MAGIC MIX

STAFF PICKS

ALBUMS

Autechre

Sign

    Autechre, masters of uncompromising glitched-out electronic business return with a new full-length for the titans of 'leccy music, Warp. 

    From the blistering VHS-saturated beginning of 'M4 Lema', we're taken on a ride through fractured nu-rave, 90's influenced braindance and flickering barely-connected electrical circuits. 

    The more choral moments (the beautiful, Hecker-esque 'esc desc' for example) help to make things a little less frantic by soothing the glitch-addled mind with some swells of organ and reverbed synth wisps.  

    This is as uncompromising and skilfully collated as any of Autechre's work thus far, and further cements their reputation as the ultimate Enfant Terrible of electronic music. 

    STAFF COMMENTS

    says: Shit the bed, it's a new Autechre record! Famously someone once told me that my CD was skipping back in the day, but the joke was on them, because it wasn't. One of the masters of the genre returns, and I genuinely couldn't be more excited. HUGE news.

    FORMAT INFORMATION

    2xLP includes MP3 Download Code.

    Matt Berninger

    Serpentine Prison

      Serpentine Prison is the debut solo record from Matt Berninger front man of The National. The album, produced by renowned Memphis multi-instrumentalist Booker T. Jones (of Booker T. & The MG’s fame) will be released via Book Records, a new imprint formed by Berninger and Jones in conjunction with Concord Records.

      “The song ‘Serpentine Prison’ was written in December 2018, about a week after recording The National’s I Am Easy to Find,” Berninger explains about the new track. “For a long time, I had been writing songs for movies and musicals and other projects where I needed to get inside someone else’s head and convey another person’s feelings. I liked doing that, but I was ready to dig back into my own garbage and this was the first thing that came out.”

      Berninger continues, “The title is from a twisting sewer pipe that drains into the ocean near LAX. There’s a cage on the pipe to keep people from climbing out to sea. I worked on the song with Sean O’Brien and Harrison Whitford and recorded it about six months later with Booker T. Jones producing. It feels like an epilogue, so I named the record after it and put it last.”

      The album features contributions from a wide array of notable artists, including Matt Barrick (The Walkmen, Jonathan Fire*Eater), Andrew Bird, Mike Brewer, Hayden Desser, Scott Devendorf (The National), Gail Ann Dorsey (David Bowie, Lenny Kravitz), Booker T. Jones, Teddy Jones, Brent Knopf (EL VY, Menomena), Ben Lanz (The National, Beirut), Walter Martin (The Walkmen, Jonathan Fire*Eater), Sean O'Brien, Mickey Raphael (Willie Nelson, Bob Dylan), Kyle Resnick (The National, Beirut), Matt Sheehy (EL VY, Lost Lander) and Harrison Whitford (Phoebe Bridgers). Additional production on the album was provided by Sean O’Brien.


      STAFF COMMENTS

      says: Matt Berninger has had our attention for a long time, fronting and writing songs for The National. It comes as a little surprise then, that he's smashed out a solo album with the band still fully intact (just not the done thing is it?). Anyway, he's forgiven because what we have here is a beautifully emotive but comfortingly different creative path than his 'Day Job'. How the songs keep flowing at this quality is beyond me, let's just hope they keep flowing.

      FORMAT INFORMATION

      Coloured LP Info: Limited indies exclusive Opaque Blue vinyl.

      Being the humble guys that they are, Surprise Chef aren't going to admit they have something very special going down. However, there must be some magic in their studio, or maybe in the fact they all share a house and have formed close bonds, or perhaps from absorbing the DIY ethos of running their own record label that has culminated in such a unique and enchanting sound.

      'Daylight Savings' is the follow-up to the group's debut album 'All News Is Good News’. That album earned the band a much-deserved following across the world and triumphantly marked their arrival onto the international stage. Their new album was recorded in Spring 2019, almost exactly a year after they recorded ‘All News Is Good News’. It was the weekend that daylight savings time started in Australia, and the studio was filled with the smell of the towering Jasmine bush on the exterior back wall of the house. The record is subsequently filled with the optimism that comes with the impending warmer months and longer days in Australia.

      Recorded in their own home studio in Melbourne, the production approach for 'Daylight Savings' is a big step up from their debut. Engineer, Henry Jenkins, created enormous-sounding space within this record, using a great deal of creative analogue recording techniques and working in an expansive recording environment. The results are a sound that emulates the massiveness of the late-60s Capitol Records.

      ‘Daylight Savings' was written collaboratively by the whole band and features the core Surprise Chef rhythm section. It expands upon where their debut left off with a leaning more towards 70's jazzfunk than soul and a stronger focus on the rhythm section. There’s the epic drama, ebbs and flows of a vintage David Axelrod or Alain Goraguer cinematic production, plus the influence of El Michels Affair and Melbourne bands Karate Boogaloo and The Putbacks, yet it still sounds uniquely Surprise Chef. You get a sense of that rare attribute of being both a contemporary band and a band you expect it won't be too long before other producers start sampling them.


      STAFF COMMENTS

      says: Sunny Melbourne soulsters Surprise chef return for another LP of sunshine groove and Jazzed out instrumentals. Toeing the line expertly between frenetic, percussive mayhem and Khruangbin-esque downbeat business, they have crafted a uniquely innovative and sun-dappled sound. Another perfect pick-me-up.

      FORMAT INFORMATION

      Dinked Edition LP Info: • A5 20pp zine.
      • A5 insert.
      • Light blue vinyl.
      • Obi strip.

      Kevin Morby

      Sundowner

        In the winter of 2017 I moved back to my hometown of Kansas City from Los Angeles. The move was sudden and unforeseen, just as I was tying a bow on the writing process for what would become my 2019 album, Oh My God. I bought a Four Track Tascam model 424 off of an old friend to help me get to the finish line, but much to my surprise and excitement, this new piece of equipment in my all-but-bare home didn’t help complete one album but rather inspire another: Sundowner. The new collection of songs came quickly and effortlessly as I did my best not to resist or refine the songs, but instead let them take shape all on their own.

        As the songs kept coming I cleared out the crowded shed that was sitting dormant in my backyard and built a makeshift studio before adding drums, lead guitar and piano to complete the demos. Each day I would teach myself basic recording techniques, watching the channels illuminate and pulse as if the machine were breathing, and then emerge in the evenings as the sun was getting low: - around 5:30 in the winter, when the Kansan sunsets look icy and distant, like a pink ember inside of a display case, and 9 o’clock in the summer, when the sunsets are warm and abstract.

        Landing back home felt jarring juxtaposed with a life full of chaos and adventure with my band on the road. But at the very least, I was happy to have - for the first time in my adulthood - a place to close the door, with no temptations other than to work on music and reflect on what I had built since I left. It was a new form of isolation, one I had never explored or expected to experience. Not ready to let go of the hand of the California desert, I spent the winter decorating the best I knew how; with mementos from my previous home, cactus and aloe vera and covering the walls in pinewood - immediately earning my house it’s nickname, The Little Los Angeles.

        In January 2019 I contacted my friend and producer Brad Cook to help recreate what I had made in my shed. We chose to work in Texas; we wanted to make sure the record was done far away from any coastline, and in the heart of America. Brad played bass and some keys on the album, but beyond that he encouraged and inspired me to play almost everything else. All lead guitar, proper drums (save the drums on “A Night At The Little Los Angeles”), mellotron and what I believe to be the albums secret weapon - a WWII era collapsible and slightly out-of-tune pump organ - were performed by me. We did, however, bring in James Krivchenia towards the end of the session to fill out the percussion. It was an honor to work with him as he built maracas from pecans and played on the floor of the live room, adding flourish wherever he saw fit.

        On the last evening of the session, after everything had wrapped, we all climbed on top of an empty water tower on the property, giving us a view in all directions. To the North you could see an endless Texas, with long wisps of cirrus clouds above the desert floor, and to the South there was Mexico, the recent detention camps only a mile beyond, with large cumulus clouds hovering over, bringing us to an ominous pause. To the West, towards the setting sun, the two families of clouds merged, holding the last light of the day in purple and orange. Below, a freight train cut the landscape in half as it whistled in the distance.

        Almost as soon as the session wrapped, I was off and away on press trips and then proper tours for Oh My God, which came out in April that same year. Sundowner sat inside of a hard drive back at Sonic Ranch and did not see the light of day, until I found myself, as did the rest of the world, stuck inside their home and in quarantine in March 2020. My second year of touring for Oh My God was cancelled. Brad, Jerry and I worked from our respective homes, sending notes back and forth as we worked alone but together to mix the album, and suddenly, just like that, Sundowner was finished.

        Songs, like sunsets, are fleeting, and it’s only due to a willingness and desire to catch them that you ever, if even only for a moment, grab a hold of one. When writing Sundowner, I was lucky to have had the Tascam 424 there to help capture both. Sundowner is my attempt to put the Middle American twilight -- it’s beauty profound, though not always immediate -- into sound. It is a depiction of isolation. Of the past. Of an uncertain future. Of provisions. Of an omen. Of a dead deer. Of an icon. Of a Los Angeles themed hotel in rural Kansas. Of billowing campfires, a mermaid and a highway lined in rabbit fur. It is a depiction of the nervous feeling that comes with the sky’s proud announcement that another day will be soon coming to a close as the pink light recedes and the street lamps and house lights suddenly click on. -- Kevin Morby, Kansas, 2020.

        STAFF COMMENTS

        says: It's a blessing in a way, that all of the artists we know and love have had a chance to get through some unfinished work sitting around on their hard drives (obviously the circumstances surrounding it are less than ideal..). Here we have a fully fledged gorgous new album from Morby that just wouldn't have been given the attention it deserved had his tour for the last album gone ahead. Thank goodness it got finished, 'Sundowner' is a triumph.

        FORMAT INFORMATION

        Coloured LP Info: Indie Exclusive on Clear Pink Vinyl

        Coloured LP includes MP3 Download Code.

