musicians where they heard things going, and so we built the songs up organically.”

          Within that organic build, Pulido still had specific ideas in mind. He singles out the late, great Harry Nilsson as a key influence. “Midlake songs were often cerebral and minor-key and I wanted some of mine to be more playful and buoyant and major key, which Harry did so well, while still making deep, thoughtful music.”

          Pulido also hears traces of The Eagles, Cat Stevens, Joni Mitchell, Wings and CS&N in To Each His Own, plus an “eighties vibe” to the record’s freewheeling lead single ‘Used To Be’, inspired by The Last Waltz, the film documentary about Pulido’s all-time favourites, The Band. As he recalls, “The guys are sitting backstage playing ‘Old Time Religion’, and Robbie Robertson says, ‘It’s not like it used to be!’, which has always stuck with me. But it’s OK by me that it’s not like it used to be. Embrace where you’re at, and look forward. Be both the old and the young.”

          The Old and The Young is a familiar concept to Midlake fans, as a songtitle from the band’s last album Antiphon. In one sense, ‘The Young’ are also represented here by Conrad Lee Pulido, Eric’s three-year-old son, whose uninhibited dancing to calypso rhythms (from Harry Belafonte and Nilsson tracks) inspires the carefree Tropicália of ‘CLP’. A similarly summery vibe energises ‘On An Island’, inspired by an artist retreat (on the island of Nantucket) where Pulido, “focused on, and finished, several of the songs for the album.” But again Pulido finds a double meaning: “To be an island means you don’t live or march to the beat of anyone else’s drum.”

          Self-determination also defines the sumptuous, soft-rocking “When The Time Comes” where Pulido gently mocks himself as the so-called ‘artist’ who chose to “follow the dream” but without any guarantee of job security or a pension. Moreover, the exquisite ‘Hope Arrives’ recognises that making art typically involves self-doubt, as Midlake experienced. As Pulido recalls, “I felt that fear controlled the obstacles that existed for the band. But when hope arrives, fear will disappear, and peace will come.”

          Midlake also figure in the acoustic, sparse ‘Monterey’, named after the Californian idyll where the band played their last show to date, after which Pulido suggested a break would benefit all: to step off the merry-go-round for a while after riding it together for 15 years. “I said, we’ll pick things back up if and when it makes sense to everyone, trust me,” he recalls. “And I was at peace with our decision.”

          The closing title track emanates a palpable sense of peace while crystalising Pulido’s past-present/old-young mindset: “I’ve been about all alone / I’ve never felt so good before… And what we did before / No I do not ignore”. With a new BNQT album in the works and, if all goes to plan, a Midlake album to follow, Pulido is already looking forward. But his present is E.B The Younger, and his effortlessly melodic, gorgeous songs invested with honesty, empathy and love. Listen, and ye shall find.


          STAFF COMMENTS

          Barry says: Half way between poppy Americana and folky Indie, Pulido is more than capable of penning an effective tune, with richly textured acoustic instrumental backdrops forming the perfect base layer for his unmistakeable vocal talents. Warm, rich and beautifully immersive.

          Los Angeles-based artist SASAMI announces her self-titled debut album.

          If you’ve ever drafted an overly long text to someone and decided against sending it, then you'll probably hear something of yourself in SASAMI. Los Angeles based songwriter and multiinstrumentalist Sasami Ashworth wrote the album’s ten tautly melodic rock tracks over the course of a year on tour, playing keys and guitar with Cherry Glazerr, tracking the thrills, disappointments and non-starters of a year spent newly single and on the road.

          With featured artists Dustin Payseur (Beach Fossils), Devendra Banhart and Soko, this is a slice of 90s distorted guitar pop wonderment you won’t want to miss.

          STAFF COMMENTS

          Barry says: Wonderfully wonky at points, rhythmically diverse and musically immersive, Sasami's debut LP is an absolute storm of inventive poly-rhythms ('In Hollywood' is a prime example) presenting themselves without getting in the way of the listeners enjoyment. From tender, almost whispered vocals to huge distorted scree, this debut LP is an absolute rollercoaster, and unlike a rollercoaster, enjoyable throughout.

          FORMAT INFORMATION

          Coloured LP Info: Indies exclusive red vinyl.

          Gnod (R&D)

          Vol. 3

            GNOD (R+D) is an alternative version of GNOD, in case of this album consisting of co-founders Paddy Shine and Chris Haslam.

            This project is to be understood as a platform to research, develop and expand on sound environments as well as collaborators for the future workings in their main band. They have worked in many different disciplines of left-field music in their twelve year run already, transforming droney Kosmische Musik/Krautrock explorations into something way more unique by ways of incorporating noise, ambient, „world“ and outsider music leanings.

            Last years „Just Say No to the Psycho Right-Wing Capitalist Fascist Industrial Death Machine“ for example sounded more like a vengeful marriage between The Fall and post-reunion Swans than the rather introspective journeys they have been known for.

            The follow up to the two cassette-only releases on Tesla Tapes, „Vol. 3“, sees GNOD (R+D) evoking four long-form suites that essentially take on the form of 21st century ritual music for the west, lamenting, contemplating and trying to dissect said capitalist industrial death machine.

            A deep plunge under the surface, we are confronted with emissions of a modular synth that seems to be hidden in a deep nest of industrial flashbacks. Big blocks of sound give way to a mystic talking in tongues, leading us to an acousmatic place that defies orientation.
            Slowly ascending rhythms from electronic and acoustic sources that constantly interlock and free themselves make us hear voices from the distance, eventually they drown again – before setting free a maelstrom of acoustic snapshots that seem to unite past, present and future.

            Vol. 3“ is a ultimately a meditation on how to bring music forward that has to exist in a time where reference and not innovation is the prevalent status quo.

            STAFF COMMENTS

            Barry says: Here it is folks, the latest iteration of spaced-out meanderings and stunningly hypnotic synth drones imbued with the industrial heft and inimitable spirit of Gnod. Constantly pushing the boundaries of their collective experience, running from Machinefabriek-esque industrial drone to bunker noise and post-apocalyptic techno, this is a wonder to behold. Essential purchase.

            Helado Negro returns with This Is How You Smile, an album that freely flickers between clarity and obscurity, past and present geographies, bright and unhurried seasons. Miami-born, New York-based artist Roberto Carlos Lange embraces a personal and universal exploration of aura – seen, felt, emitted – on his sixth album and second for RVNG Intl. Helado

            Negro’s 2016 album "Private Energy", re-released as "Private Energy (Expanded)" in 2017, is an urgent affirmation of self-love and solidarity driven by Lange’s personal response to sanctioned violence towards people of color. The widely embraced album furthered the artist’s visibility beyond a community of fans long established through a rigorous recording and touring career, with moments like “Young, Latin and Proud” and “It’s My Brown Skin” aligning with a larger social demand for basic rights amongst marginalized people and the universal imperative to love, be loved, and thrive.

            This Is How You Smile’s opener “Please Won’t Please,” a call back to Private Energy, finds vitality in turning the privacy dial further inward. Setting the scene with a sparse drumbeat that moves the music forward in a more maligned than militant march, Lange’s voice tenderly permits himself weariness: “We light ourselves on fire, just to see if anyone believes.” Something must be reserved, “will anyone rescue what’s left of me.” Diving into glimmering spirals, the remainder of the album takes leave of the broader “we” and mines intimate pairings - siblings, parent / child relationships, partnership, and old friends. The story of This Is How You Smile includes a jaunty, head-nodding walk with his brother on hot pavement to the community pool of his childhood neighborhood in Florida. Such days end with a welcome fatigue and chlorine blurred reveries in “Seen My Aura.” The confidence and security of youth, moves away from family, across years and regions, to a bleak winter of “Imagining What to Do,” and loving partners deciding to make each other smile, while waiting for the sun to return.

            This Is How You Smile derives from Jamaica Kincaid’s “Girl,” a story she wrote in the form of a mother’s sole, complicated, but loving voice, speaking a “How to” litany of advice ranging from domestic chores to what a daughter, an immigrant and young woman of color, must do to protect herself in a world that was not designed by or for her. This is how joy, or its visage, at turns comforts, constricts, or becomes armor.

            Contemplating a parental voice, or its absence, becomes a question of where one may choose to return or depart. The lyrics of “Running,” seem to retrace the cyclical path of pop’s familiar obsessions, addressing the unrequited, fickle, or feared lover, “I feel you in my mind, all the time… you got me running, running…” Instead, the repetition of fleeing breaks with a languid laugh of recognition, that the lives of those who came before are within one’s own, even when we diverge, “I see you in my hands… just like you.” The song may also be read beyond seeing the humanity of self and parent, to the ever more visible global failures of patriarchal structures, and those moments when one sees their traces in self and those dear. Lange describes the album as the soundtrack of a person approaching you, slowly, for 40 minutes. In “Fantasma Vaga,” one of the first songs he wrote that set his approach for the album, a ghost wanders in from the low end, building a fuller form with each shaking step. Whirring, stops and starts of an eco espectral, may be musician trying to imitate, synthesize, the sound of a haunting, or a ghost itself trying to render the human voice. Lange often visualizes meeting strange beings, the odd encounters that occur in the creative process, a sound form of manipulation, in which who, or what is changing whom, becomes unclear. This Is How You Smile invites listeners on a walk through the changing colors of early mornings and evenings, writing, recording, or hearing a friend, a figure emerges, and there you are.


            STAFF COMMENTS

            Barry says: A superbly balanced mix of rhythmic downbeat, hip-hop percussion and good old fashioned songwriting, 'This Is How You Smile' epitomises how effective a melting pot of styles can be, fittingly for it's subject matter, being all the better for it's diversity and willingness to embrace a wide range of genres to great effect. A perfectly conceived and excellently written opus.

            The latest release from Deewee, the record label run by Soulwax/2manydjs’ David and Stephen Dewaele, comes from Phillipi & Rodrigo. ‘Paciencia’ is the Brazilian duo’s 9-track debut album, recorded, produced and mixed at Studio Deewee in Gent.

            Described by David and Stephen as sounding “like Stereolab in 2018 singing in Portuguese while a Batacuda band performs at a Brazilian beach techno party”, ‘Paciencia’ (album) begins with ‘Magnetico’, a languid, dubby start, that opens proceedings before the upbeat, organ-heavy psychedelic pop of ‘Retrogrado’. The melancholic ‘Minas’ (complete with beautiful piano, strings, and birdsong), is the first straight dance cut on the album, a torch song, sung, like the rest of the album, in Portuguese.

            Previous singles, ‘Mantra’, (their second release alongside ’New Beach’), and the equally acclaimed ‘Karma’ (released with ’Gueto De Gent’) are also included. ‘Barberella’ and ‘Rotina’ show the depth and width to Phillipi & Rodrigo’s sound, before the album shifts gear with the slow techno groove of ‘Face’, and ‘Paciencia’ (single) closes the album with 5 minutes of hypnotic brilliance.


            Returning after a long-lasting hiatus is no mean feat - how to stay relevant, to plug the gap and come back as strong as where things were left off. A Man Called Adam’s return however, is as emphatic as it is endearing. Sally Rodgers and Steve Jones are back with a brand new album of melodic, emotional, pop-not-pop tracks, bringing fresh layers of feeling, from warmth and passion, to sentimentality and sorrow.

            Displaying a wealth of knowledge gained through two lifetimes spent immersed in music, "Farmarama" showcases a myriad of styles and richness in arrangements. Moving from soulful slow jams to lo-fi disco, Balearic house to dub, post-rock electronica and art-house ambience, there are glistening horizons and windswept beaches conjured up at every turn.

            Take the likes of ‘Mountains & Waterfalls’, ‘Farmarama’ and ‘Michael’ and hear dancefloor, disco tinges that marry live percussion, sultry Rhodes and hearty basslines, oozing emotion. But venture deeper to uncover a pensive, yet equally expressive side to the record through tracks like ‘Higher Powers’ and ‘Top Of The Lake’. Take the later as an example, a neo-classical slice of magical ambience, that wouldn’t be out of place soundtracking sweeping views of shimmering scenery. Or ‘Spots Of Time’, beginning as a frenetic, glitched out piece of electronica, before opening into a brooding breakbeat journey.

            Full of vintage warmth, analogue synths and intricate textures, Rodgers, Jones and new collaborator, Paul Smith, combine experimental touches with an undeniable catchiness, balancing electronic elements, with acoustic sparkles. In harmony with this, the contemplative, poetic verses, that considers life as a hi-definition, Westworld-like simulation, a Farmarama, and disco as a way of being, meld and morph a conceptual narrative that tugs on the heartstrings of life.

            "Farmarama", then, isn’t your archetypal album. It’s an emotionally charged, intelligent and enlightening body of work that’s Balearic to the bone. 

            STAFF COMMENTS

            Patrick says: In an era of overwhelming cynicism, the honesty and emotion of "Farmarama" is entirely refreshing, much like the breezy blend of Balearic soothers, coastal coolers, disco drivers and downbeat gems which make up this pop-not-pop triumph from A Man Called Adam. Welcome home...

            Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow their hugely successful “Popcorn Lung” label compilation LP, with their first full length of the new year, and man… this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

            PY often likes to quote the artist directly in its press releases, and this one is no exception. Gabe’s own words, more than adequately explaining the path leading to this killer set for 2019; 'It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you’ll give my music a listen: In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself - Instead of trying to unsuccessfully make music you think other people will like, why don’t you make something that you’d actually want to listen to for once? - I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

            This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. "ABC" represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.'

            This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he’d get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he’s understandably excited for this one’s release!


            STAFF COMMENTS

            Barry says: Having provided what I think was the absolute standout track from the 'Popcorn Lung' LP at the end of last year, Gabe Knox hits us with this superb LP of kosmische pulses, whirring synths and paddling arpeggios. Clearly influenced by the flow and pacing of classic Krautrock, this is yet another standout LP from the already veritable Polytechnic Youth canon.

            FORMAT INFORMATION

            Ltd LP Info: Repress on black vinyl.

            The fabulous “Where Comes The Dark?” debut full length from shadowy, underground producer The Slow Engineer. 'An album of sculpted synthsonics and Eldritch electronics originally released on a limited run, blink and you’ll miss it cassette which sold out in 24 hrs. Heavy on basslines, with driving rhythms and tweaked synthesisers, it’s a record which openly acknowledges it’s nod to horror scores and the work of the Radiophonic Workshop whilst pulling off something uniquely and freshly new, with an assembled array of wayward equipment stored at his Analogue Hades base.'

            British horror actor Laurence R. Harvey adds suitably menacing narration in places, and across 10 fabulous tracks this is a richly, deliciously diverse electronic record which comes hugely recommended to fans of John Carpenter, not to mention label mates The Heartwood Institute and Dream Division.

            A onetime pressing of 300, destined to sell out pretty swiftly…..


            STAFF COMMENTS

            Barry says: It's about as heavy as you could imagine from the PY camp this one, but absolutely swimming in the sort of dystopian bunker saturation and machinated throb you'd expect to hear while off your face on mystery RC's at 3am in the White Hotel. Snappy snares and syncopated kicks run slowly below rolling basses and fractured dusty drum machines.

            FORMAT INFORMATION

            Ltd LP Info: Pressing of 300 only.

            The killer new full length on Polytechnic Youth from ace experimental electronic musician Bernard Grancher. Coming to the attention of the label via his last record on ERR.REC; PY is mining much of this current wave of incredible French electronic music (as previous releases by Dialectric, Alexandre Bazin, (Arc en) Ogive and the mighty Cite Lumiere attest to) and is in hindsight, somewhat an extension of label head Dom’s own record buying and digging habits just now (70s French synth LPs featuring heavily in his Utrecht fair baggage twice yearly!)

            Grancher himself began his “career” as a somewhat under the radar, host / director of “mostly forbidden” radio programmes, where in Bernard’s own words, he created “incongruous sound collages, that gradually slip towards noisy or disturbing sounds intended to replace the music of others’, within its broadcasts”. Then, armed with a large accumulation of “machines I found at low prices, with an unknowing of quite how they function” he sought the help of friends Yan Hart-Lemonnier and Eric Lumbleau (from the hugely respected “Mutant Sounds” blog, and his project Vas Deferens Organazation).

            Then, having released what he describes as two “rather talkative” LPs by taking again “the concept of it’s emissions: Hallucinatory slogans and Electro punk”, Grancher, then released with ERR.REC, leading in turn to the PY full length here.

            A fabulous LP hugely recommended to all kraut heads, experimental electronic sound collages, motorik grooves and minimal synth all figure strongly. To use one final quote from Grancher; “Abandon any idea of listening comfort; this record leads you into a dangerous race that will be impossible to jump on”.

            300 copies on vinyl only.


            STAFF COMMENTS

            Barry says: Cracked synths and fuzzy drum machines work together into a cacophony of noise, mixing elements of krautrock, ambient electronics and even hints of freeform jazz structures. It's a beguiling and enthralling listen, and one that's rewarded tenfold.

            In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos—the band was a live entity, and the records were a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album The Devil You Know.

            The band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It’s a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance. “The writing process was done with an open heart,” says guitarist/vocalist Julia Kugel. “Everything that came before had to go away. And we started there, at ground zero.” With each album, you could hear the individual songwriters honing their style. But with The Devil You Know, it feels like we’re hearing the first Coathangers record written as a true unit

            STAFF COMMENTS

            Barry says: Eschewing their garage roots and steering away from the hefty punk aesthetic of their earlier work, the Coathangers have obviously mellowed out a bit without losing any of their songwriting prowess. Moving more towards a rock'n'roll jangle, with 12-bar influences, 'The Devil You Know' presents a band who are comfortable enough with their craft to subvert their skills into a new direction, and comes out brilliantly because of it.

            FORMAT INFORMATION

            Coloured LP Info: LP Cover Art Features Gold Foil.

            Hot on the heels of 2018’s successful reunion with garage-psych testifiers Thee Hypnotics, singer/guitarist Jim Jones returns to give 2019 the kick-start that it so urgently needs with his current band, Jim Jones & The Righteous Mind, and the release of their incendiary second album, CollectiV. Rising from the ashes of The Jim Jones Revue, Jim Jones & The Righteous Mind paint from a broader sonic palette. Incorporating elements of chain gang chants, mutant soul and gospel, and psychedelia, Jim Jones & The Righteous Mind are fervent torchbearers for rock’n’roll at its most primal, feral and elemental. Jim Jones & The Righteous Mind’s debut album, Super Natural, was rightly showered by the kind of hosannas most bands merely dare dream of, while their legendarily highly-charged live shows have left audiences breathless across the UK and Europe.

            Often found in the thick of the action, Jim Jones has worked his mojo through memorable performances on Later with Jools Holland and Late Night with David Letterman, as well recording radio sessions for the likes of the BBC’s late, great John Peel, and Marc Riley. A seasoned veteran of the road, he’s shared bills with The Stooges, Jack White, The Cult, The Cramps and Grinderman and many more. And he’s also spread the gospel of rock’n’roll with his own shows on 6 Music and Boogaloo Radio. A rock’n’roll singer and guitarist of rare distinction, Jim Jones is a raconteur with one hell of a story to tell. You should hear it. 

            STAFF COMMENTS

            Barry says: Jim Jones (not that one) has always been one for the heavier more chaotic end of the rock music spectrum, and 'CollectiV' doesn't change that trend at all, featuring frenetic piano and cavernous reverb, soaring choruses and all-out instrumental mayhem in equal measure, this is a chaotic and thoroughly exciting adventure.

            FORMAT INFORMATION

            Coloured LP Info: Limited indies-only clear vinyl.

            Indoor Pets (formerly known as Get Inuit) formed straight after leaving school in Sittingbourne, Kent, it wasn’t long before their effortless songs were attracting attention, with one of them making Record Of The Week on BBC Introducing and within two weeks Huw Stephens had picked up on the track.

            For the next few years Indoor Pets wrote and gigged incessantly, building up a batch of killer tunes and a devoted fanbase across the country. They did, and still do, everything themselves. From making the artwork to organising their own tours on the road, producing music, building their own stage monitoring system and even running their own finances (Simpson: “if anyone wants to spend any money they have to ask me,”). It’s a fiercely DIY ethic born less from punk principle as it was from necessity. “It was either do it yourself or don’t have it done,” notes Glass, “and we decided to do it ourselves.”

            Signing to Wichita Recordings, the band set about recording their debut album, a record seemingly full of a bottomless pool of great tunes. Familiar feelings of not fitting in or wanting to play the hand life’s dealt you are delivered with self-deprecating wit and Glass’ trademark use of double-bluffing word play. Think Rivers Cuomo and a pre-sandpit Brian Wilson bunking off school to play records and snigger at the cool kids. They’re smart, life-affirming and all contained within a thumping primary-coloured pop wallop.


            STAFF COMMENTS

            Barry says: Brilliantly encompassing the lo-fi aesthetic that's become so popular nowadays, Indoor Pets have a penchant for snappy percussion and mid-heavy fuzzy guitars, all topped with the snarling vocals of Jamie Glass. It's an intoxicating combination, and one sure to have you bobbing your head with the best of 'em. Awesome.

            Weezer

            Weezer (Teal Album)

              Throughout a sold out arena tour in summer 2018, Weezer began working covers into their set, ranging from “Take On Me” by a-ha to “Happy Together” by The Turtles, in addition to their massive cover of “Africa” by Toto, which became a viral and radio sensation upon its release earlier that year. Given the tremendous response to these songs at the shows, the band was inspired to put together a covers album -- and thus WEEZER (THE TEAL ALBUM) WAS BORN!

              Weezer (The Teal Album) precedes the band’s forthcoming new album of original Weezer songs, Weezer (The Black Album), which will be released on March 1, 2019. Weezer (The Black Album) was produced by TV On The Radio’s Dave Sitek, with whom the band worked for the first time. The album’s songs were entirely written on piano by frontman Rivers Cuomo for the first time in Weezer history, creating some of the most satisfyingly awesome songs in the entire hits-filled Weezer catalogue. With band members switching up instruments in the studio, and choruses filtered through Sitek’s own encyclopedic musical references of everything from Gorillaz to Can to Pink Floyd, Weezer (The Black Album) is the bold next step in the winning streak of acclaimed albums they’ve released since 2014. The album’s current song, “Can’t Knock The Hustle,” recently became the band’s sixteenth Top Ten single at Alternative Radio. 


              STAFF COMMENTS

              Barry says: It's got a cover of Africa on it, which is my jam. Therefore, it's superb.

              ‘Skylight’ is the follow up to 2016’s widely-acclaimed breakthrough album, ‘Cardinal’.

              The 2CD and 2LP formats come with an entire bonus album, ‘Skylight II’ (the album performed acoustically).

              In 2017, Pinegrove moved into a rural farmhouse in upstate New York to make their new album ‘Skylight’, living, working and recording together. This DIY ethos solidifies Pinegrove’s position at the epicentre of a creative community, where they’ve adopted a ‘friends first’ policy when cycling through the band’s touring iteration.

              ‘Skylight’ is “an album about happiness, figuring out how to be optimistic and realistic. To be effectively optimistic, you have to establish relationships with darkness and disappointment. The position of optimism is earned.” Frontman Evan Stephens Hall’s “classic American melodies” and emotionally direct lyrics blend seamlessly with alt-country instrumentation and experimental rhythms of drummer Zack Levine.

              The band are confident in their idiosyncrasy, dropping pop structures when they no longer fit. The songs swing between wider extremes - whisper to full-belt and back again, treading mid-air - and Pinegrove more exactly, more full-throatedly say what they’ve been trying to say.

              “Divine moments... each slight note has a defined voice” - Pitchfork
              “Explodes just as far as you can see the universe” - NPR
              “Wrapped up in a shimmering, light country twang… raw, honest and velvety” - NME.

              STAFF COMMENTS

              Barry says: Drawing easy comparisons to the minimal guitar-led falsetto of Bon Iver, Pinegrove are at once tender and enchanting, being unafraid to pull things back to the simple duo of guitar and voice and drawing a huge range of feeling out of the simplest of accentuations. This is a hypnotic and beautiful affair, tenderly delivered and perfectly restrained.

              FORMAT INFORMATION

              2xColoured LP Info: Coloured double vinyl LP in gatefold die-cut.

              2xCD Info: 2CD in gatefold die-cut.

              Townes Van Zandt

              Sky Blue

                Sky Blue, a collection of unreleased songs by one of the most celebrated songwriters of the twentieth century, is a time capsule that Townes Van Zandt created forty-six years ago, and we’re only now just unearthing and opening it to find the treasures inside. Scheduled for release by TVZ Records and Fat Possum Records on March 7, 2019—which would have been his 75th birthday—this album shows the artist working out some of his most iconic songs in an intimate, comfortable setting with one of his lifelong confidantes. - Unreleased acoustic recordings from 46 years ago - Two new songs never before heard - Being released on Townes Van Zandt's 75th birthday - Available in a gatefold vinyl - Liner notes from John Lomax III, Townes Van Zandt's former manager.

                FORMAT INFORMATION

                Coloured LP Info: Indies exclusive sky blue vinyl.

                The Murlocs

                Old Loco

                  Five-piece The Murlocs reissue the rollicking 'Old Locomotive,' their third album, via Flightless Records.

                  Stu McKenzie of King Gizzard & The Lizard Wizard produced the LP, with songs by frontman Kenny Ambrose-Smith (also of King Gizz). All aboard!!

                  The Murlocs are a tight knit rhythm and blues garage outfit from Melbourne, Australia. The band has been steadily working on a new record in-between Ambrose and Cookies touring commitments with King Gizzard.

                  The Murlocs

                  Young Blindness

                    Tight-knit garage R&B outfit The Murlocs reissue 'Young Blindness,' their second full-length LP via Flightless Records. Featuring the rollicking cuts "Adolescence“, "Rolling On,“and "Compensation," 'Young Blindness' showcases a growth forged by a steadfast touring ethos across Australia.

                    The hearty compositions are emboldened by the distinct vocal tremolo of singer Ambrose Kenny-Smith, soaring to impressive heights on tracks such as "Think Out Loud" and title track, "Young Blindness." Since forming in Victoria's surf coast in 2011, The Murlocs have established themselves as a dynamic presence on stages throughout the country - entrenched within the prolific Flightless Records stable alongside King Gizzard & The Lizard Wizard, The Babe Rainbow, ORB and more.

                    The Murlocs are a tight knit rhythm and blues garage outfit from Melbourne, Australia. The band has been steadily working on a new record in-between Ambrose and Cookies touring commitments with King Gizzard.

                    A Place To Bury Strangers

                    Fuzz Club Session

                      For over a decade Brooklyn’s A Place To Bury Strangers have been dealing in pure sonic destruction. Famously lauded as the loudest band in NYC, their thunderous noise-rock has seen them pick up a cult following and shatter many unsuspecting eardrums across the globe. With no release or live show similar to the last, APTBS have continually twisted their malevolent sonic assault into something not of this world. Following 2018s Pinned LP (Dead Oceans) the trio is back once again – this time with a live session LP on London-based imprint Fuzz Club. Whilst in London at the end of a European tour in support of Pinned, the band spent the day at Love Buzz Productions in South London to lay down a Fuzz Club Session, due for release February 15th as a vinyl exclusive alongside a collection of videos which will be released online.

                      Raw, punishing and unpredictable, the LP – recorded live in one take - perfectly captures the APTBS ethos through-and-through and sees the unwavering intensity of their live show committed to wax like never before. “It’s good to record at the very end of the tour,” reflects Oliver Ackermann, the band’s vocalist/guitarist and founding member: “You’ve been playing these songs all tour and there’s a certain point when you kind of get tired of them so you have to reinvent what they mean and what happens in them. I feel like that always pushes things to the next level. It’s exciting.” Some songs on the session may date back a decade but, true to the APTBS way, they’re totally reconfigured and pushed to their very limits.

                      Spanning their lengthy back- catalogue, there are two tracks from Pinned (‘Never Coming Back’ and ‘Punch Back’), one from 2015’s Transfixiation (‘We’ve Come So Far’), one from 2012’s Onwards To The Wall (‘Drill It Up’), another from their 2007 S/T album (‘Ocean’) and a previously unreleased track (‘Chrome Shadow’). What makes this LP stand out is the way in which the live setting perfectly captures the band’s ability to work as a collaborative unit; every member feeding off one another, their tight-knit playing hardened by months on the road. Ackermann’s visceral guitars and FX pedal manipulations may be what defines the APTBS sound but just as integral on this LP is Dion Lunadon’s scuzzy, remorseless basslines and the primal percussion and snarling vocals of Lia Simone Braswell, who joined the band just last year. There aren’t many bands who can make deafening chaos sound so tight and meticulous but that’s just how APTBS roll. The Fuzz Club Session LP serves as a perfect indoctrination into the fuzzed-out world of A Place To Bury Strangers - taking you through a no-holds-barred tour of their discography whilst also offering a glimpse into the almost-hypnotic power of their live show. This is an album just as much for fuzz veterans as it is for the uninitiated. 

                      Malihini

                      Hopefully, Again

                        Malihini may mean ‘newcomers’ in Hawaiian, but Rome-based duo Giampaolo Speziale and Federica Caiozzo deal exclusively in the music of lived experience and time-honed emotional intelligence, their disarming musical universe never less than distinctive, yet resonating with a confessional, modern European pop sophistication of a kind elsewhere purveyed by the likes of Charlotte Gainsbourg, Jose Gonzalez and Our Broken Garden. Listening to the ten co-written songs that grace Malihini’s exquisite debut album, Hopefully, Again, can sometimes feel like eavesdropping on a couple’s intimate emotional dialogues, such is the ingenuous honesty of the duo’s writing. Yet combined with their minimal, yet opulently textured arrangements (“classic song writing matched with pared-down electronics”, according to Clash), crammed with subtle melodic hooks and an embarrassment of earworm choruses, they transform the personal into the universal with a delightfully unforced eloquence. The bulk of the writing for Hopefully, Again took place during an extended retreat on the Aeolian island of Vulcano, off the coast of Sicily. Images and atmospheres of the sea and ‘blueness’ duly permeate the album’s leanly arranged songs. Swapping these idyllic environs for Mid Wales, specifically the remote Giant Wafer studio in Powys (“it was just us and a few sheep and chickens”, recalls Speziale), the album was recorded quickly, with the duo playing most of the instruments live, abetted once again by producer Richard Formby and long-term drumming amico Alberto Paone.

                        FORMAT INFORMATION

                        Coloured LP Info: Limited edition indies exclusive orange vinyl.

                        Coloured LP includes MP3 Download Code.

                        Nick Waterhouse

                        Nick Waterhouse

                          Nick Waterhouse returns with a new self-titled album: a true powerhouse of a record filled with his distinct California surf-rock infused swaggering soul. The songs are personal, intimate, and direct. Brisk, self-contained and catchy as hell, producer Paul Butler (Michael Kiwanuka, Devendra Banhart) has helped to distill the ‘Waterhouse Sound’ to deliver a rich, raw, brawny, muscular album that’s heavier and more confrontational than anything Nick has made before, yet malleable enough for listeners to suffuse their own life stories into the mix.


                          Ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner. No expense was spared packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, a working planisphere, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.

                          The mini-verse is being kicked off by Escape From Synth City, a hero’s quest worth of staccato synths, crack house Casios, off-brand drum machines, minimal Morricone, four-track fantasia, and a variety of other speculations on what the 1980s thought the future would sound like. Packaged in a 12”x12” Nintendo Entertainment System-styled jacket, replete with game sticker, die-cut outer sleeve, debossed cartridge inner sleeve, and art from our first video game, playable from the comfort of your PC.


                          In the 1970s reggae music burst forth from its birthplace of Jamaica and took over the world. Who would have ever thought that one of the first outposts it captured on its way to global domination would be an unlikely city known mostly for its Brahmin heritage and blue-collar brawlers as well as for violent racial polarization? Boston, Massachusetts was the first region in the US to really 'get' reggae, adopting it as early as 1973 when the city’s huge student population turned the lowbudget Jamaican B-flick 'The Harder They Come' into a midnight cult classic.

                          The city would gain a reputation as a key market for any international reggae act trying to gain a foothold in America. But besides being early enthusiasts and advocates for the music, Bostonians would also become bountiful producers of reggae as well, with a network of clubs, singers and musicians coalescing to form an organic Boston roots scene: A scene that would yield acts as varied as Zion Initation (a solid, spiritually-inclined Rasta band), to the I Tones (an ambitious, multiracial group that set a new standard for pop success), and even reaching across New England to embrace the Vermont-based Lambsbread (a latter-day reggae reincarnation of the legendary African-American proto-punk trio Death, later made famous by 2013’s revivalist documentary A Band Called Death').

                          Boston-based music journalists / historians Noah Schaffer and Uchenna Ikonne have teamed up with Cultures of Soul to compile an overview of some of the most crucial cuts to emerge from Boston during the height of the reggae boom in the 1980s. Formatted on CD or 2LP set both configurations come with a 28¬page book documenting the rich history of this music scene with in-depth analyses and photos of the reggae artists involved. Almost all of this music is reissued for the very first time, including rare gems such as Danny Tucker’s “Our Father’s Land,” Zion Initation’s “Think About It,” I Tones’ “Love is a Pleasure” and Lambsbread’s “Two Minute Warning” are sure to delight both roots connoisseurs and newcomers to the genre, and open up a time tunnel to a little-known golden age of American reggae, and an even less-known scene that facilitated the expansion of the music into an international phenomenon. 


                          STAFF COMMENTS

                          Patrick says: If movies are to be believed (and I did do 13 secs of Demographic research) Boston is entirely made up of Irish Americans wearing flat caps and letterman jackets. Improbably, alongside the entire Dropkick Murphies discography, the people of Southie were also America's early adopters of reggae, birthing the wealth of local artists and labels covered here. Wicked smart...

                          Precocious Noise and Early Electronica Pt. 2. Fully remastered. This compilation is for those who are not familiar with the fascinating world of Primal Electronica, Noise, Sound Design, Industrial, Avant-Garde, Tape-Music, etc. you name it! This set hopes to be the gateway to a completely new Revolutionary sound experience, proving what John Cage predicted in the 1930s: "'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard." Including a track recorded in 1921, almost a hundred years ago and ending in the early 1960s, this selection includes artists of very different nationalities such as Egypt, USA, Hungary, Denmark, Germany, Italy, Sweden, France even the USSR! From Pierre Henry to Gyorgy Ligeti and lots more besides. Thanks to 21st Century advance techniques, every track here has a low noise floor, which has been achieved without the loss of palpability or dynamic range. These recordings sound fantastic: fresh, jarring, groundbreaking and adventurous.

                          FORMAT INFORMATION

                          Coloured LP Info: Audiophile transparent clear vinyl. LP with free CD.

                          The first volume of Brazil Primitivo - Rhythms, Legends & Styles (1899-1963) series.Fully remastered. The great majority of Brazilian music compiled, notoriously abroad, always has been focused on the same stereotypes, and musical genres as trad-samba and recycled bossa nova. Until now! Sound Miracle Recordings, proudly presents the first volume of a collection called "Brazil Primitivo - Rhythms, Legends & Styles". This 16-track vinyl serves not only to repair this huge gap but as well to celebrate certain rhythms, creators and sui generis styles that had been forgotten, and overlooked, at least for six decades. Have you heard about Lundu, Chorinho, Capoeira, Samba De Roda, Xaxado or Toada? Likely not, and this is a spectacular chance to dive into the likes of neglected genius as Pixinguinha, Ataulfo Alves, Monsueto and many others. Ancient Rhythms and Colorful Sounds as you never heard before! Also, this 16-track album (with two extra tracks on its bonus CD) includes, allegedly, the first Brazilian musical recording made in 1899, and celebrities such as Carmen Miranda (yes, the pin-up actress) and Raul Seixas (yes, the all time greatest Brazilian Rock icon) on his very first musical adventure recorded under the alias Raulzito e Os Panteras. 

                          FORMAT INFORMATION

                          Coloured LP Info: Audiophile transparent clear vinyl. Free CD included.

                          Snapped Ankles have taken on the guise of the very agents of their community’s demise – the property developers and brokers who heat the market on the promise of ‘Stunning Luxury’. With their adopted warehouse habitat under constant threat, the woodwose have taken this sharp-suited incarnation in order to infiltrate. The resistance starts here.

                          From humble forest beginnings via bohemian East London on debut album Come Play The Trees, Snapped Ankles are moving on. The log synths have been transformed into gaudy “To Let” and “For Sale” signs, which have become the new instrument of choice for the discerning woodwose. The sounds they eke out of the housing bubble are as frenzied and unstable as you’d expect. Dystopian bangers. Illicit thrills. Stunning Luxury moves quickly through life in the capital: microdosing mindfulness in the morning, a poisoned nod to the marketing department, investment portfolios and death by same day delivery.

                          The primal rhythms and forest chants are all present and correct. On the surface it’s hedonistic business as usual – a communal dance for the ages. But there’s a sense of discomfort too. There’s subversion, but it’s not clear who’s subverting who. There’s a message, but it’s often fragmented. Keep dancing. Keep foraging. Perhaps the woodwose are human after all…


                          FORMAT INFORMATION

                          Dinked Edition LP Info: Exclusive gold vinyl
                          Additional gold & foiled third outer sleeve
                          Pink outer sleeve
                          Gold inner sleeve
                          Hand-numbered
                          Sticker.

                          Indies Exclusive LP Info: Limited edition INDIES ONLY neon pink vinyl.

                          LP Info: Black vinyl edition.

                          Tasmania is the brand new album from the Australian psychedelic-rock adventurers Pond, a dejected meditation on planetary discord, machismo, shame, blame and responsibility, love, blood and empire, wrapped in luxurious, funky prog-pop.

                          Once again produced and mixed by Kevin Parker (Tame Impala) and Pond, Tasmania encourages us to celebrate the fruits of our planet, frolic in the ocean, kick up the dust, roll in the grass and enjoy the feeling of being in love - while we still can.


                          STAFF COMMENTS

                          Barry says: Progressive melodies, effervescent throbbing synths and loungey, shimmering sweeps work their way into your mind below the neon lit vocals and alternating progressive soundcapes. It's a beguiling and absorbing listen, littered with high points aplenty and a plethora of head--nodding grooved-out moments. Top stuff.

                          Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. Even with an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications’ sophomore LP, American Love Call, is planted firmly in the present, with the urgency of this moment in time.

                          The Indications’ 2016 self-titled debut was the product of friends who met as students at Indiana University in Bloomington, In., recorded for $452.11, including a case of beer. American Love Call, the band’s sophomore LP is instead the record the Indications dreamed of making, fleshed out with strings, backing vocals, and a newfound confidence in songwriting.

                          Blending a slew of influences from years spent crate-digging, guitarist Blake Rhein says the Indications approach songs in the same way hip-hop producers do, as likely to pull inspiration from ‘70s folk-rock or classic R&B as they are Nas’ Illmatic.

                          “Did I expect to do this shit once I got out of college? Hell no,” Jones relays, laughing. “Totally not. But this is what God is telling me to do – move and groove. So I’m gonna stay in my lane.”

                          STAFF COMMENTS

                          Barry says: A brilliantly emotive and smoothly contrasting duo of voices over this classic soul, brought to the modern day with crisp, clean production and the perfectly sunny songwiting Durand Jones has become known for. From mournful, lost-love ballads to swinging, dancefloor ditties, this is yet another mindblowing LP from Jones & co.

                          FORMAT INFORMATION

                          Coloured LP Info: Transparent orange vinyl.

                          Coloured LP includes MP3 Download Code.

                          Growing up in the 1980s Dallas suburbs, Cory Kilduff was all about pushing the boundaries. Specifically, the boundaries of which videos his parents would let him rent each weekend. Escaping into equal parts sci-fi (Tron, Alien), outcast teen classics (Gleaming the Cube, The Breakfast Club), and cult classics (Beat Street, Rad), his range was eclectic and loaded with soundtracks that transitioned him easily into an interest in music.

                          Now signed to Burning Witches Records, Cory has been creatively supported in composing and completing a new passion project paying homage to John Hughes’ flame-haired muse, Molly Ringwald. When It All Gets To Be Too Much is inspired by Ringwald’s roles in Hughes’ movies, specifically the moments when she can’t hold back the tears. With a few other references blended in for depth and breadth, the tears of Sam, Claire and Andie remain at the forefront for perfectly synthesized nostalgia, anchored in 1980s drama—think the train scene in Risky Business or the death in Less Than Zero—and tempered by the pure and true teen angst of Ringwald’s iconic characters. 

                          STAFF COMMENTS

                          Barry says: Remember that time that I went insane because Burning Witches released D.A.L.I's 'When Haro Met Sally' and they basically designed the entire album around my exact tastes? Well, they've done it again. This really is absolutely stunning, saturated 80's synths, pulsing hazy atmospherics and flickering, siney arpeggios. profoundly brilliant and stupidly limited. Get on it.

                          FORMAT INFORMATION

                          LP Info: Coloured LP, Very limited!

                          In the 1990’s Royal Trux established themselves as one of the greatest rock groups of that hallowed era. With albums of extrasensory scope ranging from 1990s Twin Infinitives (which belongs to the special category of albums whose impact may take decades to be measured), to 1993’s Cats and Dogs (with its seamless blend of classic roots, grunge, and punk) to 2000’s Pound for Pound (inhabiting a well-worn coat of southern hard-rock boogie), they reinvented the group concept born with the Rolling Stones (whose music inspired the duo with a definitive template with which to fuck), accepting nothing less than “The World’s Greatest Rock and Roll band” as an opening proposition!

                          Jennifer Herrema (vocals, moog, guitar, melodica, sticks and stones, pots and pans) and Neil Hagerty (vocals and guitarist) were both in the Washington, D.C. area where they met and, as teenagers, formed Royal Trux while living in an abandoned warehouse space near the New York Avenue bridge a few miles from Union Station. The name was an evocation of their omnidirectional headspace and abilities — plus, Jennifer grew up skateboarding, moving to roller skating after removing the trux and wheels off her board grafting them onto a pair of skates, giving her an unequaled ability to maneuver . . . even then, it was all about the TRUX. The idea was to play with what little equipment and resources they had and make the most of it by starting musically with the simplicity of blues progressions. The blues also happened to fit the bill for a band called “Pussy Galore” that recruited Hagerty to fill the position of guitarist and tutor (teaching them all how to play the Rolling Stones’ Exile on Main Street album) in exchange for money, equipment and a place to stay in New York. The move to NYC (Jennifer into the YMCA, Neil with the band) was fortuitous, but the perceived similarities between the two acts weren’t much beyond initial chord progressions and of course the unmistakable sound of Hagerty’s unparalleled guitar style. The Trux walked a different talk, one with a more elusive, at times counter-intuitive attitude. Hagerty and Herrema were by nature loners, drug abusers and intellectuals; they stood out among the many art school “bands” in NYC in the late 80s. Playing with a revolving cast of freaks, fellow-travelers, and influences allowed them to discard the tradition of a “band” with “members.” Listening to the records nobody else cared to play anymore, they chose to stake out a post no-wave stance shot through with aspects of classic New Yorkia — Godz, Lovin’ Spoonful, Lou Reed and Television all fit the bill — sifting it through in a personal manner that eventually became known as the “lo-fi” genre. In this tactile fashion, they gained notoriety for their unconventional music and ideas, presenting themselves at live shows and elsewhere with an aesthetic marked by indifference and debauchery.

                          Royal Trux’s first tangible music releases were a song credited to them on Pussy Galore’s Right Now LP (“Fix-It”) (1987) and two tracks, “Luminous Dolphin” and “Cut You Loose,” (1988) on a ROIR cassette compilation . . . but it was the end of 1988 that saw them release their own, self-titled LP for not much more than $500. With no label or distribution in place it was the music that propelled their trajectory (not money, nepotism, or connections) — this was what it took to launch new beginnings in the music world/landscape at that time. Not long after, Drag City and Domino came calling, and an attempt to dominate worldwide was undertaken. Up through 1995, via several records, tours, a film (What is Royal Trux?) and a relentless promotion campaign (including placing their “art” as TV adverts on the sci-fi network and others), their portfolio expanded, leading to a contract with Virgin Records, who evaluated them to be necessary listening on a big-time level. It could only have been done with fresh eyes and ears and the understanding that new realms of possibility could be accessed by Truxian imagination and vision.

                          After signing with Virgin in 1994 for a three-album stint, Royal Trux began calling themselves the “World’s Greatest Royal Trux Boogie Band.” Who could argue with that? Few even knew what it meant. After the Virgin albums they returned to Drag City with a diverse series of sounds on Accelerator, Veterans of Disorder and Pound for Pound. As always, they were open for business and taking offers, confronting the world from where they stood on the street, and seeking to jack it for all they could. Over a decade has passed and the pair’s music continues to sound just as progressive, vital, and confounding. Beyond the genre-setting and –defying music and the genius of Hagerty’s playing, they were fronted by a willfully non-archetypal female singer whose stance became it’s own archetype over the years, as the world caught on to the need for a new breed. Subsequently, a generation of females looked to Jennifer Herrema for inspiration, emulation and commodification.

                          When they finally parted ways- following the release of Pound for Pound in 2000 - they did so just as they do everything: spectacularly. Their hiatus lasted 15 years, with little to no communication between them in the interim. It was to their fans enormous surprise - and delight - that they announced a run of new shows in 2015. Shortly after the release of their live album Platinum Tips + Ice Cream in 2017, they inked a new deal with veritable Mississippi indie Fat Possum. As part of that deal, earlier recordings from Royal Trux were reissued, many of which had been absent from streaming services. With the catalog readily available, and the appetite for the live shows undiminished, Jennifer and Neil recorded White Stuff - their first new material in in 19 years- on the industrial fringes of Los Angeles in the summer of 2018. The new music delivers all of the intoxicating alchemy one would expect from Royal Trux. Their lengthy recording break has done nothing to diminish their visionary, visceral intensity and enduring influence.

                          Royal Trux have done as much to define the look, attitude and sound of rock & roll as any other group in the rock & roll era. This is due to their Bitches Brew approach: “everything in the pot whether you like it or not,” deriving from world music, punk rock, jazz, metal, electronic, southern, teeny-bop and all the rest. In the tradition of the blues, through appropriation and evaluation, Royal Trux changed the way we think of music — it is no surprise that their Truxian language has been further absconded with and recited uncredited for years. Such organic perpetuation only happens with original thought worthy of its own definition. This was and is Royal Trux: innovators and dedicated lifers among the sounds they love. Odds are, whether you know it or not, if you find yourself reading this you’ve been touched by Royal Trux. But only in the right places! 


                          STAFF COMMENTS

                          Barry says: From snarling, grungy numbers to propulsive punky drive, Royal Trux have always made their own mark on the world of music, and this, their newest material in almost 2 decades is as visceral and relevant as it's ever been. Superb.

                          FORMAT INFORMATION

                          Coloured LP Info: Limited indies only "pizza" coloured vinyl.

                          Simbi Ajikawo, crowned Little Simz, lets her work do the talking - and her prolific releases and boundary-breaking achievements clearly tell a story of a pioneering hip-hop artist who leads the way on her own terms. Giving lauded, energetic performances, critically acclaimed albums, sold-out headline shows around the world, and international tours with the likes of Gorillaz, Anderson .Paak and Ab-Soul, this visionary 24 year old woman from North London is living out her childhood dreams to heights of excellence - and inspiring her generation to do the same.

                          STAFF COMMENTS

                          Martin says: Surprised how much I've been getting down to these urban riddims n rhymes. Simz has a way with words that forces you to sit up and listen.

                          FORMAT INFORMATION

                          Coloured LP Info: Limited edition white vinyl.

                          ‘Yn Ol I Annwyn’, Welsh for Return To The Underworld’, it is the third part of the trilogy of albums that began with ‘Noeth Ac Anoeth’ in 2015 and 2017’s ‘Y Proffwyd Dwyll’ (which got them nominated for the Welsh Music Prize in 2017). Whilst MWWB as a band, have never been overly visible, they don’t tend to be idle. 2018 saw them release a split 12” with kindred spirits, Slomatics, and being personally asked by Robert Smith of The Cure to play his Meltdown in London. Not to mention playing an international array of dates and other festivals, prior recording this epic third album. So last Summer, along with new bassist Stuart Sinclair, MWWB returned to Skyhammer Studios and Chris Fielding, to create ‘Yn Ol I Annwyn’. The 8 songs that comprise thes album, sees the band delve deeper into their collective influences, embracing full on space rock, atmospheric film soundtracks, melancholic acoustic interludes, psychedelia, cosmic moogs and percussion, moments of introspection and light … and of course, large helpings of doom.


                          The fat riffs, big hooks and endless space grooves are all present. Jessica Ball’s voice glides over it all, both sweet and melancholy, yet this time more assured. A myriad of stacked harmonies and layered vocals weave in and out of the tracks, adding an ‘other-worldly’ melodicism to the songs. Here’s what guitarist Paul Michael Davies had to say …“For the 3rd album I wanted to take the band's sound even further but still stay true to what made us start the band in the first place. Personally, I think the doom scene is (thankfully) thriving, but some of the ‘genre’ tropes can be a bit limiting, and we are all about pushing that. So some elements of this album will be something different for the usual doom fan. It’s kind of a nice mix of our usual heavy riffs but with some fresh elements.


                          Vocalist Jessica Ball adds … “Album number 3 definitely fits in with the theme of our music evolving, as we’ve been hinting at with the design on our album covers. I feel that we’ve really pushed the boat out on this one, I can’t wait for it to be released!” In fact the album as a whole, is very much a sonic journey into some cosmos on the edge of forever. The short moog piece ‘Tralfamadore’ is your starting point for a voyage that takes in the cosmic space doom of ‘The Spaceships Of Ezekiel’ which manages to mix prog time shifts, heavy riffing, moog licks and catchiness within its 8 odd minutes. Fata Morgana has its rolling almost folk-ish guitar melody on which Jess Ball’s vocals float and shimmer, until it crashes into full on sludge and shoegaze for the second part of the song. ‘Du Bist Jetzt Nicht In Der Zukunft’ is an atmospheric cello and synth soundscape with Ball’s vocal textures weaving and dancing throughout.

                          Title track ‘Yn Ol I Annwyn’ is down tuned, fuzz drenched, ethereal. It could almost be pop, if it wasn’t for the strangeness and heaviness that lurks within. Katyusha is a 13 minute plus instrumental. With its many parts and riffs interlocking and changing, it’s a journey in itself. ‘The Majestic Clockwork’ is a chugging leviathan punctuated with cello stabs, staccato vocals, fuzz drones and floating choirs, before riffing out on a moog trip. The album closes with ‘Five Days In The Abyss’ a mix of atmospherics and fat crushing riffs, an ideal way to end our journey … destination … somewhere new. Previous comparisons to Windhand, Yob, Sleep. or whatever, are rendered completely redundant with ‘Yn Ol I Annwyn’. Mammoth Weed Wizard Bastard sound like Mammoth Weed Wizard Bastard, full stop.

                          STAFF COMMENTS

                          Barry says: From the thrashing, world-crushing drive of tunes like 'Fata Morgana' to the more meditative synth-led cosmic doom (think Wolves In The Throne Room - Celestite vs Mastodon), MWWB have been a whirlwind of riffage and conceptual brilliance since their 2016 introduction, 'Y Proffwyd Dwyll'. things have only gotten heavier and more intricate and this is without a doubt their most earth-shattering outing yet. Essential.

                          FORMAT INFORMATION

                          2xColoured LP Info: Green / Blue marbled vinyl

                          2xColoured LP includes MP3 Download Code.

                          2xColoured LP 2 Info: Amber / Red vinyl

                          2xColoured LP 2 includes MP3 Download Code.

                          Bartosz Kruczynski & Poly Chain

                          Pulses

                          For the second installment of their international parallel series, Into The Light Records treat us with seven lush, rich and warm recordings by currently Warsaw-based producers Sasha Zakrevska (Poly Chain) and Bartosz Kruczynski.
                          Soon after releasing their debut albums - Baltic Beat’ and ‘Music For Candy Shops’ - and realizing similar interests and traits in their solo music, Zakrevska and Kruczynski sketched out a plan for an album and live performance. The record is to a large extent fashioned after the show, with most of the tracks performed live and edited down. ’Pulses’ is a result of hours spent in studio with a minimal set-up of Prophet ’08, Moog Sub 37 and Korg Minilogue, detailing their mutual attraction to minimal synth, repetitive arpeggios and drone music. A perfect blend of poly-rhythmic patterns, ambient textures and beat-less acid moments by one of the most fresh and unique collaborations!

                          STAFF COMMENTS

                          Patrick says: Moving their attention away from Greece, Into The Light present the collaborative debut from Polish musicians Bartosz Kruczynski & Poly Chain, who lock us into Berlin school electronics, trance inducing sequences and atmospheric synthscapes. Ear candy for sofa surfers everywhere.

                          The Knekelhuis hot streak continues this week as the Dutch label provide an introduction to the richly rhythmic and deeply esoteric world of Zaliva-D. Based in the Chinese capital of Beijing, they’ve been circling the country’s borders for more than a decade due to the extreme difficulty of streaming music there. Zaliva-D consists of musician Li Chao and mixed media artist Aisin-Gioro Yuanjin, who takes care of their stunning live visuals.