        The Phoenix Foundation

        Friend Ship

          The Phoenix Foundation have lived many lives. From high school distortion addicts to indie folk trippers to masters of motorik dream pop. It’s been five years since their last album, Give Up Your Dreams, but that downtime has been well spent. The New Zealand outfit have been writing, recording, touring with a Symphony Orchestra, creating the acclaimed soundtrack for Taika Waititi's Hunt For The Wilderpeople, building shrines to light, creating scores for VR, producing other bands and, that most lockdown-friendly activity, baking sourdough.

          Slowly, when they could, the six old friends found time to work together in studios, garages, forests, and sheds to put together the concise ten song set of that is Friend Ship. “We took such a long break after Give Up Your Dreams that when we did decide to make a new record we all felt it needed to be in some esoteric sense different,” says co-lead singer Samuel Flynn Scott. “To me that meant returning to something more focused. Honing in on the songs before we went deep into the arrangements and freaky sounds.” And the results reflect this approach too. Whilst Friend Ship, as you would expect, weaves seamlessly between dreamy introspective pop, stretched out grooves and psychedelic rock, it also exists as a collection of masterfully crafted songs.

          Friend Ship features vocals from Nadia Reid, Tiny Ruins’ Hollie Fullbrook and Anita Clark aka Motte plus sumptuous string arrangements performed by the New Zealand Symphony Orchestra.


          STAFF COMMENTS

          says: Phoenix Foundation present a widescreen look at the blurred peripheries between dream pop, synthwave and good old fashioned indie music here with their latest outing, Friend Ship'. Beautifully smooth, soaringly melodic and deeply comforting, The Phoenix Foundation have done it again.

          FORMAT INFORMATION

          Dinked Edition LP Info: • Dinked Exclusive Turquoise Vinyl *
          • Alternate Screen-printed Edition, artwork by Raissa Pardini *
          • Includes exclusive 2 bonus flexidiscs *
          • Numbered Edition *
          • Limited to 500 *

          *exclusive to Dinked

          Dinked Edition LP includes MP3 Download Code.

          Coloured LP Info: Pink vinyl.

          Coloured LP includes MP3 Download Code.

          Various Artists

          Blue Note Re:Imagined

            This autumn will see the release of Blue Note Re:imagined; a brand-new collection of classic Blue Note tracks, reworked and newly recorded by a selection of the UK scene’s most exciting young talents. Representing a bridge between the ground-breaking label’s past and future, the project features contributions from a rollcall of 16 revered UK acts including Ezra Collective, Nubya Garcia, Poppy Ajudha, Jordan Rakei and Brit Award-winning Jorja Smith. Blue Note, which celebrated its milestone 80th anniversary in 2019, boasts an illustrious catalogue that traces the entire history of jazz and the Re:imagined project features music originally created by some of its most legendary artists.

            Various Artists

            Help (War Child) - 2020 Reissue

              Twenty-five years ago this month, the cream of the British music industry walked into Abbey Road and studios around the UK and recorded an album for War Child in response to the plight of the thousands of families caught up in the bloody Balkans war.

              It went onto become the most legendary charity album of all time. Inspired by a John Lennon quote "The best record you can make, is recorded on Monday, cut on Tuesday, pressed up on Wednesday, packaged on Thursday, distributed on Friday, in the shops on Saturday”, Paul McCartney, Noel Gallagher, Paul Weller formed the super group Smokin’ Mojo Filters and Radiohead, Manic Street Preachers, Portishead, Massive Attack, Suede, The Charlatans and many more contributed tracks.

              Go! Discs’ Tony Crean and Andy McDonald, press officer Terri Hall and others rallied artists, media and the industry to come together in those few days. Nirvana bassist Krist Novoselic wrote the sleeve notes, John Squire designed the artwork and Johnny Depp even popped in to play guitar.

              Within 24 hours, 20 tracks had been recorded and it was in store five days later selling 70,000 copies in its first day. The album went on to make £1.25 million and launched War Child not only as the charity for British music, but more importantly, the only charity who specialise in protecting, educating and supporting children in war.

              The difference this album made for War Child cannot be over emphasised. It was the starting point of a relationship with the British music industry that has seen some of the world’s biggest artists come together - but more importantly, it has enabled War Child to reach more than a million children caught in the crossfire of war over the last 20 years.

              You only need look at the news today to see that War Child’s work is more important than ever. Four million Syrian refugees have fled the conflict, two million of these are children, some of whom are alone, all of whom are terrified and traumatised by what they have seen.

              Since the HELP album, War Child’s work with music has gone onto raise more than £7 million for children in conflict. 


              FORMAT INFORMATION

              2xLP Info: Remastered Audio at Metropolis on 2x Black 180g Vinyl, Gatefold Sleeve, Printed Inner Sleeve.

              Catherine Anne Davies & Bernard Butler

              In Memory Of My Feelings

                Pre-order the album for a chance to win one of 10 test pressings and signed lyric sheets!

                Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is proud to announce the very first release of brand new music on the label. ‘In Memory Of My Feelings’ is the result of a one-off collaboration between Catherine Anne Davies and Bernard Butler. The album was recorded over writing and recording sessions covering a four year period, but amounting to just fifteen days in total. Prior to the creation of the record, the two had never met. There are ten songs featured in total on ‘In Memory Of My Feelings’.

                Key tracks include the unearthly end-of-days address The Breakdown, the triumphant four-to-the-floor excoriations of Sabotage (Looks So Easy) and the luxuriant glam ache of No More Tears To Cry. Work on In Memory Of My Feelings was completed in 2014, but extraneous commitments forced Catherine and Bernard to postpone its release indefinitely. Of the record Butler says: “I’d got used to the idea that the record might never emerge. Occasionally, I’d listen to it on my headphones if I was on the bus, I always had the same thought, “I wish I could go to a record shop and buy this.” Davies adds: “For me, the best thing is that we still don’t know each other that well. The songs were the conversation.” Catherine is best known for her work as The Anchoress. Her debut album Confessions Of A Romance Novelist was released to widespread critical acclaim in 2016 and was named amongst the Guardian critics’ Albums of the Year, earned her the Best Newcomer prize at the PROG Awards and was also named HMV’s Welsh Album of the Year.

                Since then she has played in the touring line-ups of Manic Street Preachers and Simple Minds. The second Anchoress album is scheduled for release early next year. Bernard Butler is a founding member of Suede, with whom he co-wrote and performed two era-defining albums. He then went on to enjoy top ten success with McAlmont & Butler and as a solo artist before focusing on writing and production work with artists such as Bert Jansch, The Libertines, Duffy, Teleman and Texas.

                All vinyl copies of In Memory Of My Feelings come with a specially-recorded seven-inch single featuring a rearranged version of album track The Patron Saint Of The Lost Cause (retitled The Patron Saint Of Harmonia) and a stunning, pared-back version of Madonna’s Live To Tell. Of the latter, Butler says, “When I was 16, Live To Tell allowed me to join the dots in songwriting between True Blue and The Queen Is Dead.” Davies adds: “I don’t know what Madonna wrote it about, but the resonances in a post-#metoo world are impossible to miss.”

                The songs are also featured on the CD and download versions. The artwork for In Memory Of My Feelings was the result of a collaborative process between Catherine Anne Davies, Bernard Butler and the acclaimed Belgian photographer Eva Vermandel, whose work is featured in the collections of the V&A and National Portrait Gallery. Vermandel’s work echoes aspects of the record itself: the relatively formal manner of the duo’s collaboration and the uncertainty that surrounded the outcome of the recording sessions.

                FORMAT INFORMATION

                LP Info: Limited LP & 7".

                Beabadoobee

                Fake It Flowers

                  Fake It Flowers is the debut album from Dirty Hit artist beabadoobee. Born in the Philippines and raised in London, Bea Kristi began recording music as Beabadoobee in 2017. At just 20 years old, Beabadoobee has built her huge, dedicated Gen-Z fan base with her flawless output of confessional bedroom pop songs and DIY aesthetic. 

                  FORMAT INFORMATION

                  Coloured LP Info: Indies stores exclusive translucent red vinyl.

                  Beverly Glenn-Copeland

                  Transmissions: The Music Of Beverly Glenn-Copeland

                    Throughout a fifty year recording career, legendary singer, composer and transgender activist Beverly Glenn-Copeland's music has defied categorisation and genre, its only consistency being the extraordinary fusion of vision, technology, spirituality and place.

                    Now in his mid-70’s, Glenn-Copeland was born into a musical family and studied the classical piano repertoire from ‘cradlehood,’ listening to his father playing the piano four to five hours a day. He moved from his home-town of Philadelphia to study classical music at McGill University, Montreal in 1961 (focussing on the European song repertoire) before he suddenly felt called to write music that would weave influences from the myriad musical cultures he had come to love.

                    Newly signed to Transgressive, this career spanning collection of songs includes three previously unreleased tracks; ‘River Dreams’, written last year and released with the album announcement, the live versions of ‘Deep River’+ ‘Colour Of Anyhow’, in addition to studio tracks from his acclaimed masterpiece Keyboard Fantasies + more.

                    FORMAT INFORMATION

                    Ltd LP Info: LP format is pressed on heavyweight black vinyl and is housed inside a beautiful gatefold sleeve with spot gloss to the cover. Includes a bonus 7” (also black vinyl), and code to download all tracks, including those that are on the CD + digital formats (‘A Little Talk’ and ‘Erzili’)

                    Gabe Knox

                    Cosmic Motorik Adventures & Machine Language Music

                      The second of Septembers’ ace brace of 10” mini LPs features the fabulous GABE KNOX. The Toronto based, longterm PY favourite releases an amazing new set; “Cosmic Motorik Adventures & Machine Language Music”. With two distinctly differing -individually titled- sides to this vinyl (only) release.