                          Their fourth album (but first on vinyl), "Forsaken" transports us to an imaginary Eastern underworld of hackers, drug traffickers and gangsters, conjured out of a cyberpunk Hong Kong flick. Wrapped around a core of gut wrenchingly ferocious kicks and haunting vocals, these tracks possess a mantra-like quality and drown the listener into a world of Chinese and South East Asian textures. "Forsaken", mastered by Wouter Brandenburg, is their most well-written, organic and esoteric record to date, but still retains the steely core of their previous work. Dark machine voodoo, electronic witchcraft and evil rhythms for the witching hour.

                          STAFF COMMENTS

                          Patrick says: A-grade weirdshit for the witching hour here as Knekelhuis give Chinese duo Zaliva D their first vinyl release. Slow and sinister techno-pagan crunchers for eyeball lickers and backwards dancers - file next to Tolouse Low Trax, Patricia Kokett and Tzusing.

                          Japan's Volkuta follow up their first release with another selection of oriental flavours. Volkuta is a new label which introduces traditional Japanese songs alongside more contemporary remixes. Umeko Ando (1932-2004) was a folk singer from Japan. She was a representative of the Ainu culture on the Hokkaido Island in the north of Japan. Here we get six original tracks from her, alongside a remix from Joe Claussell. 

                          The music is reassuringly beguiling; utilizing eastern scales and instrumentation - much of which I'm going to struggle to correctly name. There's flurries of prog, jazz, new age and folk; all combined into a stylish aural soup. When Umeko Ando sings it's playful, almost tongue-in-cheek, but certainly captivating. Joe Claussell is on hand to provide a sympathetically spiritual take on "Metal Rain Shower". It's an eastern exotica opus and demands your immediate attention! 





                          STAFF COMMENTS

                          Matt says: Mystic world fusion here which benifits from having one Mr. Joe Claussell lend a hand on remix duties. Don't expect any straight up house business here - this is the best of global freakout!

                          Heavy-weather, beyond good and evil soundsystem poetics, channeling raw and rootical techno, isolationist abstraction, and dub at its most turbulent and raw-nerved and space-time-warping. New worlds ahead… Equal parts tuff, tail-thrashing dancehall pressure – see "Hell Dub" - and art-of-darkness ambience and introspection, culminating in the slow-burning, third-eye-opening 23-minute dreamweapon, "Vertigo". Part of the Young Echo crew, Ossia embodies the best tradition of Bristol underground music in that he doesn’t pay much mind to tradition, just does his own thing. Yes, "Devil’s Dance" shares DNA with those sullen masterpieces we will always associate with the city, from blunted 90s street-soul / hip-hop to sub-loaded dubstep – but like his forebears Ossia is ultimately a mongrel breed, drawing from his own, very contemporary and idiosyncratic well of influences: grime, jazz, steppers, dub, post-punk and industrial abrasion, concrète minimalism…

                          "Devil’s Dance" could easily be not just a forbidding, but a suffocating proposition. But even at its most angst-ridden it feels lithe and aerodynamic, its darker impulses both intensified, and offset, by a pure soundboy’s delight in detail and colour and higher dancefloor mechanics. The music pulses with energy, a fever to communicate…and Raki Singh (violin), Jasmine (vocals) and Ollie Moore (saxophone) add vivid flesh-tone to the punishing, plasmic electronics. The record was mixed at an infamous, subterranean Bristolian recording studio, using an arsenal of spring and plate reverbs, modded pedals, tape-delays and compressors: systems of black magic crucial to the album’s intense presence and physicality and carefully modulated dread. In the end what we are witnessing, and experiencing vicariously, is a purging, an exorcism: find the devil, dance with the devil… and then chase, chase, chase him out of the earth.


                          STAFF COMMENTS

                          Matt says: Blackest Ever Black tentatively tread the fresh path laid by Death Of Rave into post-nightclub soundsystem decadence. It's a challenging listen at times, but your reward is a simultaneously transcendental and subterranean journey through noise, frequency and rhythm.

                          'Inferno' is acclaimed Australian singer-songwriter Robert Forster's first solo album in four years - his second album over the last eleven years. Forster only makes records when he feels he has the songs - on 'Inferno', he has nine he totally believes in.

                          They range from the exhilarating top ten pop of 'Inferno (Brisbane In Summer)', the beach shack groove of 'Life Has Turned A Page', via 'Remain's 1977 New York strut, to finish in a way that this concise, brilliant, drama and wit filled album only can - on the big build epic 'One Bird In The Sky'.

                          'Inferno' was made in Berlin in 2018, during the hottest German summer in decades. Noted producer/engineer Victor Van Vugt (Beth Orton 'Trailer Park', P J Harvey 'Stories From The City, Stories From The Sea'), recorded the album; the first time he and Forster had worked together since Van Vugt engineered Forster's debut solo album classic 'Danger In The Past' in Berlin in 1990.

                          'Inferno' in its making is a perfect mix of the familiar and the new. Also working with Forster again, are Brisbane based multi-instrumentalists Scott Bromley and Karin Bãumler from 'Songs To Play' (2015), while new recruits are drummer Earl Havin (Tindersticks, Mary J. Blige) and keyboardist Michael Muhlhaus (Blumfeld, Kante). Four musicians from the corners of the world, who, with Van Vugt's bold and beautiful production, sound like a band of the ages. In front of them, Forster delivers the best vocal performances of his career.

                          STAFF COMMENTS

                          Barry says: Encompassing all of the best melodic aspects of some of the greatest songwriters to date (Forster's vocal drawl sounding not entirely unlike Morrisey's at points), Forster manages to be both poignant and accessible all at once. Shimmering acoustic guitar and crisp production come together to accentuate the country-folk-indie at every turn. A wonderfully written and brilliantly conceived outing.

                          If TEEN’s 2016 album Love Yes was a bursting, harmony-infused synthpop thesis on embracing love, then its follow-up, the even more joyous and melodic Good Fruit, is its opposite, a look at what happens after love fades. The Lieberson sisters—Teeny, Lizzie, and Katherine—have, with their fourth album, crafted a dynamic, hook-stuffed take on the oft-trodden breakup album; as on prior releases, there are frequent meditations on death, capitalism, and womanhood.

                          The sisters—and Boshra AlSaadi, a longtime TEEN member who left a year into songwriting to focus on her own music—spun together Good Fruit in a few places, over roughly a year, as they aimed to break free of the notorious write-record-tour cycle. At a week-long session in Montreal in February 2017, they began working on “Radar,” a Lizzie-penned ballad that explores a previously unmentioned formative trauma. Another Montreal week in April 2017 birthed a large chunk of Good Fruit, and a five-day expedition in upstate New York led to “Putney,” a slinky, bassy bop that deals with how projected ideals and personal fantasy play into sex and misogyny.

                          “Runner” came last, arising from an environment where the sisters surely feel the most comfortable: New York, the city where they’ve lived for over a decade. Perhaps the album’s most bursting, beatific, synth-driven track, “Runner,” which reflects on fleeing a relationship as a partner wants to become closer, jelled just before the album was completed, in an NYC home studio belonging to TEEN collaborator Miles Francis.

                          While recording Good Fruit, the sisters employed a self-described “reductive approach,” strove to create space within their songs, and, for their first time, self-produced the album (save a few co-productions from Francis, who also played on some songs). These techniques explode the glistening, sprinting glamour of “Only Water,” a deceptively upbeat number about death and the loss of a loved one. They inform Good Fruit’s handful of ballads too, including “Pretend,” which rings with a vast, unsettling static fuzz even as Lizzie beautifully recounts the disappointment of realizing a partner wasn’t all she’d built them up to be.

                          When love fades, TEEN soars. “A lot of what ties Good Fruit in...is forging new paths for ourselves and letting go of old ways of doing things,” Teeny says. The band’s intentional amendments to its longtime formula have resulted in its most mature, nuanced, and exhilarating statement yet.


                          STAFF COMMENTS

                          Barry says: The synth gods have been good to us this week not only delivering the psychedelic sounds of Pond, but gracing us with the off-kilter funk and shimmering synthetic soul of 'Good Fruit' from the ever-superb 'Teen', comprising of Lieberson sisters Kristina, Katherine and Lizzy. Shining sidechained synths, driving percussion and swooping melodies all topped with beautifully harmonised athletic vocal lines.

                          FORMAT INFORMATION

                          Coloured LP Info: Limited Orange creamsicle vinyl.

                          Coloured LP includes MP3 Download Code.

                          CD includes MP3 Download Code.

                          Rema-Rema

                          Fond Reflections

                            40 years after disbanding comes ‘Fond Reflections’, the debut album that never was from cult 4AD band Rema- Rema.

                            Rema-Rema featured former members of The Models and Siouxsie and The Banshees and their much-loved ‘Wheel In The Roses’ EP (1980) was among the first records to be released on 4AD. Their only contribution to the label’s storied history, they split-up before its release, going on to form or join bands as diverse as Renegade Soundwave, The Wolfgang Press, Mass and Adam and the Ants.

                            The debut album that never was, ‘Fond Reflections’ comes almost forty years after their debut EP and has been culled from the band’s rich archive of reel-to-reel and cassette recordings, with member Gary Asquith and mixing engineer Takatsuna Mukai painstakingly working on them to make the album as cohesive as possible.

                            The ten tracks pretty much reflect the band’s live set and is the closest to what their debut album could have sounded like. Worth noting too that although all their 1980 EP tracks are present on the album, they are all from different recordings.

                            FORMAT INFORMATION

                            2xCD Info: The 2CD edition comes with a second disc entitled ‘Extended Wheel In The Roses’. As its title suggests, it’s the four EP tracks as they were plus ‘Entry’ (taken from the same studio session as the EP’s A-side of ‘Feedback Song’ and ‘Rema- Rema’) and ‘No Applause’ and ‘Murdermuzic’, two more tracks recorded at the same 1979 Albany Empire, London show as the EP’s B-side, ‘Instrumental’ and ‘Fond Affections’.

                            It’s hard to imagine that anything in today’s tilt-a-whirl society could ever be considered a “situation normal,” but needless to say most everything is all fucked up, no matter how you slice it. The state of the music industry, expectations for what a band should be, the way we consume art it’s all decidedly fouled, so the secret is in how you embrace the chaos.

                            For Potty Mouth, the LA-based pop rock trio of Abby Weems (vocals/guitar), Ally Einbinder (bass), and Victoria Mandanas (drums), the term SNAFU Situation Normal All Fucked Up has become a rallying cry, one that inspires them to forge on no matter the odds and to trust themselves in the process. And, naturally, it’s the name they gave their long-awaited new album.

                            Potty Mouth arrived in the early 2000-teens as a feel-good punk rock force from the fabled Western Massachusetts scene. Formed while Einbinder and Mandanas were students at Smith College, and Weems a local rocker, they quickly made a national name for themselves with their brand of art-sensible power-punk wrapped in a catchy, fist-pumping package. Their Sun Damage EP in 2012 and their debut LP, 2013’s Hell Bent, put them on the map, and the subsequent years of touring and an acclaimed self-titled EP in 2015 reinforced their status as one of punk’s most rock-solid and talented upstarts.

                            Fully realizing their self-empowered status, the band release SNAFU on their own terms, under the independent label Get Better Records, an outfit co-run by Einbinder and her partner, Alex Lichtenauer.

                            FORMAT INFORMATION

                            Deluxe LP Info: Deluxe Edition includes a bonus 7".

                            Test Dept.

                            Disturbance

                              In an ideal world, Disturbance, the new album from industrial pioneers Test Dept, would not exist. It wouldn’t need to. Britain would not stand divided by xenophobia. Working class communities would not be under siege. Capitalism would not have created a climate change crisis pushing the planet towards a dangerous brink. And the Thatcherite ideals that Graham Cunnington and Paul Jamrozy spent Test Dept’s early years raging against would not be so terrifyingly back in political vogue.

                              After their initial eight-minute sonic rollercoaster ILL on Dan Carey’s Speedy Wunderground imprint and their subsequent debut album Means, Fews return with a brand new ten-track studio album, Into Red.

                              Following extensive touring throughout 2016-17, including two tour runs as special guests of Pixies, the Anglo-American-Swedish quartet retired to Malmö with the Swedish city’s underbelly providing the perfect environment for unfettered artistic endeavours and the subsequent album recording.

                              Co-produced by Joakim Lindberg (Hater) and mixed by James Dring ‘Into Red’ sees Fews extricating their influences to reveal a band assuredly moving on from the template of their debut album Means with a confident post-punk swagger and no little addition of muscular heft on the song-writing front.

                              STAFF COMMENTS

                              Barry says: Throbbing distorted basses and screeching, echoing reverbs work their way below the vocals, at times delivered monotonally a-la post-punk gloom, and in other moments with the acrobatic intensity shadowed by the beautiful soaring instrumentals and richly constructed backline. It's safe to say, Fews are here to stay.

                              FORMAT INFORMATION

                              Coloured LP Info: Heavyweight 180 gram red vinyl.

                              Chicago Odense Ensemble

                              Chicago Odense Ensemble

                              Chicago Odense Ensemble is a unique collaboration that came together in the winter of 2008 while Danish musicians Jonas Munk and Jakob Skøtt stayed in Chicago. Via mutual friends, and a support gig for Isotope 217 in Millenium Park, a studio session was arranged for the two to improvise and lay down ideas with some of Chicago’s finest improvisers, including members of Tortoise and Chicago Underground Collective. Improvisation aren't unusual for the two danes, however, as they were already more than accustomed to working from spontaneity and freeform structures in long-running psych/kraut/prog unit Causa Sui, and has since then participated in a number of installments of the Impetus series on their own El Paraiso Records label – a series dedicated to impro sessions, chance collaborations and live recordings. During the Chicago studio session hours of loose ideas, grooves and atmospherics were recorded, ranging from loud, intense musical outbursts led by cornetist Rob Mazurek, to delicate, colourful ambiences. Later, the finest moments were edited, re-arranged and mixed by Jonas Munk in his studio in Odense, doing a great deal of cutting and pasting, and adding a psychedelic and dubby vibe to the soundscape, using delays and effects as instruments during the mixing process. The result is something quite unique: a sonic brew that exists somewhere in between the aesthetics of impro jazz, hypnotic rock and electronica. The closest reference for this kind of music is probably early 1970s proto-fusion jazz that strived for a similar synthesis of jazz improvisation, psychedelic rock, eastern and african sounds as well as the use of the studio as a musical tool. Conceptually this album therefore seems more related to Miles Davis' ventures into electric music in the late 1960s that culminated in the early 1970s with albums such as "Live Evil". And album centerpiece ”Delivery” gives a possible answer to the mystery of what the fabled collaboration between Miles Davis and Jimi Hendrix might have sounded like, had it ever happened. Even though Chicago Odense Ensemble is undeniably modern sounding in some ways, it also reaches back to an era in music where the fusion of jazz and rock were still regarded with optimism, and where musical spontaneity and freedom seemed a vehicle for cosmic beauty rather than esoteric formalism. Rob Mazurek cornet, Jeff Parker guitar, Dan Bitney drums and percussion, Matt Lux bass, Brian Keigher percussion, Jonas Munk guitar and electronics, Jakob Skøtt drums and percussion.

                              FORMAT INFORMATION

                              Ltd LP includes MP3 Download Code.

                              The Japanese House

                              Good At Falling

                                With a debut album, timing is everything. Too quick, and it can fall on deaf ears, too much unknown in its significant running length. Too long, and any initial buzz has long worn off, an opportunity missed. The Japanese House, however, arrives at ‘Good At Falling’ with steady momentum, carved out over four EPs that saw her graduate from introverted, hushed bedroom pop to fleshed-out, soaring pop. On her debut album, all this progression and promise comes fantastically good.

                                Amber Bain’s music has always been personal, but meanings have often been shrouded under swathes of production. A world of personal upheaval during the writing and the recording of ‘Good At Falling’ meant her subject matter was unlikely to get more obtuse, but the real power of her long-awaited debut lies in the way these struggles are laid out. Throughout the record, she puts herself in the firing line and lays herself bare.

                                Despite the album singing of psychological torment (‘You Seemed So Happy’), dissatisfaction with the status quo (‘Follow My Girl’) and moving on from a defining relationship (‘Worms’) across the record, they’re transmitted via the poppiest music Amber has written to date. After reflecting on “Sharing a house, sharing a life, sharing a home” and how there’s “so much pressure not to be alone” in the verse of highlight ‘Worms’, when she preaches to “invest yourself in something worth investing in” in its big, bright chorus, it sounds like a message strong enough to tattoo across your chest in times when being alone feels just a bit too much to bear.   -DIYmag

                                FORMAT INFORMATION

                                2xColoured LP Info: Limited edition double gatefold indie store only exclusive violet vinyl.

                                2xColoured LP includes MP3 Download Code.

                                Weezer return with their newest proper outing since 2017's 'Pacific Daydream' (aside from the 'Teal Album', a covers LP from earlier this year). Sporting the trademark Cuomo riffs and smooth punky two-chord battery, Weezer have never failed to write anthemic, catchy pop songs and the black album is no different. Perfectly produced and brilliantly written, this continues to show that the band remain as relevant today as they ever have. Full of an indeterminate amount of riffs and imbued with an energy few bands can fathom after being around for so long. Classic Weezer. 

                                FORMAT INFORMATION

                                Coloured LP Info: Indies exclusive coloured vinyl.

                                The Young Gods

                                Data Mirage Tangram

                                  "Sleep my angel, my child, see how the city spreads.” Under Franz Treichler’s wings, huge, breathtaking panoramas unfurl like beautiful dreamscapes on the edge of sleep. A weightless dream that is both comforting and blackened with darkness. A return to known land, whose topography has been modified by time and age. Three human beings in the matrix of Data Mirage Tangram, the new Young Gods album.

                                  Eight years without a studio album. The gods may have eternity on their side, it was about time they followed up on Everybody Knows and addressed the period of artistic confusion – in Treichler’s own words – that followed Al Comet’s departure and his replacement with the original god, Cesare Pizzi. The subsequent tour which focused on the Swiss band’s first two albums, could have ended in a deadlock. Instead, it brought a breath of fresh air to the trio, revitalised by this return to their roots. Rock and electro avant-gardists are not known for their backward-looking attitude. Still, thirty years of uninterrupted activity, celebrated with the publication of an 800page book in 2017, could only strengthen the gods’ will to write a new chapter to their already impressive history.

                                  Data Mirage Tangram was born in a basement amidst people. Franz Treichler (lyrics, guitar, electronics), Cesare Pizzi (sampling, electronics) and Bernard Trontin (drums, percussion) accepted Cully Jazz’s invitation to set up on the stage of the THBBC wine cellar for an open laboratory for the duration of the festival. “That’s when the songs appeared”, says Treichler. “We didn’t know where we were going. Bernard brought an old sampler on top of his drums, Cesare, a laptop, me, a guitar, a bass, a laptop… anything I had on hand. The audience came and went. We didn’t feel obliged to present a finished product. It was really stimulating.”

                                  At the end of the residence, the seven tracks of the album existed in body and mind. The curves still needed to be shaped, the textures refined, and the lengths cut up. The band incorporated the songs into their live repertoire, fine-tuning them for three years into their final structure, captured in Franz Treichler’s studios and mixed on the console of English record producer Alan Moulder (Nine Inch Nails, Editors, Foals). “For the first time ever, this record is the result of entirely collective work”, says the delighted Geneva pioneer.

                                  The result is to be savoured as a major album by The Young Gods and an addition to their multiple experiences as well as their shared DNA. Each track exists for itself while creating a coherent ensemble, a united journey in seven unique steps. “The tangram in the title refers to Japanese puzzles consisting of seven pieces that can form a square or various silhouettes of animals and characters”, says the singer. In this digital world, which the gods explore like visionaries, the music breathes and breaks free, undulating on the string of a guitar that once again takes centre stage.

                                  Entre en matière whispers a haunting mantra and Tear Up The Red Sky orchestrates a cosmic bombardment of divine fury. Figure sans nom returns to the band’s acid groove and Doors influence, while Moon Above ploughs a fallow field, bruising it with unidentified sound objects. The 11 spellbinding minutes of All My Skin Standing let you come back to your senses before a final explosion of white noise and saturated guitars. You Gave Me A Name offers a breath of fresh air, like a welcoming bubble. Finally, Everythem closes everyone’s eyelids, softly and silently.

                                  How would you sum up the Young Gods’ history? “A long road”, says Franz Treichler. A road that unfurls and stretches out to the horizon and its mirages.


                                  FORMAT INFORMATION

                                  Vinyl comes with CD version of the album enclosed.

                                  Soul Jazz Records presents this new collection featuring the heavy 70s roots reggae of Bunny Lee - a living legend, one of the last of the great Jamaican record producers who helped shape and define reggae music in the 1970s from a small island sound into an internationally successful musical genre.

                                  From teenage fan to young record plugger for Duke Reid, Sir Coxsone and other early pioneering Jamaican musical entrepreneurs, Lee has spent his whole professional life inside the Kingston music industry. In the 1970s he rose up to become one of the major record producers in Jamaica alongside Lee ‘Scratch’ Perry and the other ‘small axe’ producers who broke the dominance of the ‘big tree’ producers that had ruled Jamaican music in the 1960s.

                                  Featuring some of the heaviest Jamaican artists, including Johnny Clarke, King Tubby, Dillinger, Prince Jazzbo, Tommy McCook, The legendary Aggrovators (featuring Sly and Robbie), The Mighty Diamonds and more, the album is a rollercoaster ride of rare, deep and classic 1970s roots, dub and DJ sounds.

                                  During this era, ‘flying cymbals’, crashing reverbs, dark echoing thunderclap gunshots and other ‘implements of sound’ filled his record productions as Bunny Lee explored the outer limits of dub with his friend King Tubby in the mix on wild versions that accompanied any 45. A Bunny Lee record provides a creative and mysterious hidden guide to reggae music itself, a double-sided three-minute intangible history lesson etched in wax.

                                  Bunny Lee was one of the first Jamaican producers to travel to England in the late 1960s, at the beginning of the nascent British reggae music industry as record companies such as Trojan, Pama and others began licensing Jamaican music in the UK to supply the expanding West Indian communities living up and down England. Lee encouraged other Jamaican producers to do the same, including Lee Perry, Harry J and Niney The Observer and also became a conduit between the British music industry and numerous younger Island-based producers - a frequent flyer reggae ambassador, a musical courier exchanging tapes for royalties.

                                  Bunny Lee’s first recordings in the late 1960s were mainly rock steady but as the 70s approached the music soon began to mutate and slow down into ‘reggae’ as the sound became heavier, more rootsy and the sound itself began to change with the explosion of dub.

                                  Lee was at the forefront to this dramatic musical shift into roots reggae and by this time had become a major producer, capable of working with whoever he chose as world-famous singers, DJs and musicians lined up to work with the charismatic man. Lee also employed a fluid but stable set of crack session musicians who he named The Aggrovators.

                                  Most of the recordings featured here come from the mid 70s, a time when Bunny Lee was definitely in the zone, releasing heavyweight singles at an almost unstoppable rate. Bunny Lee’s career stretches over five decades and he has upwards of 2,000 production credits on vinyl.

                                  This album comes with extensive sleevenotes, an interview with Bunny Lee and exclusive photography.

                                  STAFF COMMENTS

                                  Matt says: The 'flying cymbals' pioneer gets properly exhibited by the Soul Jazz firm here - possibly the most in-depth, all inclusive collection to date of this skilled dub creative.

                                  FORMAT INFORMATION

                                  3xLP includes MP3 Download Code.

                                  Those reliable chaps at Wagram drop another essential bit of wax for the nerds, bar jocks and sample spotters here - putting together a flawless collection of funk killers (both classic and otherwise), which have become better known in their sampled form. Take a quick peek at the tracklist and you'll find nothing but gold from the likes of Eddie Johns, Ike Turner, Gwen McCrae and Bob James, all of which come approved by a who's who of contemporary hip hop and dance music. 

                                  Hot on the heels of their ‘Sampled Funk’ selection, the folks at Wagram apply the same approach to soul, lounge and easy listening, raiding the crates for those smooth grooves, gospel scorchers and tearjerkers that generations of producer have flipped for high quality hip hop and house. Perfect for wax nerds, sample spotters and bar DJs, this collection features jamz from Ray Charles, Timmy Thomas, Dusty Springfield and Etta James.

                                  Various Artists

                                  Rockinitis Volume 2

                                    For a second time round, delve into the Rockinitis sounds of mid-fifties to early-sixties Black dance music. Juke joint gear, as chosen by London based record-slinger, Diddy Wah, and Stag-O-Lee's troublemaker-in-chief, R-Man. If your nights are mis-a-ble and your days blue, salvation can be found right here. These selections aren't just a mild pick- me-up, this is full-blown electric- guitar blues to make you stand up and shake your hips.

                                    Various Artists

                                    Rockinitis Volumes 1&2

                                      If your nights are miss able and your days blue, salvation can be found right here on Rockinitis. As usual, Stag-O-Lee compile two vinyl LPs onto one compact disc. Vol. 1 (STAGO 131LP) appeared on October 2018 and Vol. 2 (STAGO 137LP) released in early 2019. 32 tracks -- very close to 80 minutes of raw electric blues. These selections aren't just a mild pick-me-up, this is full-blown electric-guitar blues to make you stand up and shake your hips. Both volumes compiled by Stag-O-Lee's own R-Man and London based DJ and record hound, Diddy Wah. 

                                      SLEAFORD MODS WILL BE INSTORE SIGNING COPIES OF THEIR NEW ALBUM 'ETON ALIVE' ON MARCH 15TH FROM 4.30pm - 5.30pm.
                                      PRE-ORDER NOW TO GUARANTEE A COPY FOR THE SIGNING SESSION.


                                      Sleaford Mods are one of the most important, politically charged and thought-provoking duos currently making their mark on the UK music scene and beyond. They are now poised to release their fifth studio album entitled ‘Eton Alive’ in February 2019. The album, which features 12 new tracks from the prolific artists, was recorded in Nottingham. The record will be the first release on Jason and Andrew’s newly formed label ‘Extreme Eating’ and their first album since parting ways with Rough Trade Records.

                                      “Eton Alive speaks for itself really. Here we are once again in the middle of another elitist plan being digested slowly as we wait to be turned into faeces once more. Some already are, some are dead and the rest of us erode in the belly of prehistoric ideology which depending on our abilities and willingness, assigns to each of us varying levels of comfort that range from horrible to reasonably acceptable, based on contribution. So after the digestive system of the Nobles rejects our inedible bones we exit the Arse of Rule, we fall into the toilet again and at the mercy of whatever policies are holding order in the shit pipe of this tatty civilisation. It is here our flesh regenerates as we rattle into another form, ready, and ripe for order”. – Jason Williamson.

                                      STAFF COMMENTS

                                      Barry says: The Mods return once again for another politically charged slice of snarling vocal fire and wry social commentary. This time we get a more momentous charge towards post-punk minimalism, drum machines and distorted bass taking a back seat to the increasingly effective two-part baying of Williamson & Fearn.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Indies Only Blue Vinyl.

                                      Coloured LP 2 Info: Limited to just 500 copies this an exclusive German edition on pink vinyl.

                                      Lily and Madeleine Jurkiewicz create candid music with deep emotional and personal resonance. The sisters, who record under the moniker Lily & Madeleine, boldly explore what it means to be women in the 21st Century and aren’t afraid to use their music to call out injustice or double standards. This fearless approach has permeated their three albums, which are full of insightful lyrics and thoughtful indie-pop.

                                      With their fourth studio album, ‘Canterbury Girls’, named after Canterbury Park, located in their hometown of Indianapolis, the sisters are coming into their own as women and musicians. Using an eclectic playlist of songs as sonic inspirations - soul tunes and waltzes, as well as cuts from Midlake, ABBA and Nancy Wilson - Lily & Madeleine worked quickly, recording ‘Canterbury Girls’ in just 10 days.

                                      Although the record contains plenty of Lily & Madeleine’s usual ornate music - including the languid ‘Analog Love’, on which twangy guitars curl around like a kite twisting in the wind - the album also finds the siblings exploring new sonic vistas. ‘Supernatural Sadness’ is an irresistible slice of bubbly, easy-going disco-pop; the urgent ‘Pachinko Song’ hews toward interstellar synth-pop with driving rhythms and ‘Can’t Help The Way I Feel’ is an effervescent, Motowninflected number.

                                      Vocally, the sisters also take giant leaps forward. The dreamy waltz ‘Self Care’ is a rich, piano-heavy track on which their voices intertwine for soulful harmonies, while the meticulous ‘Just Do It’ has a throwback 70s R&B vibe. “This is the first record Lily and I have ever done where we have full control over all of the songwriting,” says Madeleine. “We did co-write with some people that we really love. But everything on this record is completely ours. I feel like I have full ownership over it, and that makes me feel very strong and independent.” With this growing self-confidence and musical poise, it’s clear that Lily & Madeleine are positioned for even greater things going forward.

                                      STAFF COMMENTS

                                      Barry says: Lil & Mads' last outing, 'Keep It Together' was a big hit in the shop, and their latest, 'Canterbury Girls' will surely meet the same reception. Slightly more upbeat this time around, we get an infectious smattering of neo-soul, shimmering synth-pop and even the odd inkling of classic-rock melodies and the ever-present addictive two-part harmonies we've come to know and love. Beautiful stuff.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Indies exclusive marble vinyl.

                                      The second full-length album from Julia Jacklin, Crushing embodies every possible meaning of its title word. It’s an album formed from sheer intensity of feeling, an in-the-moment narrative of heartbreak and infatuation. And with her storytelling centered on bodies and crossed boundaries and smothering closeness, Crushing reveals how our physical experience of the world shapes and sometimes distorts our inner lives. The follow-up to her critically acclaimed 2016 debut Don’t Let the Kids Win, Crushing finds Jacklin continually acknowledging what’s expected of her, then gracefully rejecting those expectations. As a result, the album invites self-examination and a possible shift in the listener’s way of getting around the world—an effect that has everything to do with Jacklin’s openness about her own experience.

                                      Discussing the record, Jacklin offered the following;

                                      I really like this album, I worked hard on it and I really like listening to it. That's not usually how I feel after making something. I've finally come to accept that right now for me, making records is about capturing a time; who I am at that time, what I need to say in the best way I can say it, with minimal studio frills to cover it up. So I'm really happy to announce this one and ready for whatever things get thrown my way because of it. The cover was hard to figure out, seemed like I couldn't think of what kind of image would represent the music in the right way. Hard deadlines always make me more creative surprisingly. I was on tour in the states with my best bud Nick Mckk who takes a lot of my photos, he took my first album cover. We pulled off the highway in Pennsylvania and found a town called Krumsville. There was an antique store with a very friendly owner who let us run free inside. I got the jumper made the day before in NYC, same day I decided on the album name. I think it works.

                                      Produced by Burke Reid (Courtney Barnett, Liam Finn) and recorded at The Grove Studios, Crushing sets Jacklin’s understated defiance against a raw yet luminous sonic backdrop. “In all the songs, you can hear every sound from every instrument; you can hear my throat and hear me breathing,” she says. “It was really important to me that you can hear everything for the whole record, without any studio tricks getting in the way.”

                                      On the album-opening lead single “Body” - released last month - Jacklin proves the power of that approach, turning out a mesmerizing vocal performance even as she slips into the slightest murmur. A starkly composed portrait of a breakup, the song bears an often-bracing intimacy, a sense that you’re right in the room with Jacklin as she lays her heart out. And as “Body” wanders and drifts, Jacklin establishes Crushing as an album that exists entirely on its own time, a work that’s willfully unhurried.

                                      And whilst a moving and complex listen, Crushing unfolds with an ease that echoes Jacklin’s newfound self-reliance as an artist. “With the first album I was so nervous and didn’t quite see myself as a musician yet, but after touring for two years, I’ve come to feel like I deserve to be in that space,” she says. Throughout Crushing, that sense of confidence manifests in one of the most essential elements of the album: the captivating strength of Jacklin’s lyrics. Not only proof of her ingenuity and artistic generosity, Jacklin’s uncompromising specificity and infinitely unpredictable turns of phrase ultimately spring from a certain self-possession in the songwriting process.


                                      STAFF COMMENTS

                                      Barry says: It's no surprise that 'Crushing' shares a producer with the most recent Courtney Barnett opus, with it's infectious hooks and Jacklin's singular vocal talent shining through in a rich, sumptuous sea of satisfyingly crunchy guitar and thick percussion. All of this merely highlights Jacklin's unmistakable ear for melody and perfectly constructed melodic indie-rock. This is an absolute winner, and an undoubtable career high.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Limited edition green vinyl.

                                      Bonobo is an artist who explores elements of instrumental hip-hop, electronica and ambient with live instrumentation and enjoys an illustrious career with a sea of collaborators ranging from Erykah Badu and Andreya Triana to Rhye and Nick Murphy.

                                      His highly textural aesthetic translates into an ethos that looks to introduce a more open musical palette without losing sight of its past. His mix supports 10 exclusives or unreleased tracks, including 2 from himself and another from his rare pop-up alias Barakas. Employing the multi-instrumental arrangements of his own work in this 74 minutes of house, techno, electronica and breakbeat, each track exudes character and allows animated melodies to wander and develop, all the while grounded by an acute sense of harmonic progression and rhythmic precision.

                                      STAFF COMMENTS

                                      Barry says: There's no denying that Bonobo has been at the forefront of electronic music production for the best part of two decades now, and this superb suite of influences shows exactly where it all came from. Featuring a diverse range of artists and genres, it becomes clear where the mix of instrumental hip-hop, trad. electronica and downbeat meet in the euphoric middle-ground Bonobo treads. A superb compilation on it's own merits and a fascinating timeline of Bonobo's considerable influences.

                                      The follow up to their critically acclaimed albums Drenge (2013) and Undertow (2015), as well as this year’s Autonomy EP, Strange Creatures includes singles ‘This Dance’ and ‘Autonomy’, and according to the band is “the most considered record we have ever made”. 

                                      Speaking about Strange Creatures, Drenge said “It’s a nocturnal record. A psychological horror movie on wax. Warped hallucinations from mundane observations as you move through it. Is that a school or a skyscraper on fire in the distance? Or maybe it’s just the ski village? You drive nearer, past roadside diners jammed with dancing teenagers, through Uncanny Valley, past the most unhygienic nightclub in the world. The stereo sounds like it’s going to fall apart at any moment. The car judders to a halt and all you can hear is the sound of the sea.”


                                      STAFF COMMENTS

                                      Barry says: Since 2015's 'Undertow', it's clear Drenge have been honing their songwriting skill and propensity for vicious, scathing instrumentation and roaring distorted vox, with 'Strange Creatures' presenting as their most refined and focused offering yet. Fleetingly dystopian and noticeably gothic, we get a heady mix of jazzy flourishes, gloomy rock and snappy instrumentals all topped with Loveless' distinct vocal talents.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Limited edition orange vinyl with art print.

                                      Cellar Doors

                                      Cellar Doors

                                        Cellar Doors from San Francisco are leading exponents of the Third Wave of Psychedelia, and are blowing up fast on the West Coast. They have been coaxed out of their thriving undergound scene for support slots by invitation by the likes of Black Cycle Motorcycle Club, Roky Erickson, Allah-Las and more. Championed and now managed by Stephen Holt of the Inspiral Carpets, this is their highly anticipated debut album, dripping with pure power psych melody overlaid onto undulating post-punk walls of sound. Powerful, brooding and danceable at the same time, it is at once timeless and cutting edge.

                                        STAFF COMMENTS

                                        Barry says: Swimming in a hazy pool of languid distortion, shimmering reverb and lengthy vocal trails, Cellar Doors are a brilliantly modern take on classic psychedelia. Reminiscent of the classics of the 70's but imbued with the spirit of 90's shoegaze and 00's indie, they have managed to perfectly capture the sound of a hazy summer. Beautifully evocative and perfectly written.

                                        When London’s Teeth Of The Sea set about recording their fifth album, there seemed to be more than just the familiar spectres of the band’s collective and overactive imagination at their disposal - the unruly morass of ‘80s horror and sci-fi movies, industrial ballast, 2000AD terror, ‘70s-damaged experimental brinksmanship and atmospheric grandeur that they’d somehow conspire to sculpt into coherent structures - instead, these ghostly interruptions - or wraiths - were of a distinctly otherworldly nature. In Soup Studios, located in the liminal zone of East India Dock on the Thames under the auspices of Giles Barrett, all such influences contributed to form a collection of tracks that represented a fearsome and transporting marriage of the ferocious and the melancholic.

                                        Alchemised trash, kitchen-sink surrealism, out-of-order intensity and ritualistic overtones collides and colluded into a monstrous hybrid - this was a world where Tetsuo-The Iron Man would happily share space with Judee Sill, and where the acid guitars of Helios Creed would happily conspire with the Acid Rock of Rhythm Device. Meanwhile, Erol Alkan helped sculpt a mixture of mariachi elegy and electro euphoria at his Phantasy Sound studios, whilst Valentina Magaletti (Tomaga/Raime), Chloe Herington (Knifeworld/Valve) and Katharine Gifford (Snowpony/ Stereolab) also willingly entered the fray to assist this unholy assemblage of inspiration, irreverence and otherworldly infiltration. Who knows where these voices and visions arrived from, yet we can only hope the resulting sounds help them gain safe passage into the beyond. Ladies and gentlemen, pray silence for the Wraith. 

                                        STAFF COMMENTS

                                        Barry says: Never ones to shy away from a bit of a change in pace, Teeth Of The Sea take this opportunity to skilfully weave their way towards haunted minimalism, foreboding instrumentation and eastern melodicism all at once. Beautifully sparse in places and as heavy as you could imagine in others while maintaining their impeccable euphoric edge, TOTS have never sounded so relevant. A superb, hypnotic journey.

                                        FORMAT INFORMATION

                                        LP Info: Limited green coloured vinyl edition.

                                        Produced by Yorkston and David Wrench, The Route to the Harmonium is James’ first solo record since 2014’s Cellardyke Recording and Wassailing Society (CRAWS) and follows the two collaborative albums he made as one third of Yorkston/Thorne/Khan as well as the release of his debut novel Three Craws in 2016.

                                        The album was almost entirely recorded by James himself, in the small Scottish fishing village of Cellardyke, where he lives. Yorkston’s studio is a ramshackle old loft space, originally used to repair fisherman’s nets, and now stuffed full the antique instruments James has collected throughout his life as a musician. Having created hours of recordings, James called up his old collaborator David Wrench - the mixer and producer who has worked with the likes of Caribou, Four Tet, Frank Ocean, FKA Twigs and David Byrne - and someone who has worked on James’ albums since 2003 – to help make sense of the sessions.

                                        The Route to the Harmonium (or, ‘the search for peace’) is intensely personal; it’s the sound of home, of undisturbed craftmanship. Listen closely and you can imagine him putting it together. Overlaying vocal and guitar tracks, adding further with Dulcitones, harmoniums and autoharps, with nyckelharpa, the distinctive Swedish stringed instrument given to him by a friend. And friends and family, past and present swim all over his songs. Remembering them, and those you’ve shared life with, those who leave and those who remain, is the strongest thread running through these affecting, extraordinary songs. This is Yorkston’s world and could be nowhere else in music.

                                        James adds: “I guess, as a musician and writer, I find myself reacting to what goes on around. So, this album is about life, the life that carries on around me. There’s family, place, and the being away from family that the life of a touring musician brings… But there’s also reference to friends departed – the hows, the whys – When a friend jumps ship it’s always a haymaker to the gut, you know? And this album is about them, but it’s more about us, us who are left behind...”

                                        STAFF COMMENTS

                                        Barry says: Tender ballads and brittle songmaship on this stunning outing from the great James Yorkston. Reminiscent of some of the country-folk offerings from Constellation / Alien8 recordings in the early 90's, Yorkston manages to convey a heartbreaking morose air whilst keeping the melodicism intact. A beautifully written collection, as expected.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Heavyweight green vinyl, includes poster too.

                                        Coloured LP includes MP3 Download Code.

                                        LP Info: Heavyweight black vinyl, includes poster too.

                                        LP includes MP3 Download Code.

                                        Better Oblivion Community Center

                                        Better Oblivion Community Center

                                        Better Oblivion Community Center is a brand new band comprising the formidable talents of Phoebe Bridgers and Conor Oberst, two of the most lauded American songwriters of the past several years. Written and recorded in Los Angeles during the summer of 2018, their self-titled debut album will be released on Dead Oceans in early 2019. The pair first collaborated on Bridgers’ 2017 single, “Would You Rather”, taken from her acclaimed debut album Stranger In The Alps. They teamed up again for a recording of Oberst’s “LAX” in the fall of 2018.

                                        Co-produced by Bridgers, Oberst and long time Oberst/Bright Eyes collaborator Andy LeMaster and mixed by John Congleton, Better Oblivion Community Center features the work of several talented friends, including Nick Zinner (Yeah Yeah Yeahs), and Carla Azur (Autolux, Jack White) among others.

                                        STAFF COMMENTS

                                        Barry says: Better Oblivion provides the perfect stage for the juxtaposition of Oberst's rough husky vocals and Bridgers' smooth, ethereal air. Exactly as beautiful as you'd expect from this duo, tender and innovative, full of wonderful heartbreaking moments and perfectly written, wonderfully delivered bliss.

                                        "Who Else" has been in the works for two years and was made within a month. It’s a record offering essential Modeselektor, a record formed by experience, self-confidence and the usual madness. It raises a question and answers it straight away. "Who Else" is yet another counteraction to boredom and formulaic approaches. Hear Modeselektor casually kicking against the pricks. Somebody’s gotta do it. Who else?

                                        Technical knowledge and craftsmanship have improved their creative process, but in the studio they are driven by the same old things. It’s the quest for the beat they haven’t made yet, the eternal hunt for the perfect mix. No bass drum sounds like the other on this record, no snare repeats itself in a different track. Each hi-hat is tailor-made, no synth sound recycled on another occasion. This isn’t one of those predictable techno records, and that’s what makes it such an effort: the endless search for new sounds while always bearing in mind that less is more.

                                        "Who Else" represents the sound of Berlin in all its ambivalence. You’ve heard lead single "Wealth", a hip hop track featuring London Grime artist Flohio. "WMF Love Song" pays tribute to the long-gone formative Berlin club, but who could call these relentless UK vibes nostalgic? Estonian rapper Tommy Cash parties on the crunchy and playful "Who", Otto von Schirach lends his screams to the dark industrial techno of "I Am Your God". And there’s many other tracks that show Modeselektor rambling, raving, experimenting or just enjoying themselves. Is all of this considered hot and valuable by dance industry standards? Doesn’t matter, they don’t play by these rules too much.


                                        FORMAT INFORMATION

                                        Picture Disc Info: This Indies Exclusive format includes a poster and download code.

                                        Desperate Journalist

                                        In Search Of The Miraculous

                                          In Search of the Miraculous is the third album from much-loved indiegoth dreamboats Desperate Journalist and follows the bands critically acclaimed album Grow Up. If the title conveys a sense of wide- eyed ambition then the music on In Search Of The Miraculous fits the plot perfectly, featuring ten tracks fizzing with creative passion, giant choruses, heroic solos and poetic intensity. Warning: this album contains love songs, anti-love songs and other songs wandering about, lost in an in-between-daze. It’s a bit complicated. Boasting one of the most inspired band names of recent times, the quartet take their moniker from a 1979 John Peel Session track by The Cure. If you ever wondered what Harriet Wheeler from the Sundays would sound like fronting a rawer version of the Smiths or the Cocteau Twins with energy and a shimmering indie edge, then Desperate Journalist is a must hear.

                                          Wales' favourite indie punk-folk-rockers Threatmantics FINALLY return for their newest outing, 'Shadow On Your Heart'. Kicking things off with the eponymous starter, we get a beautfully lacerative streak of bass and distorted guitar before snappily breaking down into a twinkling guitar and string redux. This is but one of many points throughout this LP that point towards an alt-folk sensibility, managing the heft of thudding percussion and driven fuzz with a juxpositive lightness of touch and tender playfulness. This playful flickering continues into the follower, 'First Things' which showcases perfectly Heddwyn's astute post-punk vocal qualities, encompassing an aspect of theatrics whilst managing to perfectly fit into the perfectly off-kilter rhythmic maelstrom that periodically breaks through the unsettling minor-key gloom. 

                                          It's a clever balance which continues to impress, with 'Who Is Afraid Of Patrick Wollf?' and 'Dangos Dy Ddannedd' showing both frantic momentum (bolstered by beautifully pulled viola and fuzzed-bass, coalescing together into a tense maelstrom) and short-lived resolution. Lifting the mood just long enough before plunging into a frantic, rich melodic counterpoint. 

                                          Add to that the foreboding, atonal impact of 'Now You Are Gone' (post-punk bass and viola/guitar harmonies) and the hardcore thrash of 'Krystal Pistol' and we have a magnificently dynamic foundation for the kiler closing trio. 'Under The Sun' is possibly the most expansive two-and-a-half minute tune i've ever heard, going from tender acousticry highly reminiscent of the alt-folk anti-punk movement of the early 00's before launching into a hefty post-rock redux in the latter half. It's incredibly well handled and the vocoded machinations once again balance the thrashing anti-melody with a sense of sweetness before 'Mother Folker From Hell' (arguably the most earwormy piece on here, as slanted and enchanted as the Threaters get) and the brilliantly off-piste, haunted closer of 'Little Johnny'.


                                          STAFF COMMENTS

                                          Barry says: If you ever wondered if alt-folk post-punk orchestral indie-rock could ever work then look no further. I can say i've been considerably ahead of the curve here having seen Threaters play on more than one occasion, but this really is a perfect distillation of their unflappable spirit and undeniable excellence. Brilliantly recorded, emphatically performed, and wonderfully captured anarchic melodic mayhem. Superb.

                                          FORMAT INFORMATION

                                          LP Info: Hand-numbered screen printed sleeve, with printed insert.

                                          LP includes MP3 Download Code.

                                          Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.

                                          Her new album Lung Bread For Daddy delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own. “I know exactly what I want my record to sound like and apart from drums, I have the ability to play all the instruments, so I did” Houghton states.

                                          True to form, the first peak of the new album is the self directed video (Houghton has also made videos for Ezra Furman, Red Hot Chilli Peppers and LUMP) for lead single 'Buddy' which also stars a bathtub, 3 bottles of vegetable oil and 37 packets of spaghetti.

                                          Lung Bread For Daddy sees a meeting in which Beth’s previous two albums, 2015’s ‘Welcome Back To Milk’ and her debut ‘Yours Truly, Cellophane Nose’, take a seat at the table and make amends. Veering wildly between proto-punk, psych rock and the wholesome song writing of the 1970’s, taking the listener on a journey through the landscape of her past. It is an honest and often uncomfortable look into the life of a person who’s experiences have been touched by a myriad of characters, homes across continents, periods of extreme loneliness, mental illness and a search for an understanding of personal identity. “My lyrics are always autobiographical. I have to be able identify with what I’m singing, and telling my story is therapeutic”.

                                          Houghton's insatiable thirst for creation on her own terms has seen her take charge of every aspect of Lung Bread For Daddy including the brutal self portrait that adorns the cover of this record. Painted from a photograph taken during one of her lowest points, the image depicts Beth devoid not only of makeup, but self worth and confidence. “I look tired and pretty much destroyed, which is a feeling I’ve known many times over; in the aftermath of relationships and that of making a record. Lyrically the album is very naked so I’m carrying on the nudity of my previous album covers, only this time it’s emotional instead of physical.”

                                          STAFF COMMENTS

                                          Barry says: A wonderfully off-piste distorted wonder from Beth Jeans Houghton as 'Du Blonde' here : distorted riffage, snappy percussion and haunted echoing vox, think stoner rock, garage and rock and/or roll all wrapped into one cohesive whole. Fully brilliant.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Sunflower yellow vinyl.

                                          South Of Reality, The Claypool Lennon Delirium’s epic sophomore album might be just the antidote this sick world needs. Music so potent it could repel an asteroid impact from space, these seasoned warriors of psychedelia have crafted timeless songs that may as well be chiseled in stone. The monolithic dream team’s new record was produced by Les Claypool and Sean Lennon themselves, and engineered and mixed by Les Claypool at his own Rancho Relaxo studio in Sonoma County, California.

                                          STAFF COMMENTS

                                          Barry says: Psychedelic hooks, rolling basses and squealing falsetto may not be what you'd associate with Les Claypool of Primus fame (although they certainly had their moments at all of these over the years) but on his second LP with Sean Lennon, that's exactly what you get. Hazy, dreamy psychedelia without a slap bass in sight. Lovely stuff.

                                          FORMAT INFORMATION

                                          2xColoured LP includes MP3 Download Code.

                                          Each song on Bayonne’s Drastic Measures is orchestral in texture, unfolding in countless layers and kaleidoscopic tones. With great intensity of detail, the Austin-based artist otherwise known as Roger Sellers deepens that sonic complexity by weaving in elegantly warped samples of the field recordings he’s gathered for over a decade. But in its powerful melodies and pristine arrangements, Drastic Measures ultimately bears a pure pop lucidity even in its most grandiose moments.

                                          Roger Sellers is a lot of things. He’s a minimalist composer with a knack for making hypnotic, enveloping songs from a few repeated musical phrases. He’s a gifted musician who is mostly self-taught, having abandoned formal study because it was draining the life from his work. He’s a self-described disciple of Phil Collins. What he is not, however -- despite multiple press reports to the contrary - is a DJ.

                                          STAFF COMMENTS

                                          Barry says: Swimming in reverb, soaring melodies are twisted together delicately below echoed vocals, rich percussion and slowly developing melodic counterpoint. It's a well balanced and beautifully accomplished suite of dreamers.

                                          Curtains wide open, breeze drifting freely through the grasses outside your window, occasional ripples atop the marimo bowl in the corner - everything in its own designated place. Forgot your hot stones and reiki healing, Jonny Nash is back, returning balance to the universe with the heartfelt ambient of "Make A Wilderness". Setting out to centre each and all of us, Jonny arranges stately piano, controlled feedback, chimes and guitar into eight immersive compositions inspired by the descriptions of landscape and environment in the work of authors Shusaku Endo, J.G. Ballard and Cormac McCarthy. As such, the LP is steeped in space, widescreen and wild or ethereal and ecstatic, and captures the mist and distance of an ancient forest or future ruin in its own abstract way.


                                          STAFF COMMENTS

                                          Patrick says: After half a decade supplying the healing frequencies via his Melody As Truth imprint, Jonny Nash arrives at Music For Dreams HQ on a solo tip (he's previously graced the label as one third of Gaussian Curve) with a moody set of ambient compositions inspired by the wilds. Though far from gloomy, "Make a Wilderness" is a shade darker than his MAT work, reflecting the ambivalent energy of nature, whilst retaining those clean and clear tones he's made his own.

                                          Sunwatchers

                                          Illegal Moves

                                            RIYL: Guerilla Toss, Albert Ayler, Horse Lords, Sun City Girls, John Zorn. NYC quartet ’s third album, former mbrs of NYMPH, Dark Meat, Arthur Doyle’s New Quiest Screamers… "New York quartet Sunwatchers drew a line in the sand with their last album "II", a powerful statement of the band's unique brand of spiritual, free-rock, gonzo attitude and a progressive socio-political worldview. "Illegal Moves" is their second album for Trouble In Mind. "Illegal Moves" is the band's most potent blend yet; a heady potion of free-jazz, psychedelia, punk & noise rock that is both tender and ferocious; the perfect soundtrack to smash capitalism and fix our broken system thru sonic catharsis and revolution.

                                            Songs like "Everybody Play" and "Beautiful Crystals" insinuate themselves into your brain with the rubbery synchronicity of bassist Peter Kerlin and drummer Jason Robira. Elsewhere "New Dad Blues" and "Greeneyed Pigmen (Get The Blade)" sting with a righteous fury beyond the piercing scree of guitarist Jim McHugh's electric phin or Jeff Tobias' saxophone skronks, and the band's cover of Alice Coltrane's "Ptah, the El Daoud" transforms her meditative elegy into a fiery protest march. The songs crackle with an energy informed by passionate disgust of the status quo realized on the album cover's illustration of the Kool-Aid Man battling the personifications of evil from across the world. A psychedelicized avatar for the general wrath and action that they believe in."

                                            FORMAT INFORMATION

                                            Coloured LP Info: Indies Only Blue/Red Swirl Vinyl

                                            Pom Poko

                                            Birthday

                                              Pom Poko are Ragnhild (lead vocals), Ola (Drums), Jonas (Bass) and Martin (Guitar). The 4 met whilst all studying at the Trondheim Music Conservatory in Norway and quickly garnered interest from a wider audience as they began playing and writing together. The group cite a range of influences for their unique sound, including “(West)-African music like Oumou Sangaré and Ali Farka Touré; indie bands like Vulfpeck, Palm and KNOWER; noisy high-energy bands such as Hella and Death Grips; and music with interesting lyrics such as Jenny Hval and Nick Drake.” But you’d struggle to pin them down to one or two forebears, given their resistance to anything resembling a prescriptive approach.