                      Side A, “Cosmic Motorik Adventures” was originally released digitally (on Aumega Project) but remastered here for vinyl; features two experiments in electronic sound. “Squarewave Symphony” was made using only a Moog Grandmother and a Roland Space Echo, and “Synthetic Soundbath” features a Buchla Music Easel & Organ tuned to 432Hz- claimed by some to have cosmic healing powers?!

                      The flip, “Machine Language Music features two cuts from an abandoned concept album about an alternate history of computing. “Analog Aerobics” is a classic Gabe Knox motorik stomper with an 80’s workout video vibe; and was written on a prototype hardware sequencer called ‘Cycle of Bits’ by Marc De Pape. “User Port Workout” was written on a real Commodore 64, taking advantage of its famous SID sound chip and synced to a drum machine and modular synthesizer using a custom program written by Knox in machine language. His Clarkian instincts are on full display on this track, which evokes “Speak & Spell”-era Depeche Mode, as if it were played out of a Tempest arcade machine.

                      Despite it’s two distinct sides, the set plays through as fabulously consistent as any of Gabe’s previous works and like both his and the label’s back catalogues, is expected to sell out pretty swiftly….. 

                      FORMAT INFORMATION

                      10" LP Info: Pressing of 300 copies on clear vinyl.

                      Polytechnic Sound Archive

                      Witched On

                        Polytechnic Youth return to action with a brace of killer 10” mini LPs. First up -and having already attained BBC 6music airtime- is the fabulous “Witched On” 10” from Polytechnic Sound Archive.

                        PSA are the in-house recording ensemble for the Polytechnic Youth label; featuring members of French duo Groupuscule, Volume Group, XYZips and others.

                        The idea behind Witched On was to create a library album of horror scores for Film, Radio and Home cine productions for people to freely use at their leisure. Channeling a shared love of Throbbing Gristle, DAF, Hot Butter and Tod Dockstader (Quatermass) the group set about creating as many pieces as possible which were whittled down for inclusion on this fabulous 10”. Equal parts avant-electronics, organ led ritual vibes and propulsive horror disco; the album is already picking up plays by Gid Coe at Radio 6. Not for the faint hearted.

                        Pressing of 300 on red vinyl.

                        Free Range are back with their second outing for Osàre editions. ‘Camry Horses’ is a mesmerising dive into the brutal pop-tinged electronics of the duo, taking the mutant surrealism of their first release on the label a step further. Deliciously droning, Matt Weiner and Ernestas Sadau warp melancholic synth over a stomping-techno pulse in ‘Jet Lag is Calling.’ ‘Thunder God’ predicts transmogrifying weather patterns, while ‘Liquid Latex’ casts a touch of dominatrix energy, all powered by hypnotic dancefloor occultism.

                        STAFF COMMENTS

                        says: As narcotic and moody as its cover suggests, this long player from Free Range on Osàre! Editions is a frazzled and freaked out masterpiece on a tribal electronix / EBM / zero grav tip.

                        Satoshi & Makoto

                        Cz-5000 Sounds & Sequences Vol. II

                        Scientific Bulletin From The Safe Trip Institute, Amsterdam.

                        Our latest communication to colleagues concerns an audio artefact – library reference code ST019 – provided by our esteemed Japanese brothers Satoshi and Makoto. They unearthed it from their own archive of musical experimentations and laboratory tests, which have been ongoing since the 1990s. They have shared it so that the process of peer reviewing can begin in earnest.

                        We have undertaken thorough testing in the Safe Trip Laboratory and offer the following observations:

                        Colleagues in Japan provided us with sample product of the following audio artefact – file number ST015 – believing that it may be relevant to the Safe Trip Institute’s ongoing research in this area of study. After rigorous testing and analysis, we would like to offer the following observations:

                        • By running each of the 10 pieces of music that make up the artefact through the Past Fire Particle Analyzer, we have ascertained that every single note, chord and aural element was created using the CZ-5000, an electronic instriment built by Japan’s Casio Corporation.

                        • One of our researchers discovered that if you assign a Pantone colour code to each different musical note featured on the artefact, all bar 734 of the 1,867 “spot” colours are present. By gathering these together on one screen, she discovered that most of the “musical colours” employed by Satoshi & Makoto were shades of purple, orange, red, green, yellow and pink.

                        • In laboratory tests, listeners were instinctively drawn to the following percussion-free compositions: ‘Crawl Up (ST019-02)’, a combination of vibrant melodies and rumbling sub-bass; ‘Updraft (ST019-08)’, which one listener claimed helped him see through time; and ‘Kass (ST019-09)’, a musical voyage through neural pathways that should interest colleagues within the world of phrenology.

                        • Test subjects also responded positively to a number of other artefacts, with one insisting that ‘Corendor (ST019-03)’ induced intense feelings of joy thanks to its use of vibrant melodies and “shuffling beats”. We draw no conclusions from this comment but think it worthy of further discussion.

                        We invite colleagues the world over to analyse and test this audio further in order to increase our understanding of Mr Satoshi and Mr Makoto’s archive aural artefacts. We eagerly await your correspondence.

                        STAFF COMMENTS

                        says: Since we're around 17 mins away from the next lockdown and can't go anywhere, I'd suggest investing in this sonic trip from Satoshi & Makoto. Clean, crisp and melodic the ten tracks on offer form the perfect soundtrack to sofa based space exploration.

                        Gunn-Truscinski Duo

                        Soundkeeper

                          Steve Gunn and John Truscinski’s collaborations are a point where experimental instrumental rock and cosmic jazz meet. This is their fourth album overall and first in three years.

                          Gunn-Truscinski Duo fans are intense in their love of these records - they naturally spin off from Steve’s solo work but also go in their own directions as well.

                          This track - and album - will be rapturously received by the fans of this project as being cut from a similar cloth that they already know and enjoy but covering some different and previously unworn ground.

                          Ian Dury

                          Hit Me! The Best Of

                            A brand new collection covering the entire career of the unique and incomparable Ian Dury.

                            This collection features some of Dury’s earliest work with Kilburn & The High Roads, through a golden period of solo hits and classic recordings with the infamous Blockheads to his final studio album released in 2002, two years after his untimely passing in 2000.

                            The Crown Prince of Essex… the punk poet laureate… Ian Dury’s mastery of the English language and powerful performance made him an artist like no other. His wit, wisdom and showmanship are ever present here on classic tracks such as ‘Reasons To Be Cheerful, Pt 3’, ‘Hit Me With Your Rhythm Stick’, ‘Sex & Drugs & Rock & Roll’ …all now unofficial British anthems!

                            The collection also feature brand new liner notes by comedian, writer and Ian’s friend, Phill Jupitus, alongside rare and unseen photographs.

                            FORMAT INFORMATION

                            2xColoured LP Info: Gatefold 2LP white vinyl.

                            3xCD Info: 3CD digi sleeve.

                            Suede

                            Beautiful Ones: The Best Of Suede 1992 - 2018

                              From their early singles and their 1993 Mercury Music Prize-winning debut album to their break-up in 2003, Suede were a fixture in the single and album charts, and in the music press too. They scored twenty hit singles and five hit albums (three of which debuted at # 1), and a double album of B-sides even charted at # 9.

                              The band reformed for a one-off charity concert in 2010 and decided to make it permanent – they have released three new studio albums since 2013.

                              Compiled by the band, this best of features the huge 90s hits like “The Drowners”, “Metal Mickey”, “Animal Nitrate”, “Stay Together”, “The Wild Ones”, Trash, “Filmstar”, “Beautiful Ones”, “Saturday Night”, “She’s In Fashion”, “Everything Will Flow” and “Can’t Get Enough”. The collection brings the story up to date with tracks from the three recent albums, including “Life Is Golden”, “It Starts And Ends With You” and “Outsiders”.

                              FORMAT INFORMATION

                              2xColoured LP Info: Indies only coloured vinyl.
                              2 LPs on 180 gram clear vinyl, in inner sleeves and widespine outer sleeve.

                              Magick Mountain

                              Weird Feelings

                                With tales of infinite space, otherworldly escapes, hazy dreams and Weird Feelings that weave together the supernatural and the visceral; Magick Mountain are a power trio with colossal riffs, entwining harmonies and fistfuls of wild, distorted energy. They are quickly carving out a place for themselves at the vanguard of an exciting new movement of high octane garage-rock bands, and now they prepare for their first full length release.

                                Taking its title from the album’s very opening utterances, ‘Weird Feelings’ surges forth, brimming with tales of fantastical worlds, ancient mythology and mystical metaphors. Yet for all its surrealist imagery and dramatic sonic escapades, at its heart ‘Weird Feelings’ is an album about real life and the truth of its creators. The vivid stories and symbolic references create parallel meanings, blurring real feelings and fantasy worlds.In the band’s own words, the album is “a kind of bastardisation of tales and beliefs, blending together past, present and future.”

                                Amidst minimal lyrics that are often mantra-like and hypnotic in their repetition, Magick Mountain document the passing of time, both scientifically and philosophically, and simultaneously battle demons of both the mental and mystical kind.

                                Recorded in an unhurried and reflective way over the course of 18 months, the album is comprised of instinctive moments captured at home, in rehearsals, and limited hours in recording studios with producers Margo Broom and James Kenosha. The rushes are kept raw and free-flowing, with the band making a conscious decision to resist the temptation to overproduce. The resulting recordings see the easy-going, natural creative chemistry between the three musicians reverberate gloriously through every kinetically-fueled note. They carry the listener with them on heady adventures of melodic fuzz building to breakneck speed solos that feel as though they could fall apart at any second, but never do. Throughout the exhilarating twists and turns, Lins and Tom’s dual vocal strike forges the way, with their voices often blending to become one. Lins takes the mid-register and Tom sings the higher, falsetto parts - a technique that nods to some of the garage-rock greats who have influenced their sound, but also gives Hudson’s vocals a distinctly different edge to his previous musical outings.