                                              Speaking about the origin of their name, which taken from one of the more vigorously outré films by Japanese animation visionaries Studio Ghibli, the band explain, “The Pom Poko film captures a lot of what we'd like our concerts to be: high energy, fast pace, lots of stimulus for eyes and ears – and most importantly, really crazy and fun. The movie is basically the time of your life for two hours, and afterwards you're in some state of exhausted ecstasy. Plus the raccoons in the movie, and raccoons in general, are really badass.”

                                              The band’s own bad-ass-ery is writ large on album opener ‘Theme1’, which locates a sweet spot between Deerhoof and Battles as singer Ragnhild issues loud, clear rebel yells over Martin’s math-rock guitar. Singles ‘My Blood’ and ‘Follow The Lights’ layer seductively sweet melodies over squalls of sound, while the funk-fired ‘My Work Is Full of Art’ offers a kind of mission statement: “I’ll just let freaky surround me,” sings Fangel.

                                              Elsewhere, Pom Poko’s instinctive dynamism teases uplifting thrills from boundary-melting experiments. Glacial shards of guitar bounce off steel-drum flurries on the rapid-fire serotonin fix of ‘Blue’, before the sweetly infatuated ‘Honey’ comes sequenced next to the thrashing tonal lurches of ‘Crazy Energy Night’. The sing-song title-track spikes the ranks of sweetly sad birthday songs with a rebellious sting (“I’m not your bitch!”), while ‘Daytripper’ is a commanding come-on from a band who are no more likely to mince their words than limit their range. ‘If U Want Me 2 Stay' resembles ‘The Tra La La Song’ retooled as a sci-fi cyber-pop anthem of carefree defiance, while ‘Peachy’ closes the album with an exultant melody and one last declaration of transformative independence: “Watch me as I shape shift.”


                                              FORMAT INFORMATION

                                              LP Info: Limited edition 180 gram vinyl.

                                              LP includes MP3 Download Code.

                                              The Beasts

                                              Still Here

                                                After an extremely emotional final performance with the Beasts of Bourbon, Tex Perkins hit upon the idea of getting all of the band's members, past and present into a recording studio with no particular agenda other than to do just that. It was more of a celebratory thing he had in mind than anything. Sadly, bassist Brian Hooper didn't make it along as he passed away a week after the Beasts last show. Assembled in Soundpark Studio a couple of weeks later were Charlie Owen, Boris Sujdovic, Tony Pola, Spencer Jones, Kim Salmon and Tex Perkins. Deeply sad is that Spencer was only around long enough to make it onto one track. Absolutely wonderful is that he did make it onto the recording. And with such a funny and typically Jones style piece of observation as At The Hospital. With respect, this isn't the Beasts of Bourbon. It would need to have Jonesy on every track to be that! But loudly and proudly this is: The Beasts Still Here. 

                                                Feels

                                                Post Earth

                                                  Second full-length album from Los Angeles’ melodic noise punk quartet Feels

                                                  The follow up to their Ty Segal-produced debut for Castle Face debut – which earned the band press attention from outlets including The Fader, Spin and The Los Angeles Times - sees them capture their incendiary live show on record. This time they teamed up with legendary producer Tim Green (Bikini Kill, Sleater-Kinney) to record at Louder Studios.

                                                  The album features a range of sounds, from driving basslines reminiscent of the Breeders on tracks like "Find A Way", to swirling vocal harmonies on "Awful Need" subtly nodding to Warpaint, and the crushing title track "Post Earth“, an accumulation of grunge rawness and towering Queens of the Stone Age riffs

                                                  Mazy Fly, the second full-length by the Bay Area artist SPELLLING, explores the tension between the thrill of exploring the unknown and the terror of imminent destruction. Chrystia Cabral spent the summer of 2018 in her Berkeley studio reflecting on the thresholds of human progress and longing for a new and better tomorrow. She was struck by the way the same technologies that have given humans the ability to achieve utopian dreams of discovery have also brought the world to the precipice of dystopic global devastation. Despite the darkness of this reality, Mazy Fly is defiantly optimistic. It is a celestial voyage into the unknown, piloted by Cabral.

                                                  Each song on Mazy Fly enshrines distinct sentiments within this imagined voyage, from the deeply personal (“Hard to Please Reprise”) to the cosmic (aliens travel to Earth to hear music on “Real Fun”). “Haunted Water” is an intensely heavy song about the memories of colonial violence that haunt the historical slave ship routes of the Middle Passage. “Under the Sun” is a cosmic prayer for good fortune that sees the potential for radical newness in our own lives in the births of stars.

                                                  Mazy Fly musically traverses the spaces between languid, honey-soaked vocals and distant angelic whispers, from thumping 808 club beats to crunching tape loops, and from silky, smooth R&B to whirling organ sonatas. Cabral became enamored by the idea of flight as a harbinger of both progress and apocalypse, and that was expressed in the textures and compositional techniques she utilized. Swarms, flocks, flies, angels, spaceships, flying saucers – all are represented sonically by Cabral and her Juno-106 synthesizer.

                                                  “Secret Thread” is the key to this motif, and the heart of Mazy Fly. When Cabral saw her puppy Cooper running gracefully around an open field, she imagined a winged spirit moving through her new music. She named the spirit, and the album, Mazy Fly.


                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Blue vinyl.

                                                  Dutch pop maverick Benny Sings has been working his quirky AOR magic for fifteen years now, fusing R&B, pop, soul and jazz into bangers and ballads without gaining the widespread recognition he deserves. I get the feeling all that is about to change. In the past couple of years, Benny Sings co-wrote and featured on Rex Orange County’s hit ‘Loving Is Easy’ and has collaborated with Anderson Paak, GoldLink and Mndsgn, among others. 
                                                  Now he's back with his sixth LP, and first for Stones Throw, "City Pop", a glorious selection of high gloss pop songs featuring the likes of Mayer Hawthorne and Cornelius. Despite a heavy Japanese influence on the LP, whether it be collaborators Cornelius and Sukimaswitch (the “Japanese Steely Dan”) or sleeve artist Ryu Okubo, the LP's title isn't a straight reference to the Japanese pop of the 80s, but rather a reflection of the international cities which shaped its creation. Written and recorded in New York, LA, Tokyo, Paris and Benny’s hometown of Amsterdam, this is global soul for the next generation.

                                                  Various Artists

                                                  3 X 4

                                                    3 x 4 is a celebration of L.A.’s Paisley Underground scene of the mid-80s featuring four of the scene’s most notorious bands each covering the songs of the others - four bands covering three songs each - “3 x 4” get it?

                                                    Various Artists

                                                    Big Gold Dreams - A Story Of Scottish Independent Music 1977-1989

                                                      Big Gold Dreams documents the vibrant independent music scene to emerge in Scotland across the late 70s and 80s. Initially ignited by punk, labels sprang up in Glasgow, Edinburgh and elsewhere to give a voice to the explosion of new acts across the country. Named after Fire Engines’ memorable single and Grant McPhee’s recent TV and DVD documentary,

                                                      Big Gold Dreams includes many of the Scottish music scene’s most important names as well as countless obscurities. Includes landmark tracks by The Rezillos, Simple Minds, Altered Images, Skids, The Jesus And Mary Chain, Primal Scream, The Bluebells, The Waterboys, Cocteau Twins, Aztec Camera, The Soup Dragons, The Associates, Scars, Strawberry Switchblade, Josef K, BMX Bandits, Edwyn Collins, Del Amitri, The Vaselines, The Shamen, Goodbye Mr. Mackenzie and many others.

                                                      Boasts lengthy essays and band histories by Grant McPhee, Neil Cooper and Tim Barr, within a lavishly illustrated 70-page booklet.

                                                      Created by the same Cherry Red team behind such previous box sets as Scared To Get Happy, Still In A Dream, Action Time Vision, To The Outside Of Everything, Manchester North Of England, Revolutionary Spirit, etc. Big Gold Dreams also includes recordings from key labels such as Zoom, Postcard, 53rd & 3rd, Rational, Fast Product/Pop:Aural, Supreme International Editions, Creation, Egg, Sarah, etc. Pre-fame 45s by Johnny & The Self Abusers (later Simple Minds), Another Pretty Face (pre-The Waterboys), Fun 4 (pre-Orange Juice), as well as P.V.C.2 (post-Slik, featuring Midge Ure). Numerous tracks debut on CD, alongside a string of impressive debut 45s (e.g. Fini Tribe, Momus, The Wake, Win), plus classic indie tracks from The Pastels, Shop Assistants, The Vaselines and The Fizzbombs and many others.

                                                      “If there was a mission it was to create something like absurd office funk,” says Stats’ Ed Seed, recalling the birth of his band. He was working a series of banal London office jobs, but rather than switch off or despair, Seed used this conventionally sterile backdrop for creative inspiration. “It was about taking things that are considered boring or are overlooked,” he says. “If you stare at anything long enough, it becomes weird.”

                                                      Staring into the infinite oddness of office life was interrupted when Seed “fluked” his way into La Roux’s band - which itself proved a further inspiration for the evolution of Stats. “I'd always been in scrappy indie bands,” he recalls. “Then I met Elly and her crew and thought ‘wow’. This kind of pop music, I always thought it only happened over in Hammersmith, you had to have tens of thousands of pounds and a major label. But I realised you didn’t need a huge budget to make something more stylish than your average band.”

                                                      This was a turning point for Seed, recognising he could create his own contemporary version of DIY art pop. “That gave me confidence,” he reflects. “I wanted Stats to be quite theatrical. I wanted it to be strangely glamorous, in a Roxy Music or Pet Shop Boys sort of way. Something that’s glamorous and quite silly. Those bands are very serious about being very silly.”

                                                      Debut album “Other People’s Lives”, recorded at RAK studios with the full Stats band (Ed Seed – vox, guitar, John Barrett -drums, Stu Barter - bass, Duncan Brown - guitar, Nicole Robson – keyboards, Iso Waller-Bridge – keyboards, vox) is about investigating the gaps in the stories we tell about our lives. Says Ed, “the world encourages me to experience my life as a narrative: a story in which I am the lead character, going on a journey, moving towards the discovery and realisation of an authentic self. Other people’s lives are presented to me as coherent, relatable stories, full of passion and travel and wonder. But my story makes no sense: it is full of contradictions and formless subplots, and I barely feel like the same actor from one day to the next - let alone find any meaning in it.”

                                                      Musically Other People’s Lives is in many ways a time-stamp of a record, something that captures the now, the fleeting, the fickle and the forgotten – like that perfect moment lost on the dance floor. Yet the album avoids being tied to a time and place, ricocheting between 70s art rock, 80s synth grooves and cosmic disco, presented honestly and experimentally via the all-encompassing prism of pop music.


                                                      STAFF COMMENTS

                                                      Patrick says: Duncan from Dutch Uncles hipped me to Stats a few months back (Memphis Industries fam innit), and I was on board instantly. Following the same absurdist pop route as Fujiya & Miyagi or Yacht, but with a touch of Roxy Music glamour, some Talking Heads vocal nods and a whole lot of DFA-style indie dance grooving, Stats are 2019's answer to Hot Chip, Metronomy and Holy Ghost.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Indies exclusive limited edition neon pink vinyl.

                                                      Coloured LP includes MP3 Download Code.

                                                      LP includes MP3 Download Code.

                                                      Hollow Earth is the new album from Pye Corner Audio aka Martin Jenkins, his third for Ghost Box. It’s conceived as a sequel to 2016’s Stasis. Where Stasis played with notions of outward cosmic exploration and the idea of suspended animation and sleep, Hollow Earth takes subterranean exploration and submerged psychologies as its theme.

                                                      It draws on Berlin school synth improvisations, New Age reveries and the ghosts of 90s house euphoria to summon up images of vast, awe inspiring spaces and claustrophobic chambers. It sustains an atmosphere of wonder and adventure throughout, and like its companion piece, Stasis, it works equally as a soundtrack to physical as well as mental exploration.

                                                      Pye Corner Audio specialise in majestic, cinematic electronica that evokes sci-fi soundtracks, dystopian futures and the sound of haunted dance floors. The discography to date includes eight full length albums and many more singles and EPs across several labels. There are also remixes for John Foxx, Mogwai, Mark Lanegan, Stealing Sheep, Knightstown, Not Waving and most recently Dolphin Midwives.

                                                      Pye Corner's Martin Jenkins (aka The Head Technician) is a veteran live performer, and has played shows and festivals all over Europe, Canada and the USA. Most notably he has supported Mogwai on several tour dates, played the Mutek festival in Montreal, the Mugako Festival in Spain and Barcelona’s Primavera Club.

                                                      Pye Corner Audio pieces appear in the soundtrack to Adam Curtis’s 2016 film HyperNormalisation and the 2018 Shudder TV series, Deadwax. More TV soundtrack appearances are due to appear in 2019.

                                                      STAFF COMMENTS

                                                      Barry says: Another absolute killer from PCA for the legendary Ghost Box, very much serving as a follow-up to Piccadilly top-5 album of 2016, 'Stasis'. Where the throbbing, machinated pulses of stasis still held elements of light, 'Hollow Earth' is very much a product of the unsure times we live in, dark vocal abstractions (don't worry, it's vocoded), fractured rhythms and saturation as standard. It's completely hypnotic and every bit as superb as you'd expect. Completely brilliant, and ALREADY album of the year material for me.

                                                      Light In The Attic’s Japan Archival Series continues with Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music – what can collectively be described as kankyō ongaku, or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres.

                                                      In the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection.

                                                      Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard.


                                                      STAFF COMMENTS

                                                      Patrick says: Now, while the Japanese ambient revival has been going on for some years (check out essential reissues on Palto Flats, WRWTFWW, 17853) Light In The Attic steal a march on their competitors with this sublime compilation of obscurities from the Land of the Rising Sun. Wonderfully packaged, presented and curated, "Kankyo Ongaku" is a fitting companion to "I Am The Center" and the "Microcosm", exploring the New Age and ambient sounds of 80s Japan. Minimal, relaxing and utterly beautiful, this music is almost heavenly.

                                                      FORMAT INFORMATION

                                                      2xDeluxe CD Info: 2xCD housed in a custom 7”x 7” hardbound book.

                                                      3xLP Box Set Info: Triple black vinyl LP with deluxe Stoughton “tip-on” jackets and slipcase.

                                                      When you walk alone, you’re never lost. At least, that’s the operating principle behind Homeshake, the recording project of Peter Sagar. Over his first three albums, Sagar followed his own idiosyncratic vision, a journey that’s taken him from sturdy guitar-based indie-pop to, on 2017’s Fresh Air, a blearyeyed take on lo-fi R&B. Now, with Helium, Sagar is putting down roots in aesthetic territory all his own. Landscape that he once viewed from a distance now forms the bedrock of his sound, and from here, he looks back out at the world as if through a light fog, composing songs that feel grounded and intimate, even as they explore a dispersed feeling of isolation.

                                                      It’s a feeling that comes through not only in the gauziness of the production, but also in the vulnerability of the songs themselves. Sagar began writing Helium shortly after completing Fresh Air, and in the middle of what he calls a “binge” reading of Haruki Murakami. It’s not hard to picture the narrator of these songs as a distinctly Murakamian character: He moves through time by himself, bemused by and insulated from a world he doesn’t quite seem to have been made for. Everyone Sagar encounters here — including himself — seems to be a step removed from present reality, whether by technology (“Anything At All”), solitude (“Just Like My”), or sweet fantasy (“Like Mariah”). The record is stitched together by a series of instrumental interludes, synthesizer explorations whose haziness adds to the suspicion that this is all an uncanny dream.

                                                      Which isn’t to say that Sagar is unmoored in his own world. In fact, much of Helium is the result of what he calls “a much clearer mental state” than the one he’d experienced shortly following Fresh Air’s completion. “I had a better idea of the sound that was working for this record and what it was turning into as I was writing the songs,” he says. That’s owing in part to the album’s genesis. Where his previous three records were recorded directly to one-inch tape in a local studio, Helium was recorded and mixed by Sagar alone in his apartment in Montreal’s Little Italy neighborhood between April and June of this year. Freed of the rigid editing process he’d endured before, he was able to lose himself in pursuit of tone and texture. “I didn’t have to book time, compete for good hours, wait on availability. I did a lot of it at home in the middle of the night,” he says. “It made me get more obsessive about details.”

                                                      A budding interest in ambient and experimental music — particularly Visible Cloaks, DJs Paypal and Rashad, and Jlin — pushed him to tinker with the micro-sounds that surround the songs here. It’s a process he found creatively invigorating; even the tinkling boom-bap of Young Thug informs “All Night Long.” It’s a far cry from the chorus-laden guitars of his earlier work. “Ever since I started introducing synthesizers into my music, I’ve gotten more interested in texture,” he says. “I’d hit a creative dead end [with guitars], so synths took over.” The warm chords of a Roland Juno 60 form the album’s base, and gave him a clean palette with which to work. “No tape hiss, no humming power outlets and shitty mixing boards,” as he puts it. “Everything just came out nice and pure.”

                                                      Still, for all the growth it demonstrates, Helium is at its core a singer-songwriter’s record made by someone who doesn’t feel beholden to any particular set of sounds, textures, or instruments to get his point across. In that sense, it feels closer to the bone, at once assured of its vision and remarkably vulnerable. It’s perhaps our purest view yet of Homeshake’s home country.

                                                      STAFF COMMENTS

                                                      Barry says: Low-key funky basses and woozy keys, smoothly rolling along underneath Sagar's perfectly ethereal vocals. Pieces like 'All Night Long' are at once wistful and dynamic, smoothly segueing between longing odes and syncopated, rhythmic lo-fi indie. Just as comfortable playing at home as in a darkened lounge-bar with a whiskey in hand, and a half-composed text message hanging in the balance.

                                                      FORMAT INFORMATION

                                                      Dinked Edition LP Info: Limited to just 300 numbered copies worldwide.
                                                      Exclusive "Fruit Punch" colour vinyl.
                                                      Includes exclusive art print.

                                                      Theon Cross strides confidently forth from his crucial role alongside Shabaka Hutchings in the award-winning Sons Of Kemet to unleash one of the vital sounds of 2019. Irresistibly inventive, while at once both serious and witty - Theon Cross plays Tuba like no-one else. An enormous, swaggering bass emanates from his magnificent horn, evoking sweaty clubnights where dance floor bangers sit side by side with intricate arrangements.

                                                      Nubya Garcia and Moses Boyd, London’s Jazz golden generation illuminaries, feature heavily. Wayne Francis of Steam Down also guests. Refusing to be shackled by the confines of Jazz, the album draws on London’s vivacious cutural heritage, dipping in and out of grime, afrobeat, electronic, dub, dancehall and Jamaican roots music.

                                                      Theon featured recently on the much lauded Makaya McCraven’s ‘Where We Come From’ album. He’s also performed with the likes of Kano, Moses Boyd, Jon Batiste, Pharoahe Monch, Courtney Pine and is a founding figure in South London-based collective Steam

                                                      STAFF COMMENTS

                                                      Millie says: Theon Cross has been saving this gem for us, after working on other albums from Sons of Kemet and Makaya McCraven. Reaching out to other collaborators like Moses Boyd and Nubiya Garcia, makes Fyah a seamless Jazz album which is just what's needed right now.

                                                      “Hello. I’m Robert Ellis, The Texas Piano Man. I wanted to take a moment to say a few words about this record and what you might expect from it. ‘Texas Piano Man’ is a collection of songs specifically written for my piano driven Rock & Roll band from the great state of Texas. Myself and the guys bring these songs to you in the very spirit of Texas itself; loudly, confidently, over the top, larger than life, at times deadly serious and yet always with a wink and a smile. We invite you to come on in, stay a while, and when you leave take with you the spirit of these songs, the spirit of Texas, and the spirit of The Texas Piano Man himself. Adios!” - Robert

                                                      STAFF COMMENTS

                                                      Barry says: From the grand, cinematic soundtrackery of Elton John or off-kilter college-rock keyfoolery of Ben Folds, Robert Ellis skilfully weaves heartfelt piano minimalism into grand classic rock opuses (opii?) within the space of a couple minutes. Perfectly constructed and brilliantly conceived rock and/or roll.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Indies exclusive sky blue vinyl.

                                                      “From the crushed and pulverised skulls of our conquered enemies rises the promise of a new dawn,” Miki Berenyi grins. “OK, no, maybe keep it simple. Clean slate, fresh start - it's all about the music."

                                                      From four individual parts, with distinct musical pasts but also overlapping histories, a new unified chapter begins with Piroshka and the quartet’s thrilling debut album Brickbat.

                                                      The album is named after the word for a missile, which nails the record’s heavyweight lyrics if not the music’s gorgeous, bittersweet and euphoric pop. Think of Brickbat as a wolf in sheep’s clothing – which suits the name Piroshka, the Hungarian take on the wolf-terrorised fairytale hero Little Red Riding Hood - a subtle nod, too, to a certain red hairdo that stood out in the 1990s Brit-guitar-pop scene….

                                                      The four band members are former Lush vocalist/guitarist (and former redhead) Miki Berenyi, former Moose guitarist KJ "Moose" McKillop, Modern English bassist Mick Conroy and former Elastica drummer Justin Welch. The connections between them are a veritably tangled family tree. Before they lived together and raised a family, Miki and Moose were notable figures on the so-called shoegaze scene, while Elastica were Britpop peers. After post-punk pioneers Modern English split for a second time, Mick became a latterday member of Moose, while Justin joined the reformed Lush in 2015. And when Lush required a bassist for what proved to be their final show (in Manchester) in November 2016, Mick stepped in.

                                                      It was the rehearsals for that Manchester show that laid the foundations for Piroshka. “We sounded great!” says Justin. “Like a proper punk band. Mick brings a huge amount of enthusiasm and livens up the room, and I thought, this is the kind of band I want to be in again.” Mick agreed. “I’d seen Lush so many times, it was like playing with old friends. Miki agreed it was good fun too. And with Moose available, we thought, let’s all have a bash, see what happens.”

                                                      Though Brickbat kicks off with a squeal of feedback, the album is far from a proper punk record, with as much sublime delicacy as physical force, with guitars to the fore but also electronic flourishes in all manner of spaces. Combined, they drive the nuggety melodic bombs long associated with Miki’s songwriting. But it wasn’t a foregone conclusion that she would want to join a new band. In the wake of Lush drummer Chris Acland’s unexpected suicide in 1997, his shocked and grieving bandmates felt unable to continue. Miki, in particular, “had to get completely away from music. The gate just shut for me.”

                                                      As a parent with a full-time job, it took Miki until 2015 to agree to reunite Lush, with Chris’ good friend Justin on drums. But it wasn’t to be a permanent arrangement. “After the Manchester show, Justin asked if I’d be up for something else,” Miki recalls. “But I’d never made music outside of Lush, and I’ve never wanted to do anything solo. I have trouble with self-belief, I need someone else to motivate me, and in this case, it was Justin. He sent drum tracks with guitar parts and odd words, so I wrote some vocals and lyrics, which became ‘This Must Be Bedlam’ and ‘Never Enough’. When Mick added bass, it sounded great. When Moose added guitar and keyboards – I’d never written like that before, it was such good fun. I’d always written on my own in Lush.”

                                                      Justin: “The first piece of music I sent Miki sounded like Can, with the odd word, like ‘protest’ and ‘bedlam’. It was a time in the world when everything felt wrong to me.”

                                                      Mick: “We didn’t want Piroshka to sound anything like any of our old bands. When Miki sings, you can’t get away from Lush, but for me, we sound like four people exploring and having fun, knuckling ideas into shape, trying to make them sound new and different.”

                                                      In any case, the blunt, forceful lyrics are many miles from Lush, tapping the current fear and loathing at the heart of society and politics, sometimes viewed through the heightened, anxious prism of parenthood, brutally honest at every turn. Take ‘Village Of The Damned’, the words penned by Moose (alongside ‘Hated By The Powers…’ and ‘Everlastingly Yours’). “It’s about school shootings,” he frowns, “and our reaction to almost being unable to take our eyes off twenty-four-hour news and internet feeds. You’re depressed and appalled by what you see.”

                                                      ‘Heartbeats’ is Miki’s parent-related lyric, “the idea of closeness with your baby, and then as they grow, you have to let them go off into the world.” And what a world awaits them. Both ‘What’s Next’ and ‘This Must Be Bedlam’ were inspired by the mess of Brexit (“the idea of unity versus disunity” says Miki), ‘Never Enough’ rails against greed and inequality and ‘Hated By The Powers That Be’ was inspired by a button badge that Moose found with the slogan Hated By The Daily Mail. “It feels good to be that kind of person,” he declares. “To know we are not alone in being appalled with what’s going on.”

                                                      Miki: “Given what’s happening, it feels weird at this time to not write about how scary things are, and self-indulgent to have come out with anything else. It’s tricky, though, because any kind of protest lyric can easily be preachy and clichéd, while writing about parenthood can sound smug or mawkish. There’s a lot of complexity in each subject. The context is more personal than just ‘The world is shit and you have to do something about it’.”

                                                      Bella Union skipper Simon Raymonde had been one of the first to hear the demos; he instantly signed the band, further entangling the Piroshka family tree - his former bandmate Robin Guthrie (of Cocteau Twins) produced Lush’s debut album, while Raymonde’s current bandmate Richie Thomas (in Lost Horizons) was also a former member of Moose. Raymonde subsequently introduced Piroshka to Paul Gregory of Bella Union labelmates Lanterns On The Lake, who mixed Brickbat (except ‘What’s Next’, mixed by Alan Moulder) and to Fiona Brice (another Bella Union alumni), who wrote Brickbat’s strings arrangements, with Terry Edwards (ex-Higsons, current Blockhead), who played on Lush’s debut album, on brass.

                                                      Together, from feedbacking intro to the beautifully fuggy dream that is the album finale ‘She’s Unreal’, Piroshka and Brickbat are a wonderful and, frankly, unexpected union of proven talent.


                                                      STAFF COMMENTS

                                                      Barry says: There was no way this wasn't going to be good, with such legendary musicians on board, but it really is a perfectly balanced meeting of minds. The shoegaze hypnosis of Lush shines through, along with the spacey 90's throb of Justin Welch's drums keeping things going. It's a brilliantly dynamic mix, and one that is more than the sum of it's considerable elements. A hugely enjoyable and brilliantly written collection.

                                                      FORMAT INFORMATION

                                                      LP includes MP3 Download Code.