                                FORMAT INFORMATION

                                Coloured LP Info: Limited splatter vinyl

                                Goldmund

                                The Time It Takes

                                  Pennsylvania native Keith Kenniff's output as Goldmund has established him as one of the preeminent composers of minimal piano-based ambient music alongside peers like Hauschka, Dustin O'Halloran, and even Ryuichi Sakamoto, who himself once described Kenniff's work as "so, so, so beautiful". His recordings tread sincerely along paths laden with dusty timbres, diffuse synthesizer, and soaring string textures tinted by the muted glow of a cloudy analog sky above. On The Time it Takes, Goldmund's newest book of aural polaroids, Kenniff somehow manages to deepen the emotionality of his already affecting project, creating a space in which to unfold the sorrows of a troubling age and revel in the hope and beauty that follow thereafter. In this sense, The Time it Takes tackles grief head-on, unadorned by themes of escapism or pastorality, and marks another entry in an impressively consistent body of work. From the first murmurs of its opener "Day in, Day Out", The Time it Takes calls to mind the cascading nature of mourning.

                                  There's the first tragedy, the loss itself, then the second one, the dissipation of the memory of the thing lost. We start out grieving for a loss directly; years later, sorrow reappears not only for that loss, but for the idea that its meaning is slipping away with each turn of the calendar page. An aged piano thumps gently just beyond an impassable moat of time, its operator's presence is evidenced by the shuffling of pedals and the shifting of mechanisms, and seraphic choirs seep in from places unseen. Kenniff's kindling of piano is gradually set ablaze with synth, choir, and trilling strings provided by his equally emotive labelmate Christopher Tignor. Like much of The Time it Takes, "Respite" is true to its title, but not because it leans on New Age aims of comfort and relaxation. Deeply fervent, it instead reflects the kind of emotional relief that can bring someone to tears if they're lucky enough to stumble upon it mid-crisis. Conversely, the subsequent "Rivulet" crouches in subdued concern and uncertainty amid deteriorated synths that howl down darkened hallways. "The One Who Stands By" approaches a similar sense of subtle menace.

                                  With its lilting arpeggio, pulsing bass, and scraping drones, the piece anxiously marches toward some severe and unresolved dilemma. Earlier in the sequence, tracks like "For Old Times" investigate the serene sides of woe and yearning that form the core sentiments of the album: missed chances to share things with people who've passed on and are forever lost to the past; small internal battles quietly won or lost, but never spoken of; a heavy rain followed by sideways afternoon sunlight that imparts just enough awe to make you feel okay with your unnoticeable role in it all. As if we needed convincing, Kenniff further proves his skill of crafting sound-design vignettes that are personal, private, and hushed, yet simultaneously grand, colossal, and profound. Nostalgia sometimes suffers the role of low hanging fruit for the marketing world, or worse, a symptom of the stunted development of a generation facing backward in a world that moves unrelentingly forward. But instead of engaging in reductive and culpable pastiche, Kenniff dispels any notions of nostalgia's counterproductivity by using our collective memory as just another brush to paint with, thereby wresting his music from any linear cultural timeline. To that end there are few artistic voices as distinct as Goldmund's.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Limited edition marigold orange vinyl.

                                  Coloured LP includes MP3 Download Code.

                                  Delmer Darion

                                  Morning Pageants

                                    Delmer Darion is the West Midlands-born and North London-based experimental electronic/ IDM project of Tom Lenton and Oliver Jack, taking its name from the deep-sea diver found at the top of a charred tree after a forest fire in Paul Thomas Anderson’s cult film ‘Magnolia’. “There’s no reason behind it,” they say, “we just liked the absurdity of seeing a scuba diver in full gear at the top of a really tall tree.”

                                    Their debut album ‘Morning Pageants’ has been five-years in the making: a sprawling, industrial ten-track account of the death of the devil as a tragedy for the imagination, inspired by a line in the Wallace Stevens poem ‘Esthétique du Mal’, due for release this October on Practise Music (Squid, Shards, William Doyle).

                                    Archival accounts and true stories patter against Delmer Darion’s simulated journey in and out of hell. A monk is tasked to write down all the world’s knowledge in one night; a woman feigns her own demonic possession to cash in from a roadshow, exposed as a fraud only when unknowingly made to drink holy water, gagged by a piece of the True Cross; a violinist is refused a Catholic burial, suspected to be in leagues with the devil; a writer pretends to be possessed by the spirit of a poet, and produces volumes of work at her command.

                                    A vast aural landscape is covered from the opening melodies coded in the constructed language of Solresol. Dissolved folk songs curtail the lo-fi edge of Gareth Williams & Mary Currie’s ‘Flaming Tunes’. At times it’s Yves Tumor being hit around the head with a disco ball, at others there’s an ambient and sinister warmth like the crackle of a burning piano. Decentered rhythmic assemblies of analogue drum machines play through a series of guitar pedals and thunderous bass swells from a self-oscillating filter feedback patch. Sequenced together, they’re shrouded in the same intricate noise of self-sampling and tape degradation.

                                    Collaborations with Guest Singer (Heist or Hit) and Private Agenda (Lo Recordings) play against vocal features from quiet bastions of London’s underground alt-folk scene. Scottish songwriter Genevieve Dawson’s vocals on closing track ‘Television’ end the album’s tragic narrative with the comical and pathetic image of the devil curled up inside a TV set, trying to spread occultist tales through Saturday morning cartoons.

                                    The artwork for ‘Morning Pageants’ is a photograph of a print made by Oliver, based on a series of 16th Century works called ‘The Dance of Death’ by Hans Holbein, depicting different people being led away by Death. Recreating one of the prints, they replaced the figure being led away with an original drawing of Satan. The final artwork is printed on Nepalese Lokta paper, a waxy yellow paper that has been used for lots of sacred texts.

                                    Mastered in Minneapolis by Huntley Miller (Low, Bon Iver).


                                    FORMAT INFORMATION

                                    Deluxe LP Info: Limited edition black vinyl LP housed in a Deluxe Gatefold Sleeve.
                                    Includes a 24-page chapbook and a numbered double-sided art prints signed by the band.

                                    Kiko Dinucci

                                    Rastilho

                                      On Rastilho Kiko Dinucci absorbs the lineage of Brazilian guitarists such as Dorival Caymmi, João Gilberto, Baden Powell, Jorge Ben and Gilberto Gil - yet filtered through his uniquely ‘punk’ musical vision. His style is raw - technically, he seems to attack the guitar strings, lyrically he explores Afro-Brazilian culture, slavery, Brazilian revolutionaries, candomblé and evangelical Christianity. Dinucci is one the most innovative artists in contemporary Brazilian music – as well as a member of Metá Metá, who combine elements of Brazilian music, candomblé, punk rock and free jazz, he has worked with Tom Zé, Criolo and Elza Soares.

                                      Kiko: “I’ve wanted to make an album dedicated to the guitar for a long time. As a child, I treated it as a toy. In my teens, with my guitar patched with pieces of sellotape, I tried to reproduce heavy rock riffs whilst finding inspiration in the Afro works of Baden Powell and guitars of Dorival Caymmi, João Bosco, Jorge Ben and Gilberto Gil. In the 90s my experience in the São Paulo hardcore scene was mirrored by time spent in candomblé activities - both shaped the way I play guitar today.”


                                      FORMAT INFORMATION

                                      Coloured LP Info: Indies exclusive orange vinyl with bonus 7".

                                      Evie Sands

                                      Get Out Of Your Own Way

                                        EVIE SANDS is a "Legend-In-Her-Own-Time" which may seem an extravagant claim, but this certifiable, blue-eyed soul icon is the real deal. Evie’s a multi-faceted talent who possesses a one-of-a-kind voice, tastefully succinct instrumentalist, song-crafter with an enduring sampled catalog, and that rare anomaly - female producer in a male-centric industry with the gift of alchemy to conjure musical magic whenever she ventures out and casts her spell. Johnny Cash described her thusly: “She’s got the stardust in her eyes, she’s got silver bells in her voice and you’d think she’s got electricity in her fingers the way she plays that guitar left-handed and upside down.” No less than Dusty Springfield called Evie her favorite singer.

                                        And there’s a laundry list of interpreters who have dipped into Evie’s song bag from Barbara Streisand to Tom Jones, Gladys Knight, Missy Elliot, Beth Orton and Beck. Evie’s captivating story began recording professionally while she was still in her single digits, waxing as a teen for Leiber and Stoller’s Blue Cat label as part of the Brill Building legacy, torching Northern Soul rare grooves (“Billy Sunshine”, “Picture Me Gone”), buoyantly bobbing hits (“Anyway That You Want Me”, “I Love Makin’ Love To You”, “A Woman’s Work Is Never Done”) and definitive versions of classics (“I Can’t Let Go”, “Take Me For A Little While”, and “Angel of The Morning”). Music is Evie’s life’s oxygen; her MO has been boundless passion, infinite creativity and DIY savvy. Evie is forever committed, involved and prescient. And never more so than on, GET OUT OF YOUR OWN WAY, Evie’s upcoming record release. On it she sounds as vital, vibrant and seductive as ever, stirring the senses with her transcendent taste, intimate sincerity and innate sensuality. It’s a wall-to-wall confident masterwork that beguiles you to give it a spin, turn it over and repeat.

                                        Unabashed Rock, POP and Soul fused via Evie’s distinctive sensibility with her colorful palate of instantly addictive, indelibly melodious songs that continually surprise, moving fluidly and cohesively from first power chord to last ringing strum. Her signature liquid vocals slice a path through the ether. The band’s sum-of-the-parts adroit and cogent playing, siren harmonies and imaginative arrangements stroke and tickle the ear with symphonic caress. It’s all irresistibly and thoroughly groovy - the result of Evie’s inner child being set joyously free where anything goes and everything is possible. Music making that seems simple, but is ingeniously conceived, skillfully rendered and organically positive; simultaneously fresh and familiar and in full flight. Evie/Band await the way forward when they can be socially present to share with audiences their song bag chock full of Evie-penned song gems. Response to their recent live shows has been unanimously ecstatic, marveling at Evie’s eternal charisma and teenage energy.

                                        Evie’s eloquent, emotive and eternally poignant music continues to evolve, blow minds and find fresh admiration with each new wave of discerning ears. Evie could well be this year’s model as her defiant spirit, timely inspiration and the band’s dynamism is exhilaratingly evident on disc and in live performance. Evie Sands is a musician’s musician qualified for lionization at this juncture in our culture - Are You Ready? 

                                        Andy Bell

                                        The View From Halfway Down

                                          Ride guitarist/singer Andy Bell releases his debut solo album The View From Halfway Down on October 9. The product of a gradual, four-year process and finished during lockdown, the album was entirely written and recorded by Andy, engineered by Gem Archer and mastered by Heba Kadry.

                                          Back in 2016, Andy was inspired by David Bowie’s death to be more proactive about finishing his songs, more confident about sharing them and to channel all of this into finally making a solo album. He laid down some tracks in former Beady Eye and Oasis bandmate Gem’s studio, but got diverted when Ride’s live reunion blossomed into a full return. A run of two albums, an EP and two world tours later, it would take a pandemic to give Andy the space to complete The View From Halfway Down.

                                          “I’ve always wanted to make a solo album, I’ve always said I would do it, although I never imagined it happening like, or sounding like, this one does,” explains Andy. “I’d been sitting on this pile of almost finished tracks, along with all the other hundreds of ideas that had fallen by the wayside since I’ve been making music. Lockdown gave me the opportunity to find a way to present it to the world.

                                          “The album is not about songwriting. There aren’t many verses or choruses, because this album is about sounds, a listening experience.”

                                          From the ecstatic psych pop of ‘Love Comes In Waves’, to the heady loops of ‘Indica’ and deeply groove-led ‘Skywalker’, the eight tracks mix summery melodies with soundscapes and studio experimentation. The end result sits neatly between Ride’s widescreen shoegaze and GLOK’s textured electronics, variously inspired by The Stone Roses, Spacemen 3, The Beatles, The Byrds, The Beta Band, Stereolab, Neu!, Can, John Fahey, The Kinks, The La’s, The Who and the United States Of America.

                                          As for the album title, it comes from a particularly dark episode of BoJack Horseman and a poem that scriptwriter Alison Tafel wrote for the penultimate show. The spoiler-free version of the story goes like this: “The poem describes someone committing suicide by jumping to their death and the regret the protagonist experiences when he sees ‘the view from halfway down’. Although, of course, it’s too late to change what’s going to happen. I read this poem as having a message of suicide prevention: if you could see the view from halfway down, you would never go through with anything that would end your life. I’ve never been suicidal, but I felt really moved by this brilliant poem when I watched the show during Ride’s US tour in Autumn 2019. It’s an incredible message.

                                          “There was a small kind of a parallel with me, sitting at home in London in March 2020. In the early stages of lockdown, you could feel the tension in the air, causing what felt like a global panic attack. But, in common with what I’ve heard from others who can experience anxiety for no reason in their everyday lives, I felt strangely calm in the midst of all of this, seeing things in my life very clearly. Such clarity allowed me to finally compile this record. In a way, to see my life flash before me and be able to curate moments of it into a 40-minute listening experience, then find a title that would fit.

                                          “My upcoming 50th brought everything more sharply into focus. If you imagine that my entire life was a freefall jump to my death, and you were feeling optimistic about me reaching 100 like my Gran did and getting a telegram from the Queen, this album would be ‘the view from halfway down’.”

                                          So there you have it. The near death of a cartoon anti-hero and the actual death of a music legend, feeling the calm within a global pandemic and a musical turning point halfway through life all add up to one glorious, technicolour whole.

                                          STAFF COMMENTS

                                          says: 'The View...' is a beautifully meditative, slowly unfolding journey from the mind of Andy Bell. Layers of reverb and delay follow the carefully picked riffs and shifting walls of sound. It's an album for really sitting down and listening all the way through, and in the current climate, that's a perfect thing. Lovely stuff.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Blue vinyl.

                                          Future Islands

                                          As Long As You Are

                                            As Long As You Are looks to the past as well as the future, confronting old ghosts and embracing a new hope. It is an album about trust, full of honesty, redemption and “letting go”, allowing old wounds to heal and bringing painful chapters to a close.

                                            As Long As You Are also signals a new era for Future Islands. Drummer Mike Lowry officially joins as a fully-fledged member and songwriter bolstering the founding trio of William Cashion, Samuel T. Herring and Gerrit Welmers. Together, the four-piece took on official production duties for the first time, co-producing As Long As You Are with engineer Steve Wright at his Wrightway Studios in Baltimore. Their brand of new wave synth-pop full of bright melodies and heavenly choruses is as euphoric and uninhibitedly joyful as anything the band has done in their 14-year career.

                                            STAFF COMMENTS

                                            says: There is something absolutely enthralling about Samuel T. Herring's on-stage dancing. We all know that, but it's with no small amount of joy that I can confirm the quality of the music is indeed up to the same high standards. Longing, wistful and emotive, with electronic synthy sections beautifully offset with the more driven anthemic material. 'As Long As You Are' is a triumph, and quite possibly the best work they've done.

                                            FORMAT INFORMATION

                                            Coloured LP Info: Petrol blue vinyl.

                                            Metz

                                            Atlas Vending

                                              “Change is inevitable if you’re lucky,” says guitarist/vocalist Alex Edkins while talking about Atlas Vending, the fourth full-length album by Toronto’s METZ. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.” The music made by Edkins and his compatriots Hayden Menzies (drums) and Chris Slorach (bass) has always been a little difficult to pin down. Their earliest recordings contained nods to the teeming energy of early ‘90s DIY hardcore, the aggravated angularities of This Heat, and the noisy riffing of AmRep’s quintessential guitar manglers, but there was never a moment where METZ sounded like they were paying tribute to the heroes of their youth.

                                              If anything, the sonic trajectory of their albums captured the journey of a band shedding influences and digging deeper into their fundamental core—steady propulsive drums, chest-thumping bass lines, bloody-fingered guitar riffs, the howling angst of our fading innocence. With Atlas Vending, METZ not only continues to push their music into new territories of dynamics, crooked melodies, and sweat-drenched rhythms, they explore the theme of growing up and maturing within a format typically suspended in youth. Covering seemingly disparate themes such as paternity, crushing social anxiety, addiction, isolation, media-induced paranoia, and the restless urge to leave everything behind, each of Atlas Vending’s ten songs offer a snapshot of today's modern condition and together form a musical and narrative whole. The song sequencing follows a cradle-to-grave trajectory, spanning from primitive origins through increasingly nuanced and turbulent peaks and valleys all the way to the climactic closer, “A Boat to Drown In.” The lyrics speak to this arc as well, with the songs addressing life’s struggles all the way through to death, as Edkins snarls “crashed through the pearly gates and opened up my eyes, I can see it now” before the band launches into the album’s cascading outro. 

                                              While past METZ albums thrived on an abrasive relentlessness, the trio embarked on Atlas Vending with the goal to make a more patient and honest record—something that invited repeated listens rather than a few exhilarating bludgeonings. It’s as if the band realized they were in it for the long haul, and their music could serve as a constant as they navigated life’s trials and tribulations. The result is a record that sounds massive, articulate, and earnest. Bolstered by the co-production of Ben Greenberg (Uniform) and the engineering and mixing skills of Seth Manchester (Daughters, Lingua Ignota, The Body) at Machines with Magnets in Pawtucket, Rhode Island, METZ deliver the most dynamic, dimensional, and compelling work of their career. 


                                              STAFF COMMENTS

                                              says: Metz have always provided a glimpse into the more uncompromising but undeniably tuneful side of indie-rock, and 'Atlas Vending' if anything cements them as one of the most necessary voices in modern guitar music. Brutal but balanced beautifully with more cohesive, melodic sections.

                                              Mary Lattimore

                                              Silver Ladders

                                                Los Angeles-based harpist Mary Lattimore returns with Silver Ladders, the full-length follow-up to acclaimed album Hundreds of Days. Since 2018, Lattimore has toured internationally, released collaborative albums with artists such as Meg Baird and Mac McCaughan, and shared a friends-based remix album featuring artists such as Jónsi and Julianna Barwick. At one of her festival appearances, Lattimore met Slowdive’s Neil Halstead: “A friend introduced us because she knew how big of a fan I was and Neil and I had a little chat... The next day, I just thought maybe he’d be into producing my next record.” He was. Lattimore traditionally records her albums holed up by herself, so the addition of Halstead’s touches as a producer and collaborator leave a profound trace. “I flew on a little plane to Newquay in Cornwall where he lives with his lovely partner Ingrid and their baby. I didn’t know what his studio was like, he’d never recorded a harp, but somehow it really worked.”

                                                Recorded over nine days at Halstead’s studio stationed on an old airfield, Silver Ladders finds Lattimore exercising command and restraint. Her signature style is refined, the sprawling layers of harp reigned in and accented by flourishes of low end synth and Halstead’s guitar. The music can feel ominous but not by compromising vivid wonder, like oceanic overtones that shift with the tides. This material is colored by specific memories for Lattimore; “Neil has this poster of a surfer in his studio and I’d look at it each day, looking at the sunlight glinting on the dark wave. In these songs I like the contrast between the dark lows and the glittering highs. The gloom and the glimmer, the opposites, a lively surfing town in the winter turned kinda rainy and empty and quiet.”