                                                      "ALL" is the first album to be recorded at Tiersen’s new studio, venue and community centre, The Eskal, built in an abandoned discotheque on the island of Ushant, a small island positioned in the Celtic sea between Brittany and Cornwall, Tiersen’s home for the past 10 years. The album, mixed and co-produced by Gareth Jones, continues the themes of environment and a connection to nature first explored on EUSA, incorporating recordings from outside of Brittany, such as the redwood forests of California as well as field recordings from Tempelhof airport in Berlin (on ‘Tempelhof’), plus guest vocalists.

                                                      STAFF COMMENTS

                                                      Barry says: Since the Amelié soundtrack, i've been in love with Tiersen's work, and this is most certainly the culmination of all of his previous works. It's a stunningly delicate, but beautifully emotive collection, more classically focused than Arnalds or Frahm but as tender as either (i'm not throwing shade here, i'm mad for a good pianist). Beautiful.

                                                      FORMAT INFORMATION

                                                      2xLP Info: Heavyweight 180 gram vinyl, Side D etched.

                                                      2xLP includes MP3 Download Code.

                                                      12 brand new tracks produced entirely by The Czar-Keys (7L & Jeremy Page). Fresh off 2018’s collaborative LP with the enigmatic MF Doom, “Czarface meets Metal Face”, the adventure continues as Czarface now faces off with Wu-Tang Clan’s Ghostface Killah. "Czarface meets Ghostface” brings strictly mind melting beats and bars as 3 emcees clash like villains & heroes in the Savage Land.

                                                      Czarface, a hip-hop & comics force comprised of Wu-Tang Clan's General Inspectah Deck, Esoteric (who recently penned an X-Men comic for Marvel) and super producer 7L team up with Ghostface aka Iron-Man aka Tony Starks for murderous mayhem! Czar commando's Rebel INS & Esoteric trade lines such as 'follow in my footsteps might tear your Achilles,' & 'flow customized got that Dapper Dan touch' with Ghost on the assist 'chain is off the cooler, charm look like a shrunken head'. With track titles like "The King Heard Voices", "Mongolian Beef", "Czarrcade '87", "Masked Superstars" & "Powers and Stuff" expect nothing short of a super charged collaboration! 


                                                      'You prayed every night to sweet baby black Jesus that this would happen and it finally has. Pianist Elliot Galvin and I have made an album' - Binker Golding. Binker Golding (the sax in Binker and Moses) is 'Coltranesque' according to John Fordham’s review for The Guardian, and this record sees him forging a new partnership with Elliot Galvin, whose 'technical brilliance is matched with a very British sense of eccentricity' (The Jazz Mann). 'The combination of saxophonist Binker Golding and pianist Elliot Galvin is guaranteed to be awe-inspiring' says London Jazz News, and this full album doesn’t disappoint.

                                                      Elliot describes the record as 'high energy and spontaneous', which is definitely on point - an energy it maintains for over 40 minutes. Six new tracks recorded at The Vortex in London, which pull on all Binker’s and Elliot’s technical repertoire and delve into the experimental recesses of the minds of two of London’s young foremost exponents of jazz. Mastered by Noel Summerville, artwork by George Finlay Ramsay and G.S-L Studio. 


                                                      STAFF COMMENTS

                                                      Emily says: Golding (of Binker and Moses) and Galvin push the physical boundaries of their instruments with techniques reminiscent of those used by expressionist composers. Tracks like “Adaequatio Intellectus Et Rei” and “Aliquid Stat Pro Aliquot” present a flurry of neurotic scratching, clattering and unexpected flourishes. Later on, ‘Non Plus Ultra’ offers a moment of melancholic serenity amidst the chaos. Not an easy listen, but a daring exploration of unique musical textures which might represent the darker recesses of the human psyche.

                                                      Chaka...Chaka...Chaka...Chaka Khan! That's right folks, the queen of funk returns, only this time it's her who's doing the rocking! Her first solo LP in twelve years, "Hello Happiness" sets Chaka's timeless voice (Still impeccable) to an empowering collection of songs featuring cutting edge production from co-writer Switch (proving there's more to life than fidget!).
                                                      The Piccadilly camp flipped its collective lid when the obscenely limited 12" of Fatback-sampling lead single "Like Sugar" landed last summer (Massive props to Jason Boardman for dropping it at the Nado 20th Birthday!), and now a full length LP is here, I'm struggling to contain myself. If the cynical out there wrote "Like Sugar" off as a fluke, they're about to get slapped silly by the finest funk record in years.
                                                      Opening salvo "Hello Happiness" and "Like A Lady" (check out those Belle Epoque strings) update Chaka's classic sound with some pristine modern production, while "Don't Cha Know" erupts into some hard rocking, trap rattling, gospel organ mutant made for scaring the neighbours. Skipping to the flip, the rough and tough funk continues via "Too Hot", this time with a NOLA blues flavour which is frankly irresistible. Next up it's "Like Sugar", the Fatback chopping, B-boy big beat hit of the last decade, not just a high point on this LP, but on recent pop music in general. "Isn't That Enough" finds Switch exploring his Black Ark fascination, cooking up a humid dub disco groove for Chaka to turn inside out with her powerhouse vocals. Last but not least, we're in end of night soul territorie via the "Long Train Running", "M.P.B."  vibe of "Ladylike", a sultry, snaking shuffler for dancing upclose. 
                                                      Long live the Queen!


                                                      STAFF COMMENTS

                                                      Patrick says: After over a decade out of the limelight, a Chaka Khan comeback seemed unlikely, and the quality of "Like Sugar" took everyone by surprise (best pop single of the teens?). Well, that was no flash in the pan, and this whole LP bangs, covering a variety of styles, showcasing Chaka's sensational voice, and marrying the vintage and cutting edge perfectly.

                                                      Electronic pop quartet Ladytron return with the release of their first new album in seven years on Ladytron Music via ! K7 Label Services. The eponymously titled Ladytron follows the release in 2018 of two enthusiastically received singles, “The Island” and “The Animals.” Distilling twenty years of experimentation into one propulsive album, Ladytron again push the boundaries of electronic pop in invigorating directions with thirteen songs that explore the disquiet of our times. Loaded with their trademark analogue synths propelled by relentless rhythm, Ladytron is a hypercharged album that radiates a visceral urgency.

                                                      Their sixth album is the band’s most definitive work to date, full of catchy hooks, rousing riffs, sweeping melodies, and thick textured harmonies. Helen Marnie says, “For us, it’s like getting together with an old friend. You’ve both changed, but still have that common ground. Familiarity crossed with excitement.” “It’s diverse and emotional,” Daniel Hunt adds. “It’s a lot heavier than our last album, Gravity the Seducer, which was an intentionally more sedate, ethereal record. The album also features guest Iggor Cavalera (Sepultura/Mixhell/ Soul wax) on drums.

                                                      Now one of the leading lights in the UK’s new generation of soulful, genre-fluid artists, the Leeds-born and now London-based 12-piece collective Nubiyan Twist have created their finest recordings to date, effortlessly weaving together elements of jazz, soul, hip hop, African styles, Latin, dub, hip hop and electronics in a flow of thought-provoking and life-affirming music.

                                                      Recorded at the band’s own self-built Henwood Studio in rural Oxfordshire, the album effortlessly moves through different voices from the band’s circle. The inimitable, timeless vocals of Nubiya Brandon lead the way on the album’s title track about breaking preconceptions and promoting equality, “Where you from? I’m from wherever I be.” Saxophonist Nick Richards vocals the killer first single from the album about inner turmoil and a search for the truth, ‘Tell It To Me Slowly’ while rising Ghanaian star K.O.G. appears on the Afro jams ‘Basa Basa’ and ‘They Talk’. Percussionist Pilo Adami (Nina Miranda / Afrosamba) voices the infectious bossa-jazz jam ‘Borders’. The band also draft in two African legends for guest duties with the original Afrobeat maestro Tony Allen on ‘Ghosts’ and Ethio jazz pioneer Mulatu Astatke contributing vibes on the sinuous ‘Addis To London’. “The depth of talent and ideas that every member of this group has brought to the table for this album is incredible,” says producer and orchestrator Tom Excell. “Conceptually, ‘Jungle Run’ is all about connecting different people and cultures whilst exploring the journey of individuals. This album is the pinnacle of everything we have done to date and to collaborate with the godfathers of Afrobeat and Ethio Jazz and celebrate their music in a modern context was very humbling.”


                                                      The Janitors

                                                      Fuzz Club Session

                                                        Conjuring heavy drones and sinister garage-psych freak-outs, Stockholm outfit The Janitors have been a formidable presence on the European underground since they formed way back in 2004. Channelling the free-wheeling spirit of Hawkwind with equal smatterings of Sabbath and Spacemen 3, the band are masters of taking hold of a gnarly fuzzed-out groove and beating it within an inch of its life. Probably not for the faint of heart, their druggy wig-outs are totally relentless and unforgiving. For the uninitiated, perhaps we should turn to the late Hunter S. Thompson who famously wrote: “Buy the ticket, take the ride… and if it occasionally gets a little heavier than what you had in mind, well… maybe chalk it up to forced consciousness expansion: Tune in, freak out, get beaten.”

                                                        Those words serve as a perfectly apt instruction manual – or warning, perhaps – for entering The Janitors nightmarish world and the ticket, in this instance, happens to be the band’s forthcoming Fuzz Club Session LP. While in the UK for a small run of shows in September 2018 we decided to drag the band down to Love Buzz Productions in South London in order to commit their unholy, eardrum-rattling live show to wax as part of a Fuzz Club Session. Clocking in at four-tracks – two from 2013s Drone Head LP, one from their latest full-length Horn ur Marken and another cut from their 2014 EP Evil Doings Of An Evil Kind – the session sees The Janitors’ malevolent, hedonistic swagger at its best, the live recording showing the band well and truly in their element. 

                                                        A proud New Yorker, Emily King spent her first three decades living on the same Midtown block. She loved her home, her family, her friends and her life there. But last year, when she finally resolved to challenge herself by moving out of her comfort zone, positive changes started taking shape immediately. In Upstate New York, the fresh air and fresh mentality gave her the proper space and perspective to create what would become the album of her career. Its name: ‘Scenery’.

                                                        Without a doubt, King has carved out such a space for herself. With ‘Scenery’, she has challenged herself to create new roots, both in physical form as well as sonically. “For me, ‘Scenery’ is about taking a chance and having an adventure, with themes of independence, confidence, and self-reliance throughout, and having a sense of freedom and self-worth,” she says. “I’m really proud of this record because we took time to make sure it was right. We let time pass in between creating, recording, and listening, so that my true judgment can be revealed, ego goes away, and you see it for what it is. Sometimes you have blinders on because you want it to be good so badly. When I listen to this record there are no cringe-y moments. I’m proud of the process.”

                                                        STAFF COMMENTS

                                                        Barry says: From sashaying, finger-clicking soul, swooning funk and low-key rhythmic R&B to longing acoustic ballads, anthemic indie-pop and snappy guitar-led minimal melodicism, Emily King pulls of every key change with absolute skill and an impeccable ear for a tune.

                                                        FORMAT INFORMATION

                                                        LP includes MP3 Download Code.

                                                        Bis

                                                        Slight Disconnects

                                                          Glasgow indie favourites fourth studio album is a spectacular study in the art of the pop song, both reflective and forward looking. Jam packed full of hooks and classic bis choruses the album also has more reflective moments as you would expect, some 17 years after their last lp. Debut single “Sound of a Heartbreak” will be released in January 2019 and will be premiered on Radio 6 Chris Hawkins show. Bis are Steven Clark (Sci-fi Steven), John Clark (John Disco), and Amanda MacKinnon (Manda Rin). 

                                                          Perfect Son

                                                          Cast

                                                            Sometime in 2016, just as the Polish singer and producer Tobiasz Biliński began to find success through the dim and fractured electropop of Coldair, he knew it was time for a radical change. The songs on The Provider, Coldair’s much-lauded second album, had been an exorcism of sorts. Laced with songs about early death, chronic disappointment, and clouded minds, the record was, as he puts it now, his earnest attempt to “get all this old shit out.” That mission accomplished, he needed something new, a restart—the unabashedly radiant and unapologetically complex pop of Perfect Son, delivered in 10 perfect shots on Biliński’s Sub Pop debut, Cast.  In the past, Biliński’s music has flirted with and explored the darkness, first in a sort of Transatlantic freak-folk and then with the gothic refractions of Coldair.

                                                            But on Cast, Perfect Son steps boldly into the light without sloughing off emotional weight or depth. With powerful, sweeping production that recalls the best pop beats of Matthew Dear and arcing melodies that conjure the majesty of Shearwater, Perfect Son animates sensations of lust, belonging, and newfound trust with tumescent electronic arrangements that threaten the safety of any sound system. Biliński sings about falls throughout Cast, but also about picking yourself back up, about pressing on despite or perhaps because of the bruises. In the process, he is lifted by music that feels unabashedly motivational, built to remind us that the best times are hopefully to come.   Perfect Son, it should be said, is Sub Pop’s first Polish artist, the result of an extended interest in Biliński’s work and the country itself from label co-founder Jonathan Poneman.

                                                            Several years ago, Biliński applied to play at South by Southwest as Coldair.  Poneman saw his performance, and was impressed. The two stayed in touch, with Poneman eventually signing Coldair to a publishing deal. “I bugged him about releasing my stuff constantly,” Biliński admits with a laugh. “And I guess he admired my persistence.” When Cast was finally finished, Poneman didn’t need more convincing. These songs, after all, are magnetic, with the searching harmonies and deep drums of “Promises” and the rhythmic intricacy and serial synths of “Wax” pulling you close on first listen and holding you there for the foreseeable future. These songs and this story are about the power of human perseverance and deliberate reinvention, of knowing that you can confront and come to terms with the darkest angels of your being. Cast is a testament to the possibilities of the future, brilliantly disguised as 10 grandiose and undeniable pop anthems.


                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Indies exclusive coloured loser edition.

                                                            Endon

                                                            Boy Meets Girl

                                                              Endon is a band as mercurial as they are ferocious. Comprised of the quintet of vocalist Taichi Nagura, guitarist Koki Miyabe, drummer Shin Yokota and electronics/noisemakers Taro Aiko and Etsuo Nagura, Endon’s music is contained chaos, bending and colliding genres into one another atop a bed of thunderous distortion, feedback, and unearthly squeals. Vocalist Taichi’s voice embodies an unreal number of personalities with wordless howls seething one moment and agonized cries the next, before desperate gasps for air. It comes as no surprise that they have been credited as the most extreme band in Tokyo.

                                                              ‘Boy Meets Girl’ was envisioned as a soundtrack to an imagined horror film about love. The core of the ensemble’s song structures are often built around Koki’s fuzz-laden guitar and Shin’s drum bombast which propel torrents of hisses and squelches from Taro and Etsuo. Taichi’s largely lyricless screams, moans and whimpers are potent messengers of the songs’ emotional heft. There lies an ecstatic, excited energy amidst the anarchic defiance Endon's music exudes. Born of the same Japanese scenes that gave rise to the likes of Merzbow and Boredoms, their sound is equally diverse and abrasive. ‘Boy Meets Girl’ demonstrates Endon’s singular faculty to produce music that is at once tortured and transcendent.

                                                              The musical project of Jake Webb, Methyl Ethel, has always been a surrealist outfit - a dark and obscured expression of life set to the backdrop of dream pop hooks. But Triage is a more reflective album than their previous two – featuring singles ‘Scream Whole’ and ‘Real Tight’, it explores the notion of coming of age, only to reference it for the snapshots and passing memories that it has become.



                                                              For some time now in the continual hunt for new DJ material to play in the jazz scene we have been coming across great tracks by current artists that are often only available on digital or CD format, and have been cutting dubplates so we can play them in Jazz Dance gigs. "Modern Jazz Dance Classics" aims to provide DJs with this new music on vinyl and thus inject new music into the jazz dance scene. If you are a DJ we hope you will find some of these tracks indispensible in your set, and if you are a collector we hope you will find this a great listen and addition to your collection. There are tracks from all over the world carefully selected to make a great set and selection.

                                                              International Teachers Of Pop

                                                              International Teachers Of Pop

                                                              The Moonlandingz founders / writers Adrian Flanagan (Eccentronic Research Council) & Dean Honer (All Seeing I / I Monster) bumped in to lead singer, Leonore Wheatley (The Soundcarriers) at a ‘Circuit Bending Workshop’ in South Yorkshire where they decided to try writing “one song together and see what happens!”

                                                              Well, what happened from writing that one song was; Marc Riley at BBC 6 Music invited them in to do a live radio session for which they wrote a couple more songs. Then the Lord & Lady Mayoress of SHEFFIELD outsider pop music, Jarvis Cocker & Roisin Murphy, both invited the group (now calling themselves, INTERNATIONAL TEACHERS OF POP) to do a few live shows with them. One (with Jarvis) was for two nights in a cave in Derbyshire and the other (with Roisin) at the prestigious Somerset House in London, so the band wrote a few more songs to give themselves something resembling a live set.

                                                              Immediately after those live shows they signed a record & distribution deal with Republic of Music in Brighton which allowed the group to put out a couple of killer singles over the summer - the Northern Rail baiting, nerd disco of ‘Age of the Train’ & the ‘Moroder playing down a youth club in Rotherham’ radio bothering, ‘After Dark’ which helped the group build some traction via their own label imprint, Desolate Spools. Now, after a spate of sporadic sell out shows, a mini tour and electrifying festival appearances, ITOP are proud to announce the release of their eponymously titled debut album and a full U.K. tour to support it.

                                                              ‘International Teachers of Pop’ was all written, recorded and Mixed at Dean Honer’s Bowling Green Studios in Sheffield using mainly pre- 1980’s U.S & Soviet analogue synthersizers and a collection of dusty old drum machines and is influenced by producers of disco & pop such as Giorgio Moroder, Martin Rushent & Bobby Orlando whilst straddling a lineage of artist such as Kraftwerk, the Human League, Suzanne Ciani & Broadcast.

                                                              An album covering an esoterically wide array of subjects from throbbing disco monster (and possible next single) ‘The Ballad of Remedy Nilsson’, a song about a disobedient pet, ‘On Repeat’ which is a song about the monotony of going to work in Brexit Britain, or album closer, and ode to terrible pronunciation, - ‘Oh Yosemite’ which also features additional vocals & drums from ‘Levenshulme High School Choir’ and Moonlandingz / ITOP live drummer, Richy Westley.

                                                              Always with one eye on pop music and the other on something more artful, playful and slightly wicked, Leonore Wheatley from the group describes it as “Grace Slick on the raz with Donna Summer and the Pet Shop Boys, legging it over to Kraftwerk’s gaff for a quick synth-sesh before getting a cab round to All Saints gaff to sing at the telly til the sun comes up!”

                                                              Adrian Flanagan of the group continues: “I think It’s the 3rd most important outsider pop album to come out of Sheffield since Dare & Different Class. Sheffield has a great history of drawing out these awkward, gangly weirdoes that make a very British, nay eccentric, kind of pop music that stews in the underground for a few years then appears seemingly from nowhere fully formed, like a very peculiar butterfly. I think as we collide head first in to this political sea of ‘total and absolute’ carnage, people are gonna need music & live shows like ours. We are not about separating ourselves from society and being another bunch of rockstar /pop star dicks, we have always been on the outside anyway, it’s about unifying ; ITOP is a bonafide 125 BPM cuddle for the masses!”


                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Green vinyl.

                                                              Much like 2011's "London Sessions" (a live set recorded in the wake of their triumphant Glasto performance, "Electric Lady Sessions" captures LCD Soundsystem at the height of their powers in the midst of the riotious "American Dream" tour. Taking over New York's Electric Lady studios in January 2018, the band ripped through some of the finest moments from their latest album alongside fan favourites "You Wanted A Hit", "Get Innocuous" and "Home" as well as a trio of cover versions. 
                                                              Incredibly, the group manage to pack the power, precision and loose limbed energy of their live shows onto wax, most notably when the Talking Heads-styled "Home" morphs into a KDJ-meets-Terje take on Chic's ecstatic "I Want Your Love", an ultimate record geek freak out. UK fans will also enjoy the Sheffield synth pop classics which bookend the set, namely James & co's versions of Human League's epic "Seconds" and Heaven 17’s disco-not-disco killer "(We Don't Need This) Fascist Groove Thang". The best band in the world at their best folks!

                                                              The cliché that circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism.
                                                              Yet Bob Mould calls his new album Sunshine Rock.
                                                              It’s not because Mould—whose face belongs on the Mount Rushmore of alternative music—likes the current administration. His decision to “write to the sunshine,” as he describes it, comes from a more personal place – a place found in Berlin, Germany, where he’s spent the majority of the last three years. Here Mould would draw inspiration from the new environments.
                                                              “Almost four years ago, I made plans for an extended break,” Mould explains. “I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift.”
                                                              These three years in Berlin would quite literally shed new light on Mould’s everyday mindset.

                                                              “To go from [2011 autobiography] See a Little Light to the last three albums, two of which were informed by loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, ‘Try to think about good things.’ Otherwise I could really go down a long, dark hole,” he says. “I’m trying to keep things brighter these days as a way to stay alive.”

                                                              That makes Sunshine Rock as logical a product of the current climate as any rage-fuelled agit-rock. Variations on the word “sun” appear 27 times in five different songs over the course of the album’s 37 minutes. To hear Mould tell it, the theme developed early.
                                                              “Sunshine Rock is one hell of a way to wrap up the busiest decade of my career,” he shares. “The autobiography, the Disney Hall tribute show, reissues of several albums from my catalogue, three current rock band albums, several world tours, and now this new album — I’m humbled and grateful to still be making new music while celebrating my lifetime songbook.”

                                                              STAFF COMMENTS

                                                              Barry says: The aptly titled Sunshine Rock is indeed another side to Mould, eschewing the dark undertones of his previous work, focusing on the more optimistic pop spirit that has always provided the counterfoil to his trademark gloom. Major-key resolutions to slowly-grown unease lifts the mood once again into shining summer haze. Exactly as accomplished as you'd expect from Mould, but a good deal more optimistic. Lovely.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Limited edition opaque yellow & red swirl vinyl for Indie stores only.

                                                              LP Info: Black vinyl.

                                                              With her new release, "Zandoli", Belgian-Caribbean artist Charlotte Adigéry proves herself to be a consummate storyteller. Sometimes patently silly, sometimes deeply introspective, Adigéry’s ever-wandering mind spins tales that are absurd and poignant and ridiculously fun. Having been taught the ropes by her Martinique-born mother - namely rhythm’s relationship to musicality and the importance of a sense of humour - Adigéry is a persuasive young artist who can sing about lizards one moment and latex the next.

                                                              A descendent of a Nigerian Yoruba tribe that worked their way out of slavery on the faraway island of Martinique, Adigéry likes to draw inspiration from her Caribbean ancestors’ musical traditions. Opening track "Paténipat" features a chanted chorus of 'zandoli pa té ni pat' - a Creole mnemonic that means 'the gecko didn’t have any leg' - which perfectly enunciates the rhythms of the GWO KA dances that would have swayed the islanders of Martinique a century ago. A zandoli, by the way, is a lizard normally found climbing the walls of Caribbean homes.

                                                              While never addressing love directly, "Zandoli" is a product of pure love and friendship. In the studio Adigéry is joined by collaborator Bolis Pupul, a descendant of the first and only wave of Chinese immigration to Martinique. After matching on Tinder, the pair began to explore their shared histories, resulting in heart-to-heart confessions that seep through the songs of Zandoli. 'Since working on our first EP, Bolis and I have become best friends,' Adigéry says. 'And this record is the product of our love.'

                                                              Michael Chapman

                                                              True North

                                                                The masterful follow-up to his universally celebrated 2017 album 50, Michael Chapman’s True North finds the elder statesman of British song writing and guitar plumbing an even deeper deep and honing an ever keener edge to his iconic writing. This authoritative set of predominantly new, and utterly devastating, songs hews to a more intimate sonic signature—more atmospheric, textural, and minimalist than 50, stately and melancholy in equal measure. Recorded in rural West Wales, True North unflinchingly surveys home and horizon, traveling from the Bahamas to Texas to the Leeds of Chapman’s childhood, haunted by the mirages of memory and intimations of mortality. Joining him on this introspective journey is a cast of old friends and new disciples: once again Steve Gunn produces and plays guitar, and fellow UK song writing hero Bridget St John sings, collaborating with cellist Sarah Smout and legendary pedal steel player BJ Cole, who has accompanied everyone from John Cale to Scott Walker, Elton John to Terry Allen, Felt to Björk.

                                                                The album begins with the gnawing regret of “It’s Too Late,” and every song Chapman sings thereafter directly references the passing of time—its blind ruthlessness, its sweet hazy delights in noirish language almost mystical in its terseness and precision. (The two transportive, gorgeous instrumentals, one per side, both have appropriately evocative—though decidedly not Northern—pastoral place names for titles: Eleuthera is an island in the Bahamas where Chapman habitually holidays every winter, and Caddo Lake straddles the border between Texas and Louisiana.) This is Chapman at his darkest and most nocturnal, yes, but also his most elegant and subtle, squinting into the black hours with an unseen smile. By the time True North is out in the world, Chapman will be seventy-eight years old and will have released nearly as many records, a staggering achievement. True North represents the most nakedly personal album of his career, his most authoritative, unguarded, and emotionally devastating statement. His universally celebrated full-band 2017 album 50 flirted with much-deserved triumphalism, offering a retrospective of his illustrious career, revisited in the company of the fellow UK song writing hero Bridget St John and a rowdy gang of younger acolytes including Steve Gunn, James Elkington, and Nathan Bowles. The production hearkens back to Chapman’s classic Millstone Grit (1973), as well as recalling Bob Dylan’s Time Out of Mind (1997); True North shares something of that album’s spectral gloaming, midnight heartache, and sly, self-knowing winks. Compared to 50, these recordings feel narrower in range, less overtly narrative and dynamic and more impressionistic and restrained, but they are correspondingly more piercing and arrow-like in their rending impact, more concerned with an archer’s deadeye aim than pyrotechnics. Whereas 50 featured two new songs among radical reinterpretations of material from Chapman’s deep catalogue, True North includes twice as many new numbers among its quiver of eleven arrows—“It’s Too Late,” “Eleuthera,” the fiery “Bluesman,” and slow-rolling album centre piece “Truck Song”—confirming the exultant return of Chapman the songwriter. The other songs were selected from various obscure corners of Chapman’s vast catalogue (“Youth Is Wasted on the Young” was previously recorded with Thurston Moore and Jim O’Rourke for a compilation, for example.) In these renderings they receive their definitive treatments, utterly transformed.