                                                Lattimore and Halstead reformed three existing demos and improvised the remaining four songs. Among the batch she brought with her, the title track recalls a trip she took to Stari Grad, Croatia on the island of Hvar. “I spent some days there just swimming in the bay, silver ladders right into the sea.” The image stuck with her when she found herself performing at a cliffside wedding overlooking the Pacific. “Before anyone showed up, I had time to set up and play and this song came to me, ‘Silver Ladders (to the sea)’, so I made a little recording on my phone to remember it.” This sketch expanded; a delicately glittering harp melody comes over the horizon, swelling and rolling towards the shore on ebbs of synth and refractory delay.

                                                These songs are clearly tales, and yet Silver Ladders is open to interpretation. Her memories — “the Cornish landscape, the hotel from the movie The Witches, the cream tea, winning the pub quiz, the Sunday Roast, the ghosts of all of the surfers who had died in the wild waves, the night walks to the top of the hill to see the moon shining on the water…” — shine through these works without defining them. In a way, much like the sea, or the sky, they belong to everyone. Such is the beauty of her craft, which stands here in unprecedented company and clarity, the confidence of an artist in full.


                                                STAFF COMMENTS

                                                says: The beauty really shines brightly in this one. Mary Lattimore presents a perfectly relaxing, dreamlike meeting of brittle, echoing harp and tastefully applied delay, all undrepinned with slowly shifting, ambient atmospherics. A wonderfully immersive, beautifully realised LP.

                                                FORMAT INFORMATION

                                                Dinked Edition LP Info: • Exclusive transparent sand coloured vinyl.
                                                • Exclusive sheet music for title track ‘Silver Ladders’.
                                                • Numbered edition.
                                                • 400 pressing.

                                                Dinked Edition LP includes MP3 Download Code.

                                                Coloured LP Info: Silver star coloured vinyl.

                                                Coloured LP includes MP3 Download Code.

                                                Foals

                                                Collected Reworks - National Album Day Edition

                                                  From their early days hosting parties in Oxford through to the huge success of their two-part ‘Everything Not Saved Will Be Lost’ album, Foals have consistently explored their interest in dance and electronica. Now the band chart the most essential remixes from their career so far as they share the new remix package ‘Collected Reworks Vol 1’.

                                                  The tracks featured on ‘Collected Reworks’, are a compilation from an eclectic range of artists who have uncovered new angles to Foals’ discography. It includes one of their earliest remixes, from Ewan Pearson who blends Balearic bliss into ‘Olympic Airways’, as well as Solumun’s huge version of ‘Late Night’, which has been viewed over 50 million times at YouTube. Another standout moment is Hot Chip’s inventive interpretation of ‘My Number’.

                                                  ‘Collected Reworks Vol. 1’ has been launched with Hot Since 82’s brand new remix of ‘Into The Surf’. The tech house producer / DJ behind ‘Buggin’’ and ‘Restless’ subverts the track from its original desolate beauty into something fresh and invigorating. The relentless driving beat maximises its energy throughout its eight minute duration, while its progressive leanings are given some unexpected throwback flavour with ‘80s style sax. 

                                                  FORMAT INFORMATION

                                                  3xColoured LP Info: 140g – Mint Green, Yellow, Pink Vinyl.

                                                  Offered as a surprise release, "Alfredo", the joint project from Freddie Gibbs and The Alchemist, features Tyler The Creator, Rick Ross, Benny, The Butcher and Conway The Machine and includes the single "1985". The project is their second collaboration together following their 2018 tape with Curren$y, Fetti, which Pitchfork called 'an example of the good that can happen when seasoned vets link up.'

                                                  "Alfredo" follows Freddie Gibbs's joint album with Madlib, "Bandana", from last year, which was named one of the best albums of the year by Complex, Consequence of Sound, Hypebeast, NPR, SPIN, Stereogum, Vice, Vulture, and many more, their accompanying "Bandana Instrumentals" album, and their NPR Tiny Desk. The project also arrives after an industrious 2019 for The Alchemist. He released his compilation album "Yacht Rock 2", the fifth installment of his "Rapper's Best Friend" instrumental series, collaborations with Action Bronson (Lamb Over Rice") and Boldy James (The Price of Tea in China") and a joint EP with Conway The Machine ("LULU") who features on Alfredo's eighth track "Babies & Fools."


                                                  STAFF COMMENTS

                                                  says: Now enjoying a well-earned spot in hip-hop's mainstream conversation, Mr. Gibbs' joins up with Alchemist for an effortlessly cool and confident album which sees smooth, smoky, lounge hooks peppered with Freddie's direct and guttural raps. With a prized bag of rhymers in support it's hip-hop solid gold folks!

                                                  Robert Wyatt

                                                  His Greatest Misses

                                                    The singular Robert Wyatt releases ‘His Greatest Misses’ - a compilation spanning his decades-long career - on vinyl for the first time ever. Also back in stock on CD.

                                                    In its title, ‘His Greatest Misses’ acknowledges that Wyatt’s career has taken place outside the limited space and definition of commercial pop success but simultaneously recognises that Wyatt’s non-careerist career has nevertheless proven both productive and rigorous. The collection, originally released as a Japanese edition, includes selections dating from ‘Rock Bottom’ (1974) to ‘Cuckooland’ (2003), although its running order is non-chronological. This makes the subtle point that Wyatt’s recordings are best considered as a nonlinear catalogue; this is a world through which the listener can move at any pace in any direction.

                                                    Born in Bristol in 1945, Wyatt was a founding member of the bands Soft Machine and Matching Mole, before embarking on a solo career. His discography is one that flows with the force and intensity of a river in full spate. Each recording on ‘His Greatest Misses’ is a benchmark in the life and work of a steadfast and true original and provides the opportunity for the listener to enjoy some wild swimming through this powerful, idiosyncratic and unclassifiable catalogue.

                                                    The release of ‘His Greatest Misses’ coincides with the release of ‘Side by Side’, a book by Robert Wyatt and his wife Alfie Benge: visual artist, songwriter and the person who has nurtured and overseen Wyatt’s career for the past forty-six years.

                                                    FORMAT INFORMATION

                                                    2xColoured LP Info: Indies-only dark green vinyl.

                                                    2xLP includes MP3 Download Code.

                                                    Emmy The Great

                                                    April / Ɯ

                                                      “My story begins with the moon. In September 2017, I travelled to Hong Kong from New York, where I’d lived for three years, for the Mid-Autumn festival. I was planning to visit my parents and take some time off to write my fourth album. I arrived in time for the full moon - Chang-E’s moon - at a time of year when the heat breaks and the city seems alive with possibility.


                                                      That Spring, I’d visited China and accidentally become somewhat fluent in Cantonese again, though the goal had been to speak Mandarin. I was there for a music residency, and had expected to feel an instant click. Instead, I realised that Hong Kong had an identity quite separate from the Mainland, and with my mother tongue reinstated, I was beginning to come to terms with that identity being a part of mine. This was tough - I was born in Hong Kong but I’ve always felt complicated about it.


                                                      Still, that Mid-Autumn, everything felt simple. Under the guidance of the moon, I walked the city - its neon-lit alleyways, its escalators and mountain paths. For a brief, precious moment, I fell into synch with Hong Kong. I felt its complex legacy and its tangled future. I felt the sorrow, alive in the buzz of neon and the drips of air-conditioner units, of a city caught between two destinies. It was twenty years since the Handover and the beginning of ‘One Country, Two Systems’. Everywhere I went, I saw people seeking to define their shared identity before it was too late. I hope some of that spirit has found its way into the songs, which were mostly written during that time.

                                                      FORMAT INFORMATION

                                                      LP Info: 180g black LP w/DL + Lyric Poster.

                                                      Sylvan Esso

                                                      Free Love

                                                        What started out in LA with Jon Hill and was finished back in North Carolina at Sylvan Esso’s home studio, "Free Love" asks major questions about self-image, self-righteousness, friendship, romance, and environmental calamity with enough warmth, playfulness, and magnetism to make you consider an alternate reality. These are Sylvan Esso’s most nuanced and undeniable songs—bold enough to say how they feel, big enough to make you join in that feeling.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Sky Blue Opaque colour vinyl.

                                                        North Americans

                                                        Roped In

                                                          Los Angeles-based musician collective with a rotating cast featuring Mary Lattimore and William Tyler, playing instrumental, psychedelic folk music.

                                                          Pedal Steel and Nylon String guitar intertwine to create ethereal crystalline drones and twinkling hypnotic moods. Simple music.

                                                          'Somewhere between dusk and nightfall...a meditative medley of color' - Lars Gotrich, NPR.

                                                          The Wolfgang Press

                                                          Unremembered, Remembered

                                                            Featuring six never before heard tracks, Unremembered, Remembered is essentially the final album from The Wolfgang Press that never was. Having exhumed the tracks, the band have mastered their final studio sessions at Abbey Road and they sound magnificent. Art for this release has been done by long-time 4AD collaborator Chris Bigg. Originally released for Record Store Day in August 2020, this is now available as a limited edition one-off pressing on CD

                                                            Mrs. Piss

                                                            Self-Surgery

                                                              Mrs. Piss is a new collaboration between Chelsea Wolfe and Jess Gowrie . Drawing on their collective rock, metal, and industrial influences, the project began while the two were touring around together during Wolfe’s Hiss Spun album in 2017. The result is their debut album Self-Surgery, which was recorded at The Dock Studio in Sacramento, CA and in Wolfe’s home studio, The Canyon. These songs feel more urgent and visceral than anything either of them has created before: heaviness spurred on by punk spirit. Chelsea Wolfe (vocals, guitar) “Working on this project brought Jess and I so much closer as songwriters and production partners, after reuniting as friends and bandmates. It was freeing and fun to channel some wild energies that I don’t typically put into my own music.

                                                              We tried not to overthink the songs as we were writing them, but at the same time we did consciously put a lot into crafting them into our own weird sonic vision. This project was a chance for us to do things our own way, on our own terms, and we plan to invite more womxn musicians along for future Mrs. Piss recordings.” CW // Jess Gowrie (drums, guitar, bass, programming) “To me, Mrs. Piss represents a musical chemistry cut short long ago that now gets a second chance. Creating with Chelsea has always been very liberating for me, and we both push each other to try new things: anything and everything. Both of us have grown so much as writers and musicians since our first band together (Red Host), and with the journeys we had to take separately to get there, we both have so much more to say; so much more pain and anger to express. 