                                                                STAFF COMMENTS

                                                                Barry says: Chapman once again providing a tender but devastatingly evocative suite of brittle acoustic numbers, slowly strummed or skilfully picked cascades of guitar, all topped with Chapman's husky but perfectly fitting vocal accompaniment. Encompassing aspects of outsider folk and campfire revelry with the characteristic shadowy acoustic undercurrent inherent in all of his work. Quintessentially Chapman.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Limited Red wine coloured vinyl.

                                                                Coloured LP includes MP3 Download Code.

                                                                The Lemonheads follow up the critically acclaimed ‘Varshons’ from nearly ten years ago with another eclectic collection of covers.

                                                                Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time.

                                                                ‘Varshons 2’ is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine.

                                                                Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own.

                                                                STAFF COMMENTS

                                                                Barry says: Though it's been ten years in the making, the second iteration of their 'Varshons' series sees The Lemonheads covering a host of excellent originals with style and grace. Where else could you get a masterful combo of John Prine and Nick cave on the same LP? Not many places i'd wager. A superb second outing, and yet more proof of the Lemonheads' continuing relevance.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Yellow vinyl with a banana scented scratch & sniff sleeve.

                                                                Coloured LP includes MP3 Download Code.

                                                                Indies Exclusive LP Info: Indies only green vinyl, with a banana scented scratch & sniff sleeve.

                                                                Indies Exclusive LP includes MP3 Download Code.

                                                                Noah Lennox's sixth solo album as Panda Bear is Buoys. The first song to be released from Buoys is “Dolphin”: Lennox’s bright, sincere voice front and center, with miles of space surrounding it, a guitar and some textured samples fleshing out the dubby sparseness and undercurrent of speaker-limit-pushing sub-bass low-end. Buoys was co-produced and co-mixed by collaborator Rusty Santos in Lennox’s adopted home of Lisbon, Portugal. Lennox and Santos last collaborated on the landmark Panda Bear album Person Pitch, which had its 10-year anniversary last year.

                                                                Animated by their ongoing interest in contemporary music production techniques, Lennox and Santos envisioned something that would “feel familiar to a young person’s ears.” However, Buoys retains a deep layer of experimentation coursing through the hyper-modern production – a hallmark of Panda Bear releases that will feel intimately familiar to fans of Lennox’s decade-plus body of work.

                                                                Alongside Santos, Buoys also features collaborators in Chilean DJ/vocalist Lizz and Portuguese musician Dino D'Santiago, both artists who came to Lennox via Santos’ recent trap and reggaeton production work; the former contributes arrangements throughout the album including “Dolphin,” and both lend their vocals to “Inner Monologue."

                                                                Buoys is the first Panda Bear release since 2018's vinyl-only EP A Day With the Homies, and the follow-up to 2015's kaleidoscopic full-length Panda Bear Meets the Grim Reaper. "The last three records felt like a chapter to me, and this feels like the beginning of something new," says Lennox whilst surveying how Buoys relates to the estimable Panda Bear catalogue. Indeed, the forthcoming Buoys is full of fresh ideas from one of modern music's most fascinating, innovative, and emotionally generous artists.


                                                                STAFF COMMENTS

                                                                Barry says: Having always been the more electronic side of the musical monolith that is Animal Collective, Panda Bear clearly brings the off-kilter melodies and syncopated Books-esque loop manipulation, with 'Buoys' proving to be every bit the staggered and echo-laden monolith we'd expect. Comfortingly avant-garde without stepping too far into art-rock or ostracising the listener, buoys takes a while to reel you in but when it does, you're stuck for good.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Red & black coloured vinyl.

                                                                Quiet Signs is the journey of an artist stepping out of the darkened wings, growing comfortable as a solitary figure on a sprawling stage. Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with ‘Opening Night’, a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name, as well as to where this spare, beautiful collection of songs falls within the course of the California artist's career. Quiet Signs is also Pratt's first album fully recorded in a professional studio setting, her songs and guitar arrangements have been pared back to include only what is essential, while the home recorded haze of previous efforts parts to reveal the full scope of her vision. On the first single, ‘This Time Around’, Pratt hits on a profound, late-night clarity over just a couple of deep chords, evoking Caetano Veloso's casual coastal brilliance.



                                                                STAFF COMMENTS

                                                                Barry says: Tenderly plucked acoustic guitar and cavernous, gothic echoes provide a tense but atmospheric foundation for the whimsical and cherubic vocals of Jessica Pratt. From swooning, 50s swing to delicately plucked folk and sparse Americana. Pratt's dedication and impeccably honed sound palette is as effective here as it ever has been.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Indies exclusive crystal clear vinyl.

                                                                Mercury Rev

                                                                Bobbie Gentry's The Delta Sweete Revisited

                                                                Mercury Rev reimagine the Bobbie Gentry album from 1968 with guest vocals from Norah Jones, Hope Sandoval, Rachel Goswell, Vashti Bunyan, Beth Orton, Marissa Nadler, Lucinda Williams, Margo Price, Susanne Sundfør, Phoebe Bridgers, Kaela Sinclair, Carice Van Houten and Laetitia Sadier.

                                                                It slipped out of a Mississippi of hot biscuits, genteel table manners and working-class sense, suddenly overturned by a grave sinning and suicide. Carried on an evening breeze of strings and a supple, foreboding voice like sensually charged breath, “Ode to Billie Joe”—Bobbie Gentry’s 1967 debut as a singer-songwriter and a Number One single for three weeks in the late Summer of Love—was the most psychedelic record of that year not from San Francisco or London, as if Bob Dylan, Neil Young and Brian Wilson had conspired to make a country-rock Pet Sounds. Except Gentry, just 23 when she wrote the song, got there first, in miniature.

                                                                Gentry’s hit was a revolutionary act, a quietly thorough feminism in vision, deed and success amid the strict, paternal order of the country-music industry. And it was her license to thrill again. In October, 1967, while “Billie Joe” was still in the Top Five, Gentry began recording The Delta Sweete, a connected set of a dozen songs that extended the narrative dynamics of that single with personal reflection and set her folk-siren charisma in a richer frame of dream-state orchestration, swamp-rock guitars and big-city-R&B horns.

                                                                In her eight original songs for the album, Gentry drew from her childhood and church life on her grandparents’ farm in Chickasaw County, Mississippi: the girl-ish craving for a beautiful dress in “Reunion”; the rise-and-shine of “Mornin’ Glory”; the stern Sunday lessons in “Sermon,” based on a traditional hymn also known as “Run On.” The covers were boldly chosen: Mose Allison’s chain-gang blues “Parchman Farm”; “Tobacco Road”’s litany of trial; the Cajun pride in Doug Kershaw’s “Louisiana Man”. Gentry also turned them to new purpose and even gender. “Gonna get myself a man, one gonna treat me right,” she sang in Jimmy Reed’s “Big Boss Man” with heated assurance.

                                                                But The Delta Sweete—released in March, 1968, only three months after Dylan’s John Wesley Harding and right as the Byrds came to Nashville to cut Sweetheart of the Rodeo—was too soon in its precedence. Gentry’s LP, the first country-rock opera, was ignored on arrival, not even cracking Billboard’s Top 100. It was as if Billie Joe had risen out of the Tallahatchie River and thrown that record off the bridge instead.

                                                                This Delta Sweete is her long-delayed justice—Mercury Rev's committed and affectionate resurrection of an album that anticipated by three decades their own pivotal expedition through transcendental America, 1998's Deserter's Songs. From their recording lair in New York's Catskill Mountains, the founding core of Jonathan Donahue and Grasshopper with Jesse Chandler (previously in the Texas group Midlake) honor Gentry's foresight and creative triumph with spacious invention and hallucinatory flair. And they are not alone. Gentry's stories and original resolve are brought to new vocal life and empowerment by a vocal cast of women from across modern rock and its alternative paths: among them, Mazzy Star's Hope Sandoval; Laetitia Sadier, formerly of Stereolab; Marissa Nadler; Margo Price, the fiery new country star with a punk-rock heart; and Norway's Susanne Sundfør, who cuts through "Tobacco Road" with arctic-Nico poise. Phoebe Bridgers, whose first record was a softly stunning 2015 single for Ryan Adams' PAX AM label, hovers through the acid-western suspense of Gentry's "Jessye' Lisabeth" with floating calm, like a comforting angel.

                                                                On the 1968 LP, Gentry opened with a call to jubilant order, “Okolona River Bottom Band,” like she was leading a barn-dance union of the early Rolling Stones and Louis Armstrong’s Hot Five. Norah Jones takes that entrance here with her own sultry command, like Sarah Vaughan at the head of a slow-blooming choir. In “Sermon,” Price—who has known real struggle up close—sings like a survivor through Mercury Rev’s explosion of color and groove: a specialty throughout the band’s history as recently as 2015’s The Light in You, going back through All Is Dream in 2001, the whirling iridescent soul of 1995’s See You on the Other Side and the sumptuous turbulence of the 1992 single “Car Wash Hair.”

                                                                Gentry is still very present in the changes. Her seesaw of pride and hurt in the melancholy blur of “Penduli Pendulum” (“When goodbye serves as/My one amusement”) is even more explicit with the seasoned intimacy of Vashti Bunyan—a once-elusive voice from Britain’s psychedelic-folk boom—set against the younger, brighter arc of Kaela Sinclair, now in the electronic project M83. And in “Courtyard,” a despairing finale of strings and guitar arpeggios on Gentry’s LP, Mercury Rev build a striking Delta Krautrock in which the English singer Beth Orton wanders, like Gentry, through a ruin of profound loss and treasured memory.

                                                                “Ode to Billie Joe” was not on the ‘68 Delta Sweete. But Mercury Rev go back to that dinner table with Lucinda Williams of Lake Charles, Louisiana, and it is an inspired bond, calling up the ghosts and questions of a South still very much with us. Indeed, Gentry—who retired from recording and performing in the Seventies—reportedly lives only a couple hours’ drive from the bridge that made her famous, while the spirits she set loose in The Delta Sweete are as restless and compelling as they were 50 years ago. This album is a loving tribute to that achievement, one of the greatest albums you have never heard. It is also a dozen new ways to walk that land.

                                                                —David Fricke

                                                                STAFF COMMENTS

                                                                Barry says: A mindblowing lineup of guest vocalists further enhance this stunningly presented and perfectly performed collection from the inimitable Mercury Rev. Though Bobbie Gentry has left a legacy that certainly won't be forgotten, this superb tribute is both fittingly respectful of the originals, and satisfyingly 'Rev at the same time. Brilliant.

                                                                6 new songs from Los Angeles-based Flat Worms, which feature Tim Hellman, Justin Sullivan, and Will Ivy. The “Into The Iris” EP follows an LP on Castle Face (s/t, 2017). Filled with anxiety and angst, Flat Worms summon perseverance in an apocalyptic era, passing through decrepit strip malls and surreal headlines. These songs were recorded by Ty Segall in his home, and are now being offered on God? Records.

                                                                STAFF COMMENTS

                                                                Barry says: Flat worms' eponymous debut on Castle Face was a scathing slab of thrashing punk mutes and insical riffs, where their newest outing measures that animalistic momentum with a more nuanced edge. Hypnotic bass sections and percussive change-ups pepper 'Into The Iris', upping their interest from recommended to essential. Another stunner, and a great sign for the future.

                                                                Follow up to 2016’s Mangy Love which was his most critically praised album

                                                                Over the past decade, Cass McCombs has established himself as one of our premier songwriters. It’s a career that’s twisted and turned, from style to subject, both between records and within them. McCombs has never made two albums that sound the same. His new one, Tip of the Sphere, is particularly unique.

                                                                Tip of the Sphere is McCombs’ 9th studio album and while many of his records have been comprised of songs recorded in different studios and pieced together over time, this one was recorded quickly in one location with a strong sense of purpose, resulting in his most consistent record to date. This approach brings a raw immediacy to his songs, which are some of his best yet as he finds the perfect balance of compassion and experimentation. The rock songs rock harder, the ballads are more beautiful, the experiments more confident; with the sounds of jazz and latin music creeping in through the back window. 


                                                                FORMAT INFORMATION

                                                                2xLtd LP Info: 180 gram vinyl with a gatefold sleeve.

                                                                Cosey Fanni Tutti

                                                                Tutti

                                                                  TUTTI is comprised of eight soundscapes: an audio self portrait comprising of manipulated sound recordings from Cosey’s life, music and art: “It’s the only album I’ve made that is an all encompassing statement expressing the totality of my being. A sense of the past in relation to the present and everything in between.” These eight pieces were originally conceived as the soundtrack to the autobiographical film ‘Harmonic Coumaction’, and performed live in February 2017, part of a series of events that accompanied the COUM Transmissions retrospective which opened Hull UK City of Culture 2017. Later that year, ‘Harmonic Coumaction’ was presented as an audio-visual installation for Cosey Fanni Tutti’s solo exhibition at Cabinet Gallery, London. Cosey Fanni Tutti explains: “Working on the COUM Transmissions exhibition also coincided with writing my autobiography - collating archive material and re engaging with my past. My work is a continuum, the past feeding the present and vice versa. The album is an interpretation of my past and present, of my understanding the shifting perceptions of how they inform one another. One form creating another through a metamorphic process.”


                                                                  On TUTTI, the music has been updated and enhanced with elements of the original tracks re-recorded and further processed specifically to create a unique stand-alone document, separate to the live performance and installation. Recorded at Cosey Fanni Tutti’s studio in Norfolk, the album, as on her debut release, Time To Tell, merges Cosey’s art activities with her exploration of sound: The album’s autobiographical theme is not locked into any specific time or place, the ‘voices’, instruments and sounds together span decades of my life, music and art. In this context my name 'TUTTI’ shifts from its role as a noun to perfectly represent the concept of the album, also acting as sign for me the artist. TUTTI is Cosey Fanni Tutti’s only solo album release since 1982’s Time To Tell. Time To Tell was recently given its first release on vinyl, on a long awaited official deluxe edition. The interim years between solo releases has seen a blisteringly prolific output as an artist and musician. Renowned for her art, her work in the sex industry, as co-founder of Industrial music and Throbbing Gristle, and her pioneering electronic music solo and as Chris & Cosey, Carter Tutti and Carter Tutti Void, she has created throughout with the motto “my life is my art, my art is my life”. Cosey’s autobiography ART SEX MUSIC was published to worldwide acclaim by Faber & Faber in 2017, a Japanese edition has just been published with further translations and an audio book to follow.

                                                                  Silk Road Assassins, a trio consisting of Tom E Vercetti, Chemist and Lovedr0id, return to Planet Mu with their debut full-length "State Of Ruin" two years after their first EP "Reflection Spaces". The trio recorded over two years, working together to start with, then across different studios and via the internet when their lives became more separated. They also finessed the album at Abbey Road studios, making use of some short time to add in extra layers. The three producers day jobs are in production music, music designed and created specifically for film and games, and this album uses these skills to explore the musical forms that they love. The album explores how trap and grime's minimalist form can be built and curved into musical architecture: elegant, opaque and layered, turning the sound into lush, melodic world-building.

                                                                  The work gone into the album is revealed on repeated listens, every sound on this record feels built to sit within its delicate ecosystem. The fundamentals of the music are given their own sense of purpose: hand claps spray, bells tumble, guitars splinter and lush melodies waft over and fill the track's spaces like light, glinting across snapping, crisp rhythms and deep bass tones. The album also features two Planet Mu alumini, Kuedo who features on "Split Matter" brings some of his bitter-sweet shimmering melodies and on "Shadow Realm" Russian producers WWWINGS give the music a violent metallic edge, providing the record with an epic and unexpected twist towards the end. Silk Road Assassins music is built to last, and a pleasure to indulge in. 


                                                                  It's been over a decade since Laraaji first joined forces with log(m) in their Canadian studio in early 2007. In those ten years the trio recorded many hours of music. Over time these recordings, beginning essentially as live jams, were polished, dissected, processed, re-arranged and then finely and painstakingly distilled down to the 105 minutes of music that now form this album,the wait has been more than worth it.

                                                                  "The Onrush Of Eternity" is a melding of minds like no other. Ever the pioneer of experimental ambience, Laraaji's signature hammered dulcimer, zither, mbira, auto harp, sruthi drone box and of course his exceedingly positive vibes are here combined with log(m)'s unique vision of gronky hi-tech psychedelic space dub. The resultant voyage into deeply meditative ambience and trance-inducing dub is as unexpected an outcome as it is a bona fide 'Eureka!' moment. It sounds neither like log(m) OR Laraaji....but of course like both. It is one of those rare collaborations that is, without a doubt, even greater than the sum of its already great parts.


                                                                  STAFF COMMENTS

                                                                  Matt says: Another expansive long player from the delectable Invisible, Inc. With the ambrosial Laraaji injecting some royal class to proceedings this is a tour de force of biotic, dub-exotica. A picturesque and vivid environment to submerge your weary head.


                                                                  Emerging London-based collective SEED Ensemble are pleased to announce the release of their long-awaited debut album 'Driftglass' released Feb 8th on the Jazz re:freshed label.

                                                                  Formed in 2016, SEED Ensemble is a ten-piece project led by composer, arranger and alto saxophonist Cassie Kinoshi. Already a giant on the UK jazz scene, she's known for her work with jazz septet Nerija (Parliamentary Jazz Award Winners 2017 Best Newomer) and afrobeat jazz group Kokoroko. A BMus Hons Composition graduate from Trinity Laban Conservatoire of Music & Dance, she is currently Mercury Musical Developments' and Musical Theatre Network's most recent Cameron Mackintosh Resident Composer Scheme recipient.

                                                                  Combinng jazz with inner-city London, West African and Caribbean influenced groove, Cassie's Kinoshi's SEED Enesmble explores a blend of genres through both original compositions and arrangements.

                                                                  Collaborators on this project include Theon Cross (tuba), Sheila Mauric-Grey (trumpet), Chelsea Charmichael (tenor saxophone) all brilliant up and coming young London jazz musicians and one of London's leading guitarists Shirley Tetteh

                                                                  Compositions such as 'The Darkies' are a riposte to a resurgence of 1950's-style racism while 'WAKE (for Grenfell)' is dedicated to victims of a social schism

                                                                  Kinoshi recently contributed to the BBC4 documentary 'Jazzology with Soweto Kinch'

                                                                  STAFF COMMENTS

                                                                  Millie says: Emerging talent from the London jazz scene, SEED Ensemble demonstrates the blend of jazz and afrobeat perfectly. The ten-piece create arrangements which are powerful and filled with meaning, the song WAKE is dedicated to Grenfell victims making a note on social division. This way fellow jazz enthusiasts, SEED is what you need to listen to!

                                                                  Health

                                                                  Vol. 4: Slaves Of Fear

                                                                    In 2007, HEALTH walked into a windowless, sweat-stained venue in downtown Los Angeles to record its debut album.

                                                                    The band - then composed of singer/guitarist Jacob Duzsik, bassist John Famiglietti, drummer Benjamin Jared Miller and guitarist Jupiter Keyes - was locally renowned for its violent, fifteen-minute live sets. Its squalls of tribal drums, shredded guitar noise and eerily plaintive vocals sounded like nothing else in the city.

                                                                    At the time, that rank Skid Row venue known as The Smell was becoming arguably the most influential DIY venue in the world. The scene around it would launch the band to international acclaim.

                                                                    Crystal Castles remixed HEALTH’s single “Crimewave” on their own debut LP, becoming a breakout single for each act. (The group would continue that pattern on its lauded “HEALTH::DISCO” electronic remix series). Later that year, HEALTH opened for Nine Inch Nails on its “Lights in the Sky Tour,” refining its chaotic live set to command some of music’s biggest stages.

                                                                    In 2009, they released their second LP “GET COLOR,” a significant step up in fidelity and ambition. The heaving single “DIE SLOW” became an underground hit and remains one of the band’s signature tracks. DIY bills soon turned into festival slots at Pitchfork Fest, Primavera Sound and other marquee events. Their second remix compilation included the single “USA BOYS,” recorded with Trent Reznor and Alan Moulder.

                                                                    As they began a much-anticipated followup, however, an unexpected new project proved just as compelling. Rockstar Games, the creators of the “Grand Theft Auto” franchise (the most valuable media title in all of entertainment), approached them to score “Max Payne 3,” the latest installment of the noir action series.

                                                                    The 2012 game re-imagined the very concept of a video game score, looping electronic drones and pulsing percussion into a bleak modern shooter. HEALTH’s video game work, including the “Max Payne” single “TEARS” and “Grand Theft Auto V’s” original cut “High Pressure Dave,” won over a generation of young musicians and gamers alike, and continues to influence both worlds.

                                                                    In 2015, the band finally released “DEATH MAGIC,” its third LP, on the prestigious indie label Loma Vista Recordings. Years of work with producers Lars Stalfors (Lil Peep, St. Vincent), Andrew Dawson (Beyonce, Kanye West) and Haxan Cloak yielded the most precise and diverse album of their career, drawing on black metal, New Romance synth pop, beat music and industrial sounds alike.

                                                                    HEALTH, now a three-piece after Keyes’ departure, played prime slots at Coachella, earned a lengthy profile in The New Yorker magazine, performed alongside acts as varied as The Neighbourhood and Deafheaven and covered New Order’s “Blue Monday” for the Charlize Theron action film “Atomic Blonde.”


                                                                    Yak had blazed a trail through the indie rock scene with their debut album ‘Alas Salvation’ and ended that era of their career with a landmark show at London’s Scala. There’s always been an element of chaos to the London-based trio Yak, which made their exhilarating live shows so memorable. It’s an approach that they take to a new level with their second album.

                                                                    They headed to RAK Studios with producer Marta Salogni (Björk, Django Django) and spent 10 hectic days recording 29 songs, 11 of which feature on the album!

                                                                    Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN’s Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the gospel group, The Radio Four) and signature production style. The lightly-reverbed, clear sound of a Nashboro record is unmistakable. The Morning Echoes, led by Willie “Slim” Ayers, formed in the late ‘40s, released their first record in 1951 and moved to Detroit in 1952. They started regularly broadcasting over radio station WJLB and became a part of the Nashboro Records family several years later. Echoes Of The Gospel was originally released in 1967 and was the first Long Playing record from these Motor City favorites. The Morning Echoes remained active in and around Detroit throughout the 1960s, ‘70s and ‘80s. The project officially came to a close when leader Willie “Slim” Ayers passed on September 17, 2013. This Third Man re-issue came into our world when TMR artist and friend Kelley Stoltz sent a well loved copy of Echoes Of The Gospel in gratitude for having him play the Third Man Pressing Grand Opening Party. His note read “Thanks for the fantastic experience! This one is a spirit lifter, In The Garden Of Eden does it for me. XO Kelley”. Third Man is now proud to cast a broader light on the beautiful Echoes of the Gospel and the Detroit-Nashville connection that it embodies. It is transferred with reverence directly from the original 1967 stereo mixes and remastered by Warren Defever.



                                                                    Various Artists

                                                                    Trashcan Records Vol 1: Wild Safari

                                                                      Welcome to the first volumes of Trashcan Records, a new compilation series on Stag-O-Lee, devoted to obscure and forgotten vinyl treasures from the 1950’s and early 1960’s. Compiled by Fedor, an Amsterdam-based record hound, whose huge collection mostly comes from flipping through thousands of used record boxes at Amsterdam flea markets for the last 25 years. For Wild Safari - the first volume - Fedor has selected 12 first-rate exotic rarities that have never been comped before.

                                                                      Various Artists

                                                                      Trashcan Records Vol 2: Midnight

                                                                        Welcome to the second volume of Trashcan Records, a new compilation series on Stag-O-Lee, devoted to obscure and forgotten vinyl treasures from the 1950s and early 1960s. Compiled by Fedor, an Amsterdam-based record hound, whose huge collection mostly comes from flipping through thousands of used record boxes at Amsterdam flea markets for the last 25 years. Volume 2 - Midnight - features twelve very strange and very moody vinyl jewels from Fedor’s box.

                                                                        Elena Tonra, guitarist, vocalist and lyricist of Daughter, has announced details of a solo project. Running parallel to Daughter, she’s assumed the pseudonym Ex:Re (pronounced ex ray) for her eponymously-titled debut solo album, a deeply personal record that was made with both a sense of urgency and a cathartic need. Just finished, it’s being released with equal speed and will be out digitally on 30th November

                                                                        Tonra’s candid solo songs document the time after a relationship ended and are written like unsent letters to herself and others. Taking on a creative moniker, she chose Ex:Re to mean ‘regarding ex’ and also ‘X-Ray’ as a way to look inside and see what is really there. Writing took a year but the recording process lasted mere months, turning to Fabian Prynn (4AD’s in-house engineer and producer) and composer Josephine Stephenson on cello to help bring Ex:Re to life.

                                                                        Elena said of the album, “Although the record is written for someone, a lot of the time it’s about the space without that person in it. In every scenario, there's either the person in memory or the noticeable absence of that person in the present moment. I suppose it is a break-up record, however I do not talk about the relationship at all, and he hardly features in the scenes. He is only felt as a ghostly presence.”

                                                                        STAFF COMMENTS

                                                                        Barry says: Daughter were one of the most refreshing bands to come out a good few years ago, and this Solo album from haunting voiced singer, Elena Tonra is a beautiful and comfortingly different outlet for her undeniable vocal and songwriting talents. Beautiful.

                                                                        Ian Brown

                                                                        Ripples

                                                                          Ian Brown's comeback record is everything you'd want from the funky monkey. Care-free, breezy, uplifting vibes with words that mix the cosmic with a conscience, this record was made almost totally independently. Just Ian, his sons and his old engineer provide that unique blend of the groovy, quirky, and endlessly catchy that we've all come to love and expect.

                                                                          There's mellow, soulful, bluesy funkers, a rock reggae cover, a reggae reggae cover, a couple of slinky, bouncy, elastic shufflers, some massive, psych-tinged slowies (Syd meets Lennon!) and his most Roses sounding tune so far: evidently a ballad ABOUT The Roses (insert broken-hearted emoji here!?)

                                                                          Soundwise this is Ian's most beautifully produced record by a mile. Warm, fat and analogue, with killer basslines and a big bottom end, there's a sparseness in the textures but a depth and width in the mix that's more akin to late 70's reggae than any old 'indie' rock. Ripples is all about the SPACE. Ian's voice and words, as charismatic and enigmatic as ever, are central to it all. And he's never sounded better. Self produced, self written (bar 3 co-writes with his sons. What could be more natural?) and with zero session musicians in sight, this feels like Unfinished Monkey Business, the Second Chapter. But with way better songs, way lusher production; a glorious combo of Tunes, space and sound. The dream belongs to the dreamers!