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Red & Black splatter vinyl.

                                                              Cut Worms

                                                              Nobody Lives Here Anymore

                                                                The shopping malls have closed down, the dressing rooms are filled with ghosts, and the carousel is covered in cobwebs. Nobody Lives Here Anymore, the latest and greatest from Max Clarke as Cut Worms, is the haunted reverie of an American landscape in-and-out of Clarke’s mind. Recorded between May and November 2019 in Memphis, Tennessee, the album is a snow globe of the mid-twentieth-century’s popular music filled with chiming guitars, honkey tonk pianos, and Telstar organs. A constant creator - be it his Cut Worms alter-ego or his day-job illustration work (designing brand logos and beer labels with madhouse technicolor pictures) - writing and making records has always been Max’s driving force.

                                                                So after an extensive eighteen-months of touring in support of 2017’s Alien Sunset and 2018’s Hollow Ground, he set about sifting through the fragment pieces and sketches of tunes he’d accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. By the time he flew to Memphis to work with producer Matt Ross-Spang at Sam Phillips Studio, he’d stockpiled more than thirty new songs. A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbor love and meaning inside a world that sold itself out. He explores the wistfulness of the past in search of answers for tomorrow. And while his grand anthems overflow with timeless pop charm, his ability to dig deeper than lollipops and holding hands sets his work apart from the days of 45s and Top of the Pops.

                                                                FORMAT INFORMATION

                                                                Indies Exclusive LP Info: Indies-only coke bottle clear vinyl

                                                                The Divine Comedy

                                                                Venus, Cupid, Folly And Time

                                                                  In 1990 Neil Hannon started recording and releasing under the name The Divine Comedy. Thirty years and twelve great albums later, Hannon is rightly adjudged one of the finest singer songwriters of his generation. To celebrate, Divine Comedy Records are remastering and reissuing nine of the band's classic albums.

                                                                  The limited edition twelve volume CD boxset Venus, Cupid, Folly and Time - Thirty Years of The Divine Comedy brings together all the remastered CD albums and bonus material, as well as new editions of 2016's Foreverland and 2019's Office Politics updated with bonus material and liner notes.

                                                                  The CDs consist of 2 discs: the remastered original album, with a second CD of B-sides, demos and alternate versions lovingly curated by Neil Hannon, much of which has never been heard before. The CD release of "A Short Album About Love" comes with a DVD of “A Short Film About A Short Album About Love – a previously unreleased 50-minute film of the Shepherds Bush Empire concert at which “Short Album..” was recorded. Each CD comes with a booklet of photos, credits and extensive liner notes written by Neil covering the context and inspiration behind the album and its songs.

                                                                  The nine reissued albums have been remastered from the original tapes at the legendary Abbey Road Studios by mastering engineer Frank Arkwright (Blur, The Smiths.) Overseeing the audio throughout the campaign is engineer/mixer/producer Guy Massey, whose work on the Beatles Stereo Remasters won him a Grammy Award.

                                                                  FORMAT INFORMATION

                                                                  CD Box Set Info: Includes 24 discs (12 double CDs).

                                                                  MATTY

                                                                  Dejavu

                                                                    As with many of the most fertile creative minds, continual reinvention leads to exploration of new sounds and styles. ‘ D j vu’ sees a departure from the jazz of BADBADNOTGOOD and a move into a more song-based storybook, with Matthew stepping up to the plate as lead-vocalist. As Matthew explains “I’ve always worked on my own stuff outside of BADBAD, and I’ve made music that sounds like this since I was 16. But when BADBAD started taking off, it was like “Ok, I can’t really make rock-y songwriter music anymore”.

                                                                    The inspiration for the album came after revisiting old favourites and classics such as The Zombies, The Beatles, shoegaze, and Krautrock records. It was also made in a difficult and reflective period in Matthew’s life, with each song being a vignette to an individual. “I wrote each song about someone specifically, but then I realised very quickly afterwards that every song is about myself”.

                                                                    Even though on the surface the record could be loosely categorized in the rock / indie camp, its dreamy psych-pop vibe evokes much richer musical inspirations. Elements of jazz, AOR, and the compositions of ‘golden-era’ Brazilian arrangers such as Arthur Verocai enrich the songs. For the Mr Bongo release of ‘Dejavu’ we have included the beautiful bonus track ‘Verocai Pt. II’ which was a product of the same recording sessions and rounds off the record.

                                                                    Though a ‘solo’ release, with its songwriting, content, and themes being very personal to Matthew, the record is backed by a cast of friends, family, including BADBADNOTGOOD members. Mr Bongo are proud to present yet another sublime record from a unique, gifted, and necessary voice in contemporary music.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Red coloured vinyl.

                                                                    Front View is the album debut of film-maker and musician Helena Ratka, alias Pose Dia. A soundtrack and theatre composer, as well as resident DJ at Hamburg's Golden Pudel Club, Ratka emerged onto the scene as one half of Shari Vari (together with Sophia Kennedy). Now all these pathways or winding roads have converged to create Pose Dia and an impressive album of many facets - a self-assured debut. The resulting album takes us on a mysterious journey through a darkish landscape. Pose Dia's tracks assume the most diverse forms - from supercooled synth-wave sounds or the weightless effortlessness of pop on the one hand, to the dsytopian urgency of contemporary club music or flashes of hip-hop on the other.

                                                                    Machinedrum

                                                                    A View Of You

                                                                      Machinedrum returns with his definitive new album “A View of U” featuring an incredible cast of collaborators including Freddie Gibbs, Sub Focus, Chrome Sparks, Father (Awful Records), Mono/Poly (Brainfeeder), Tigran Hamasyan, Tanerélle, Jesse Boykins III and Rochelle Jordan. Distilling his signature fusion of IDM, UK rave, jungle and bass culture blended with myriad US regional hip-hop and club music styles. it’s a potent and masterfully executed fusion, evoking a pace, warmth and groove synonymous with his modern classic “Vapor City” (2013).

                                                                      Recommended if you like… Squarepusher, Lone, Jamie xx, Flume

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Marbled silver/white/black LP housed in a gatefold sleeve with rainbow foil detail. Includes poster insert.

                                                                      Coloured LP includes MP3 Download Code.

                                                                      Martin Rude & Jakob Skøtt Duo

                                                                      The Discipline Of Assent

                                                                        Martin Rude (Sun River) & Jakob Skøtt (Causa Sui) team up for a genre-defying record that was recorded during an exceptional session on March 3rd 2020. Martin brought his Double Bass, Acoustic & Baritone guitar into the studio of Causa Sui, where Jakob's drums were already miked & prepped by soundwiz Jonas Munk, freshly tuned from the new Causa Sui recordings. The music they played ranges from sprawled out pre-fusion electric jazz to psychedelic folk ragas. After the sessions, the hours of free floating music was edited & dubbed by Jakob Skøtt into shorter cohesive segments, but maintaining the improvised vibe of these first takes.

                                                                        It is a record that pays homage to the great innovators of jazz: Miles & Trane (or perhaps more fittingly their peak-drummers: Tony Williams, Jack DeJohnette & Elvin Jones), as well as Mingus at his fiercest or Sun Ra at his most exotic. Not merely a tribute, the album doubles down with guitar pickings ala John Fahey & Sandy Bull, as well as sparse layers of oddly-tempered mallet percussion and synthesizers. But perhaps the closest reference isn't something of a certain place in time, but rather a free flowing ethos of stoic proportions: letting happen what it may, turning the accidents and mistakes along the way into something vital. 

                                                                        FORMAT INFORMATION

                                                                        Ltd LP includes MP3 Download Code.

                                                                        New Mood Hut! Form an orderly (and socially distanced..) queue please!

                                                                        "Obit For Sunshade" is digital technology half buried in the soil, transparent emotion in the intertidal zone; ferns growing by night out of a 4x4 flatbed. Brought to you by Scott Gailey, a new signing on taste-defining cult label: Mood Hut. The Canadian Rivieran firm have single-handedly carved an idiosyncrative paradisical world out of dusty drum machines, old synths and the odd bit of vocal interplay. On this tranquil and horizontal offering Hotspring shows a tender, hypnotic and highly liminal side as we drift off into an electro-acoustic dream world. An enchanted garden rich with intriguing fauna - vocodered passages merge effortlessly with languid synthscapes and blissed-out keyboard motifs. There's a few more excitable moments towards the end, where manipulated live drums permeate thick, sweaty atmospheres but it's mainly an ambient and almost gravity free excursion from begining to end. Load up your favourite vape device, lay down some cushions and get submerged in some of the angelic ambient music you're likely to hear all Autumn! 


                                                                        STAFF COMMENTS

                                                                        says: Hugely seductive semi-ambient album from the Mood Hut massive. Rounding off a rather turbulent global Summer in refreshingly arresting style. TIP!

                                                                        Maarja Nuut & Sun Araw

                                                                        Fantasias For Violin & Guitar

                                                                        Estonian violinist & singer Maarja Nuut & LA's original cactus muncher Sun Araw hand in gentle, unpolished improvisations on their collaborative album “Fantasias for Violin & Guitar”, recorded live on location by Jackson Bailey aka Tapes.

                                                                        Brought together by Tallinn’s IDA Radio under the umbrella of a 10-day sound residency in magnificent Narva Art Residency on the border of Estonia & Russia, Maarja Nuut & Sun Araw set up their gear to jump head first into unknown territory of live-improvisation.

                                                                        Don’t let the title fool you though, as the intro “White Comb” unveils, there’s more here than the old violin & guitar: Buchla magic, entertaining tries to MIDI, a violin, gentle glockenspiel fills & ringing bells, occasional bursts of electronica zooming in from unknown sources & Cameron Stallone’s guitar swings all over the place glued together by Maarja’s stellar voice.