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Limited edition indies only coloured vinyl. Heavyweight white vinyl, spined sleeve, printed inner sleeve.

                                                                          Signed LP Info: SIGNED EDITION!!
                                                                          Limited edition indies only coloured vinyl. Heavyweight white vinyl, spined sleeve, printed inner sleeve.

                                                                          LP Info: Black heavyweight vinyl, spined sleeve, printed inner.

                                                                          CD Info: Jewel case, 16 page booklet.

                                                                          Gallipoli, Beirut’s fifth album, started life when Zach Condon returned to his old Farfisa organ, the same one he used to write his first two albums, Gulag Orkestar (2006) and The Flying Club Cup (2007). After stints writing and recording in both New York and Berlin, with time for Zach to recover from a broken arm factored in, band plus producer Gabe Wax (Speedy Ortiz, Soccer Mommy, Adrianne Lenker / Big Thief) headed to Puglia in Italy to finish the album.

                                                                          With the remote rural setting “the right amount of isolated”, an intense month of 12 to 16-hour days in the studio with day trips around the coastline followed. Inspired by the surroundings, Gallipoli is unintentionally more visceral than Beirut’s more recent albums, alive with an energy that is further enhanced by every creak and groan of their instruments, every detuned note, and all amp buzz and technical malfunction being left in the cracks of the songs.

                                                                          STAFF COMMENTS

                                                                          Barry says: There's always been something mesmerising about Beirut, their exotic choice of rhythms and instrumentation coalescing with their minimal songwriting style and almost ethereal vocal projection. You'll be delighted to know that this one is every bit the excellent follow-up to 2015's 'No No No', and (thankfully) a little longer. Superb stuff.

                                                                          “Sometimes it’s hard to say how you feel,” says Jade Vincent. “These songs are vulnerable stories for me to tell — they’re things I couldn’t say out loud. But I found that I could sing them. And then I closed my eyes when they would listen.”

                                                                          Listening to Vincent’s songs were her partner, the producer/composer Keefus Ciancia, and the DJ and producer/composer David Holmes. Together, Vincent, Ciancia and Holmes make up Unloved, the musical project that evolved out of a late-night Hollywood bar in 2015, released a stunning debut album the following spring, and this year crafted the soundtrack to Phoebe Waller-Bridge’s acclaimed new series Killing Eve.

                                                                          Now Unloved bring us their second full length record Heartbreak, a record emboldened by its predecessor to be more emotionally exposed, more musically, lyrically, and vocally audacious. In the words of Holmes: “We just get together, had a load of ideas, and Jade went off and wrote and wrote. She got deep and deep. She has an amazing story. They are amazing songs. She excelled herself.”

                                                                          To enter the world of Unloved is to surrender oneself to a great musical immersion, one that seems to occupy the space somewhere between past and present, where thoughts soften and ideas mingle with twisted mancini-esque orchestrations, where music binds the dawn and dark.

                                                                          STAFF COMMENTS

                                                                          Barry says: Killing Eve, and it's tense atmospheres but dark humour flecked throughout wouldn't have been the same without Unloved's perfect soundtrack. Heartbreak may seem mildly chaotic at first, but brilliantly evocative orchestration and swooning, loungey vibes soon make you foret the chaos before flinging you once again into the fire. A beautifully produced and perfectly balanced filmic masterpiece. And who would have expected any less from this talented bunch?

                                                                          New album from the West-London trio, which sees them scaling new creative heights with re-energised confidence.

                                                                          The writing and recording process took in both sides of the Atlantic, including a creative sojourn to Los Angeles where they worked on new material with old acquaintance Ed Buller - producer of two previous White Lies albums including the band’s chart-topping debut To Lose My Life.

                                                                          Enlisting engineer James Brown (Arctic Monkeys, Foo Fighters), renowned producer Flood who can also be heard contributing synths and keys on a couple of tracks. Whilst eminent Grammy Award recipient Alan Moulder (Smashing Pumpkins, Nine Inch Nails, The Killers) having worked on the band’s first two albums returns to mix the album.

                                                                          STAFF COMMENTS

                                                                          Barry says: Alan Moulder's production couldn't have been a more perfect fit for white Lies' mildly gothic Interpol-esque swagger and heavy synthy undercurrent. Distorted guitars are offset with tender breakdowns and perfectly measured instrumental passages.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Limited LP format is on 180g blue vinyl with album download in special packaging along with an exclusive 8 page booklet.

                                                                          After releasing 2016’s critically acclaimed Apocalipstick, Cherry Glazerr spent the next 18 months touring the world on their own steam. Between DIY All Ages venues, rock clubs, large festival stages, and massive theaters with some of the world’s best and most beloved bands (The Pixies, Flaming Lips, Slowdive, and The Breeders, among others), the band has really only stopped to work on their follow up, Stuffed & Ready. While furiously building the band’s sound and ideas, front person Clem Creevy enlisted Carlos de La Garza to be the band’s studio co-collaborator as they evolved the songs and refined the recordings.

                                                                          STAFF COMMENTS

                                                                          Barry says: Heavy in parts, but with a carefully graduated delivery, Clem Creevey's voice rides over the top, lending an air of assertive dominance whilst still moving with the changing dynamics of the music. Heavy as f**k at certain points before breaking down into echoing gothic malaise. It's a superb outing, and one sure to impress fans old and new.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Limited edition red vinyl.

                                                                          With their powerful harmonies and imaginative songrwriting in full force, Girlpool are making new creative leaps with their new album, What Chaos Is Imaginary. Combining elements of shoegaze, folk, and 80’s postpunk with their own melodic gifts, these two great songwriters come up with a modern classic full of great tunes and sonic surprises. 

                                                                          STAFF COMMENTS

                                                                          Barry says: Shoegaze (or at least elements of the shoegaze aesthetic) has had a big resurgence of late, but hearing that aesthetic mixed with the more in-your-face distorted power and rhythmic drive of grunge is indeed a power to behold. 'What Chaos Is Imaginary' has managed to be both eminently listenable and intimidatingly varied at the same time. A superb outing once again from Girlpool.

                                                                          Some words from M.C. Taylor of Hiss Golden Messenger:

                                                                          "I met William Tyler on a train going south out of London. He had a nervous and cryptic and welcoming aura and was the first Nashville native (there is such a thing) that I’d ever met. We both carried more than we could manage on that trip, and I realized later that his bags were full of books. Books about psychology, philosophy, the Civil War, and astrology. Books—I realize now as I write this—about measuring and deciphering the boundaries of kindness and cruelty. William and I bonded early in our relationship over Barry Hannah, a hellraising writer from Mississippi who practically reinvented the way that words could be assembled on a page. Like Hannah, William Tyler knows the South—as a crucible of American histories and cultures, an entity capable of expansive beauty and incomprehensible violence, often in the same beat.. In the music of William Tyler, the South is not apart from America; the South is America condensed. And like Hannah—and this part is important—William moved to California, where Goes West was written.

                                                                          William’s new record, Goes West, is the best music that he’s ever made. I’m sure of this because I know and love all of his music intimately, and this album moves me the most, and the most consistently. The first time I heard it was in the late spring in the Texas Hill Country, rolling between limestone and scrub. I was on a cleanse then—no alcohol, no drugs, no evil thoughts—and was astonished at the emotional clarity that the album held. Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists."

                                                                          STAFF COMMENTS

                                                                          Barry says: William Tyler definitely has an ear for a progression. Pitch-perfect guitar athletics, tempered by warming Americana vibes help to make what could easily have been a confusing ball of sound into a multi-layered, and beautifully textured tapestry. Undoubtably one of the greatest folk / Americana artists out there today. Superb

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Limited green vinyl LP

                                                                          Coloured LP includes MP3 Download Code.

                                                                          The Specials, one of the most electrifying, influential and important bands of all time, release “Encore”, their first new music for 37 years.

                                                                          2019 marks the 40th anniversary of the formation of The Specials and the legendary Two-Tone label in Coventry in 1979, and also marks 10 years since the band reformed to play some of the most vital and joyous live shows in recent memory.

                                                                          The 10-song “Encore” was produced by Specials founding members Terry Hall, Lynval Golding and Horace Panter alongside Danish musician/producer Torp Larsen and indeed is the first time Hall, Golding & Panter have recorded new material together since the band’s 1981 No.1 single Ghost Town.



                                                                          Featuring Justin Bieber, MØ, Travis Scott, Ariana Grande, Quavo, Nicki Minaj, Sean Paul and many more, "Essentials" highlights Major Lazer’s reach across the globe, and the vast range of their influences and influence to date. Essentials features a brand new release, “Blow That Smoke” featuring Tove Love, plus their biggest hits to date, “Lean On” (the first independent track to hit #1 on U.S. Top 40 radio) and “Cold Water,” two of the most streamed songs of all time on Spotify.




                                                                          STAFF COMMENTS

                                                                          Matt says: A concise retrospective of Major Lazer's vast back catalogue. The trail-blazing, nu-dancehall star's got plenty to bounce, jig and strut to; so get yer ears round this bad boy and cop some of the hottest collaborations of the last decade!

                                                                          FORMAT INFORMATION

                                                                          3xColoured LP Info: Triple 12” vinyl limited numbered edition. 3 colored vinyls in gatefold sleeve with printed inner-sleeves and etched design on F side. Includes a 30x60cm poster and the 2CD album in clear plastic sleeves with flap.

                                                                          More than just a detail, the “.” in Aftermath’s Anderson .Paak’s name is a shot fired, putting the world on notice of an artist unlike anything the twenty-first century has ever seen. With a soulful essence harkening back to the iconic voices of the seventies, yet embodying a raw uniqueness fully present in the now, the acclaimed singer/rapper/drummer/producer has successfully alchemized a cross-section of musical styles – R&B, hip-hop, and dance – into a solid, undeniable, irresistible “genre-less sound.” A rabid worldwide fan base, praise from critics at outlets including Rolling Stone, Billboard, New York Times, and Pitchfork, and electrifying appearances on talk shows including Ellen, The Late Show with Stephen Colbert, The Tonight Show Starring Jimmy Fallon and at festivals around the globe have all cemented .Paak’s place as one of the most premier artists on the music scene today.
                                                                           
                                                                          Born Brandon Paak Anderson in Oxnard, California, his extraordinary talent was fully realized under the name Anderson .Paak with his debut Venice and a stellar six-song run on Dr. Dre’s certified Gold COMPTON album, culminating in the perfect storm of his sophomore release, 2016’s Malibu. A seamless tsunami of soul-stirring, body-shaking, infectious and deeply-personal songs with features by artists such as ScHoolboy Q, The Game, Talib Kweli and power producers including 9th Wonder, Robert Glasper, Kaytranada and more, Malibu was met with universal rave reviews, major nominations, including Best New Artist and Best Urban Contemporary Album Grammy nods, and a hail of award wins. In late 2016, .Paak and producer Knxwledge – as the duo NxWorries - released the album Yes Lawd!, reaching #3 on Billboard’s Top R&B/Hip-Hop chart.

                                                                          With impressive collaborations with acts such as Mac Miller (whose song Dang! featuring .Paak was certified Gold), a stream of requests to work with renowned artists, and instantly recognizable hits in national ad campaigns, popular television shows, and on the big screen, .Paak is now ready for his next major move with the release of his highly-anticipated first album on Dr. Dre’s Aftermath label.

                                                                          The world can hardly wait...


                                                                          The Telescopes

                                                                          Exploding Head Syndrome

                                                                            Welcome to the 11th studio album from The Telescopes, their third for Tapete. Consisting of eight new songs and incantations that form a series of sonic convulsions stretching the parameters of intuitive composition to the point of auditory illusion. Conceived in 1987, The Telescopes emerged as innovators in the field of melodic noise, becoming a crucial inspiration to a multitude of artists and listeners alike. The group has consisted of a revolving line up centred around lead protagonist and founding instigator Stephen Lawrie.

                                                                            Prefab Sprout

                                                                            I Trawl The Megahertz

                                                                              Conceived and recorded after Paddy was diagnosed with a medical condition that seriously affected his vision, the album is a testament to the healing power of music.

                                                                              Remastered and complete with new artwork and liner notes from Paddy himself.

                                                                              STAFF COMMENTS

                                                                              David says: It's hard to believe that it's taken nearly twenty years for this MASTERPIECE to be released on vinyl. A heartbreaking, orchestral work of genius that sounds like it could have been made at any point in history. Absolutely unmissable.

                                                                              FORMAT INFORMATION

                                                                              2xLtd LP Info: 180g double vinyl is etched on one side.

                                                                              Traversing influences that cross genre and era, the artistry of Hollie Fullbrook and her band spans delicate folk, lustrous dream pop. Production by David Lynch, Olympic Girls bring ebullient psychedelia to the album.

                                                                              Building on the sparse minimalism and mesmerising songwriting of earlier releases, Olympic Girls comprises a taut and agile quiver of songs, dancing with explorative instrumentation and a pop sensibility that springs with life.

                                                                              “How much would you be willing to give?” Fullbrook asks point-blank in first single ‘How Much’, ahead of woozily discordant strings and a stomping neopsychedelic rhythm. The lyric brims with imagery of supermarket breakdowns, lilos, snarks and silos while an anthemic guitar hook soars throughout. Not content to leave the song at a stable conclusion, a thumping ‘I am the Walrus’- esque bass outro propels the track boomerang-style back to a space of adroit experimentation.

                                                                              “I’ve heard Olympic Girls, and I had to pick my jaw up off the floor”, wrote Grant Smithies. “Clustered around more introspective passages typical of confessional singer-songwriters are gnarlier phrases that give her work its buzzy voltage: arresting visual images, weird associations, daisy-chains of telling detail.”

                                                                              “…an album confident in its vulnerability and luxuriating in a bigger sound.” - LOUD & QUIET (8/10).

                                                                              “It’s a song that certainly leaves a mark, and suggests that seeing Tiny Ruins in their upcoming tour will be an undoubtedly memorable experience.” - THE 405. 

                                                                              “a twilight piece of pared down indie pop” - CLASH.

                                                                              Guided By Voices

                                                                              Zeppelin Over China

                                                                                Zeppelin Over China is a major and majestic work in the GBV canon, spotlighting the scope and genius of Robert Pollard’s songwriting. With thirty-two songs in 75 minutes, the massive double-album Zeppelin reaches lofty heights on its musical journey. Pollard continues to deliver endless invention and emotional wallop in two and three-minute guitar rock gems. Pollard has assembled his greatest supporting cast ever—Doug Gillard (guitar), Kevin March (drums), Mark Shue (bass), Bobby Bare Jr. (guitar) and Travis Harrison (engineer)—and this line-up’s virtuosic talents spur him to his most ambitious work yet, a grand album of emotional resonance and narrative drama. After well-deserved acclaim for the mind-boggling milestone of Pollard’s 100 career albums, Zeppelin Over China is a wonderful entry point for new listeners to experience Guided By Voices for the first time. Not resting on his laurels, Pollard’s tireless tenacity pays off with spectacular results.

                                                                                Grand Veymont

                                                                                Grand Veymont

                                                                                  Grand Veymont are
                                                                                  Josselin Varengo - Organ, synthesizer, percussion, vocals
                                                                                  Béatrice Morel Journel - Organ, chant, flute, vocals

                                                                                  Heading south from Lyon in south-eastern France, an awe-inspiring massif of jagged limestone looms into view. Framed perfectly by the resplendent snowcapped Alps in the distance, the Vercors Regional Nature Park is an area of exceptional beauty. Grand Veymont is the highest peak of the Vercors Massif from which Béatrice and Josselin take both their inspiration and name.

                                                                                  Resident and natives of the Vercors, everything is often a question of territory, the one where we are born, the one we live in, the one we leave, the one we cross, the one we see or the one we desire. Grand Veymont have been exploring these themes since forming in 2016.

                                                                                  Parts of their music could be likened to the experimental aspects of Stereolab, or perhaps serialist music corrupted by the pantheon of pop and ethereal, abstract atmospheres, or maybe what Krautrock would sound like if the Vercors were a feature on the map of contemporary music… So no formulaic rock here – just songs sung in French deeply veined with moods, desires and the occasional lightning strike.

                                                                                  The mountain's fertile terrain and imposing mass has impressed itself upon the imagination through what they describe as "krautrock de salon", a hypnotic medieval soundscape born of restless musical spirits. As free as the swirling wind of the Vercors Massif and as intriguing and playful as a young Marmot. Much like their ancestral landscape they deserve further exploration.

                                                                                  The duo are also currently one-third of Gloria (Ample Play, UK & Howling Banana, Fr), having played together in Tara King TH whilst still performing separately with Slow Joe & The Ginger Accident and Baby B. They have also recorded with Deborah Kant and Aquaserge.

                                                                                  Bruno Bavota

                                                                                  Re_Cordis

                                                                                    RIYL: Ludovico Einaudi, Max Richter, Eluvium, Nils Frahm, Goldmund.

                                                                                    Bruno Bavota is a young Italian composer and multi-instrumentalist with seemingly boundless potential, and an extraordinary gift for marrying the intellectual and emotional into earnest and profoundly effective songs. Though favorably compared in his early career to another Italian composer, the legendary Ludovico Einaudi, Bavota has found himself increasingly pursuing ways to distort and disturb traditional arrangements and melodies in pursuit of a more distinct resonance. Armed with a plethora of outboard effects pedals and processors, Bavota manually manipulates his songs in real time as he performs - often with his bare hands engaged in a seesaw battle of construction against obstruction. It infuses a genuine sense of tension and forward momentum that makes his work extraordinarily poignant. Recorded live in one afternoon at a friend's studio in Bavota's hometown of Naples, Italy, RE_CORDIS documents many of Bavota's most recognizable and accomplished works as they stand and at this moment in time - ever-evolving musical life-forms that change shape while maintaining their distinctive skeletons. It also introduces his newest work, "The night of," a tense, escalating race of loops punctuated by a series of dramatic chord strikes. The recording is charmingly informal, leaving the sounds of Bavota's physical movements - the shuffling of feet, the triggering of effects pedals, the creaking of stools - present in the mix to mingle with the music. As an exhibition of Bavota's skills as a composer and performer, it's impressive; as a glimpse of what's to come, it's an epiphany. 

                                                                                    Juliana Hatfield

                                                                                    Weird

                                                                                      Fast on the heels of April 2018’s acclaimed “Juliana Hatfield Sings Olivia Newton-John” comes Juliana Hatfield’s new self-produced all-originals album “Weird”. Freda Love Smith (Blake Babies, Sunshine Boys) and Todd Philips (Lemonheads, The Juliana Hatfield Three) each played drums on multiple songs while Hatfield played all of the other instruments (and some additional drums). Weird is an album about disconnection and discomfort. “I often feel cut-off from other people, from my feelings, from technology, from popular culture,” says Hatfield. “I feel weird, I feel like I’m dreaming my life and that I am going to wake up some day.” While Hatfield’s songs—melodies and lyrics and structures--are meticulously crafted, her guitar parts are loose and sometimes a little unhinged; first-take expressions of this temperamental uneasiness. “Personally, I feel like a malfunctioning machine. There’s a screw or two loose. I want my guitar playing to reflect that.” 

                                                                                      Favorite Recordings and Charles Maurice deliver the 4th edition of the "AOR Global Sounds" compilations series: 14 rare and hidden tracks, produced between 1977 and 1986 in various parts of the world. Started in 2015, the AOR Global Sounds series was born from the will of Charles Maurice (aka Pascal Rioux) to share his longtime love for the AOR and West Coast movement and highlight its influence for many artists in the late 70s and early 80s. In this 4th volume, he selected again highly forgotten productions, deeply infused with Disco and Soul flavors.
                                                                                      Half of the compilation’s tracklist is naturally coming from the US, homeland of this music style, but the other half is made of productions from all over the globe, from France, Belgium, Italy, to Mexico. And for most of these beautiful songs, it came from artists and bands rather unknown and often released as private press.
                                                                                      As an example, “Come Back” is the result of a music talent competition won by a student band named Parenthèse, gaining a full recording session in a professional studio and the production of a limited promotional 7inch vinyl, which still completely obscure til now. “Mellow Out” comes from the only album by Pacific Dreams, which was fully self-produced and released by its leader Tommy Sweet. Fernando Toussaint, however having quite a solid career and discography as a drummer and with his brother forming the Mexican Jazz-Funk band Sacbé, had solely one solo album released in very limited quantities on Discos Alebrije, a label directed by Alain Derbez. As for “Never Was Love” by Russ Long, despite becoming quite famous when recorded and sang by Judy Roberts, it’s still surprisingly undiscovered in its original version, taken from Russ’ beautiful album from 1982, Long On Jazz In Kansas City.
                                                                                      And we could detail stories like this for each of the titles included in AOR Global Sounds Vol.4, but our guessing is the best way to learn more about all these gems is to listen to it, fully remastered from originals, and whether your preference is for vinyl or CD formats.

                                                                                      First to take the reins of the DJ-Kicks mix series in 2019 will be ever evolving UK artist, Leon Vynehall. His 26-track mix features new material from the man himself, as well as exclusives by Hessle Audio and Timedance affiliate, Ploy, rising newcomer Peach, and Pavilion, plus a number of gems that will be available digitally for the first time ever.

                                                                                      In a short space of time, Leon Vynehall has established himself as a DJ and producer with real craft. He brings a much wider than usual array of skills and influences to electronic music, and is always as likely to talk about minimalism, post-punk, or hip-hop as he is house and techno. This comprehensive approach to was confirmed by his spellbinding debut album Nothing Is Still on Ninja Tune in June 2018. An imagined soundtrack to his grandparents' emigration from the UK to New York throughout the 1960s, it told a distinctive story that unfolded into a resonant narrative; a richly layered affair filled with curveballs and a wealth of adventurous ideas that Vynehall pulled off with confidence and style.

                                                                                      It’s the same story with his DJs sets, and particularly this DJ-Kicks mix, which goes from 79-169bpm in fluid fashion. Always interesting and distinctly diverse both in genre and tempo, the mix works in a range of settings, as was the artist’s aim.

                                                                                      'I wanted to approach this more like a compilation than a stand-alone ‘mix,'' he says. 'To me, compiling a DJ-Kicks is a significant statement of intent and representation, so with that in mind, I thought more about the selection than the mix. Being given the responsibility to select work from artists I admire, some of which have only ever been released on their first vinyl presses many years ago, was a task I didn’t take lightly.'


                                                                                      STAFF COMMENTS

                                                                                      Matt says: What a rise to stardom we've witnessed from this equisitive producer / DJ. From his early beginning in 2012, we've seen a multifaceted produce drop house, techno and ambient. Now, for a well-overdue DJ Kicks comp, we get to explore his major influences and musical landmarks from boy to man. Yes boss!

                                                                                      RIYL: The Horrors, Moon Duo, Wooden Shjips, Spiritualized, Brian Jonestown Massacre, Dungen, Goat, Clinic.

                                                                                      Toy release their fourth album, and their first for new label Tough Love Records, and it is unquestionably their most direct and propulsive album to date.

                                                                                      Recorded between their own home tape studios and mixed at Dan Carey’s Studio B in South London, the album was entirely produced and mixed by the band.

                                                                                      "Happy In The Hollow is entirely uncompromising: an atmospheric capturing of a state of mind that touches on Post Punk, electronic dissonance, acid folk and Krautrock. Familiar qualities like metronomic rhythms, warping guitars, undulating synths and Tom’s gentle, reedy vocals are all in there, but so is a greater emphasis on melody, a wider scope, and a combining of the reassuring and the sinister that is as unnerving as it is captivating."

                                                                                      The sound has without doubt expanded — and grown more confident — in part because this is the first album for which Toy has become a self-sufficient five-person unit doing everything for themselves.

                                                                                      “Each song was a blank canvas,” says Maxim. “Producers inevitably develop their own patterns over time, right down to certain drum sounds. We were starting from scratch and it felt very creative as a result. It’s an album we feel deeply connected to”.

                                                                                      TOY are: Tom Dougall (vocals / guitar), Dominic O’Dair (guitars), Maxim Barron (bass / vocals), Max Oscarnold (synths / modulations) & Charlie Salvidge (drums / vocals).


                                                                                      STAFF COMMENTS

                                                                                      Barry says: Toy on fine form here, in a somewhat more dreamy and progressive mood than on 2016's 'Clear Shot', with swirling guitars and cavernous reverb surrounding the psychedelic chord changes and echoing haunted vox. They've managed to craft something that is both immediate and deep, easy to engage with but develops the more you listen. A truly stunning work.

                                                                                      FORMAT INFORMATION

                                                                                      Dinked Edition LP Info: Pressed on Transparent Vinyl.
                                                                                      Exclusive alternative artwork.
                                                                                      Includes a bonus 7" single with two secret tracks.
                                                                                      Hand Numbered.
                                                                                      Limited to 700 copies to Dinked Shops only.

                                                                                      Coloured LP Info: Limited to 1000 copies on “Behind Blue Eyes” vinyl and exclusive to Indie stores only.

                                                                                      The iconic compilation series "Back to Mine" returns in 2019, to mark its 20th anniversary, with the indomitable Nightmares on Wax, to share his personal collection of music for after hours grooving. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

                                                                                      The collection includes three exclusive tracks, one new track from Nightmares on Wax, along with a remix from the man himself of seminal band Fat Freddy’s Drop and brand new project Creative Principle. The album is impeccably mixed and blended, as you’d expect from a DJ and collector of George’s pedigree. His selection includes a strong representation from his roots in Northern England. Opening with respected Manchester soul duo Children of Zeus, Hull’s Steve Cobby provides his own "Lefthanded Books" featuring Crazy P’s Danielle Moore and also introduces his chuggy-disco project Chieftain. There’s also room for the recent Nightmares on Wax recent single "Look Up". Moving internationally; there’s Greek producer Dim Zach who doffs a cap to Imagination on the synth-heavy "Innocence", US-born / Colombian based Afro / Latin / disco / funk producer Bosq, Italy’s Massimo Vanoni with the slo-mo funk "Exciting Groove", the deep and jazzy "Gotta Have It" by Berlin’s SoulPhiction side project SBM and two tracks by New Zealander Ladi6.

                                                                                      This first re-installment of "Back to Mine" is a triumphant return for the iconic and music loved series. Nightmares on Wax delivers an incredible selection of tracks that gives the listener a real insight into the artists personal and extensive taste. 'I always hoped that when the time was right I would be asked to do a Back To Mine release and so when the call came there was absolutely no hesitation'. - Nightmares on Wax.


                                                                                      FORMAT INFORMATION

                                                                                      2xLtd LP Info: Limited edition heavyweight vinyl.

                                                                                      2xCD Info: CD1 mixed, CD2 un-mixed.