                                                                        STAFF COMMENTS

                                                                        says: LA's no. 1 cactus muncher psyches us out once again! This time joined by a wildly skilled violinist for a dualistic, pan-continental moonlit ritual. Check!

                                                                        Rituals Of Mine

                                                                        HYPE NOSTALGIA

                                                                          If you could recreate a time before you experienced the most extreme grief of your life, would you do it? For Rituals of Mine’s Terra Lopez, she did just that. With her latest album HYPE NOSTALGIA – her first as a solo artist – Lopez wanted to create a soundscape from a pre-loss perspective, revealing how the darkness she experienced was just microcosms of her being.

                                                                          HYPE NOSTALGIA reckons with the emotional rollercoaster Lopez has been riding the past few years, and reimagines it. In 2015, Lopez lost her father to suicide and six months later her best friend passed away in a water accident. “Those two events within that six month-period, forever changed me, and I'm only now starting to feel like I've processed it after all these years,” Lopez says.

                                                                          The same week her father died, she went on tour, and the same week that her friend died, Lopez signed to a major label, immediately working on new music. She never slowed down and neither did her emotions. Lopez went from being a high-functioning depressed person to encountering the most crippling mental health experience of her life.

                                                                          Art had always been her outlet, but it was no longer a coping mechanism that worked. Trauma had taken away her voice, leaving Lopez unable to sing for a year. It wasn’t until 2018 when she decided to go to therapy and began taking medication for the first time that she could process the trauma she had experienced, not only in the recent years, but intergenerational trauma she discovered in eye movement desensitization and reprocessing (EMDR).

                                                                          Sure, there are heavy elements to the record: dark synths, future R&B undertones, propulsive bass and moody lyrics, but the softness of Lopez’s vocals elicits a quiet confidence. On the self-assured lead single “Come Around Me,” the most straightforward song Lopez has ever written, she confronts being taken advantage of as a gay woman of color in the music industry. “None of this fake shit when you come around me,” she sings breathlessly. Lopez enlists musician Kristina Esfandiari (King Woman, Nghtcrwlr), to tackle the same subject on the anthemic “Free Throw,” meditating on the fake support that comes from their male counterparts in the music industry. 


                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Limited bone colour vinyl.

                                                                          Mina Tindle

                                                                          Sister

                                                                            The third full-length from Mina Tindle, SISTER is an album populated by mythic creatures of all kinds: lions on parade, lovers turned to cannibals, kings and Sirens and women with wings. Like any great fabulist, she threads her storytelling with a fragile wisdom, revealing essential truths about all the danger and wildness within the human heart. With each moment elevated by her spellbinding vocal work — a gift she’s shown in recording and touring as a singer for The National — SISTER ultimately makes for a transportive listen, at turns impossibly dreamlike and profoundly illuminating.

                                                                            Mina Tindle is the project of Parisian singer/songwriter and multiinstrumentalist Pauline De Lassus. Mostly made in New York City with producer Thomas Bartlett (Yoko Ono, Florence + the Machine), the album’s elegant detail balances the odd magic of the songs with a fierce emotional realism. “Give a Little Love,” written and produced by Sufjan Stevens, channels intense longing, its soulful melancholy magnified by Stevens’s warm background vocals. On “Belle Pénitence,” she shares a tender love letter to her husband (The National’s Bryce Dessner), twisting the mood of lovely surrender with some fantastically brutal hunting imagery rendered in her native tongue. And on “Lions,” with its shimmering grooves, De Lassus offers up a bit of soft-hearted encouragement in the face of self-doubt: “If the roads are made for a parade/Go march with the lions.” She adds, “You need to keep going, even if sometimes you feel like you’re just pretending to be brave. It’s all about the march.”

                                                                            After the gloriously sprawling “Triptyque”— partly written with Dessner — SISTER closes out with a stark rendition of “Is Anything Wrong” by Lhasa De Sela, the late artist whom De Lassus names among her most enduring influences. Mina Tindle’s version originally featured as part of a tribute to the late singer that she conceived and organized in 2019 with another of her longtime heroes Canadian singer Leslie Feist. They would later perform the tribute at London’s Barbican and the Cork Opera House.

                                                                            De Lassus later appeared as a featured soloist on The National’s 2019 album I Am Easy to Find and toured extensively with the band. During the last few years as she was writing and recording SISTER, De Lassus has also been an integral part of the PEOPLE Festivals at the historic Berlin Funkhaus in 2016 and 2018, where she worked with a vast range of musicians and artists in the community.

                                                                            SISTER achieves a potent complexity, arriving as her most imaginative selection of songs to date while wholly embracing the sometimespainful truth-telling she’s long treasured in her most beloved artists. “All the people I love the most have this beautiful way of singing their truth, and I hope these songs give that same kind of honesty.”

                                                                            Slow Pulp

                                                                            Moveys

                                                                              Debut LP follows ‘Big Day’ EP, which garnered praise from The FADER, NPR, Pigeons & Planes, Stereogum, and more . Past Touring: 2019 tours supporting Alex G, Post Animal, Remo Drive and Vundabar. European tour spring 2021. Slow Pulp’s remarkable full-length debut Moveys is a testament to hard-fought personal growth. In the process of making their new record, the Chicago-based indie rock band powered through health challenges, personal upheaval, and a pandemic, all while learning how to be better songwriters and friends.

                                                                              Full of blistering energy and emotional catharsis, this compelling 10-track collection highlights the band's resourcefulness and resilience to come together even when they were states away. As the band was in the midst of finishing the album, Massey's parents got in a severe car accident forcing her to pause recording and return home to Madison and take care of them. A week later, the COVID-19 pandemic hit. "I wasn't able to come back to Chicago for a while. How were we going to finish this apart from each other?" thought Massey. With Stoehr leading engineering, mixing, and production duties, the band managed to continue recording in an isolated, post-COVID world. "Thankfully most instrumentals were already written. Alex and Henry and I were all able to do that separately from a studio space that we rent in Chicago," says Mathews. As Massey's father Michael recovered from his injuries, the two worked on completing her vocal takes from his home studio, sending them to Stoehr for mixing.

                                                                              "Finishing this record was such a cool thing to know that we were able to do it," says Stoehr. Their made-up word “moveys” is multi-faceted for Slow Pulp. It is an invitation to dance. It is a wink at the cross-country nature of the album’s songwriting process, while the bandmates were literally on the move touring, sheltering in place, and going through major life changes. But, mostly, it’s an inside joke. Listening to these warm, dynamic and welcoming songs, it's easy to feel like you're a part of it too. 

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Neon Green” Limited Edition Colour Vinyl.

                                                                              Coloured LP includes MP3 Download Code.

                                                                              Shit And Shine

                                                                              Malibu Liquor Store

                                                                                So, what have you been doing in 2020? Tensions have mounted, turmoil has reigned and work emails have forever rung out with boilerplate platitudes as the world has ushered in a new decade in more uncomfortable and disquieting fashion than anyone could have imagined in January. Nonetheless, amidst such mental tumult Craig Clouse - the Austin-based sage of the aurally unclean also known as Shit & Shine – has been busily channelling the interface between the surroundings and his own wayward muse into ‘Malibu Liquor Store’ – a lockdown-birthed psychic landscape mapped out in the first half of this turbulent year. The only expectation any relatively well-adjusted person should have of Shit & Shine remains the unexpected at this stage, with Clouse having released well over thirty records on multiple labels in a storied, questing and uniformly invigorating catalogue – just as comfortable with both bloody-minded electronic assaults and noiserock-driven dirge, as adept at kraut-hammered rhythmic mantras as dancefloor-friendly abstraction. ‘Malibu Liquor Store’ is none of these things exactly yet simultaneously flirts cheerily and irreverently with all of them. Always shot through with gleeful humour, this is a sonic world that recognises neither boundaries nor common sense.

                                                                                Craig Clouse cares not for your definitions of psych or dance music, and he’s never more comfortable than when transcending and annihilating both generic headspaces with casual ease and cheerful panache. Instead, these heat-damaged jams mark a spectral collision course between infectious glitch-heavy groove and an appropriately Texan acid-flashback aesthetic - a world in the last fifty years of culture are reflected and refracted back ad absurdum. Co-ordinates and reliable audial landmarks are rendered meaningless as the title cut comes on like a ‘60s Morricone chase sequence reassembled in new electronic shapes like lysergically-assisted Meccano. ‘Rat Snake’ sees the humid grooves of Can’s ‘Soon Over Babaluma’ bludgeoned into delirious submission. ‘Devil’s Backbone’ witnesses Buttholes-esque transgressions of the ‘80s beamed forward Terminator-style to a cyborg-ridden dystopia, and the glorious skeletal groove of album centrepiece ‘Hillbilly Moonshine’ meanwhile is nothing less than workout music for the damned – a relentless and pulsating soundtrack for a generation of ghouls mounting a legion of rowing machines along a metaphysical river Styx. The creation of ‘Malibu Liquor Store’ may just have helped Craig Clouse keep his sanity in 2020, even if it appears custom designed to help us lose our own. 

                                                                                Travis

                                                                                10 Songs

                                                                                  At various points along the trajectory between then and now, Travis have sold millions of albums (just under three million of The Man Who in the UK alone); they’ve been the subject of an award-winning feature length documentary (Almost Fashionable) and Fran has elicited acclaim from Paul McCartney, Elton John and Graham Nash – all songwriters whose ability to divine a timeless melody out of thin air has sustained them through the decades.

                                                                                  ’10 Songs’ is an album that holds you in its own emotional microclimate at the outset and keeps you there. It’s also a grown-up record. ’10 Songs’ is a record about the way life comes at love and what love does to weather those challenges. “This is no rehearsal/This is the take,” sings Fran at the beginning of Waving At The Window, over an insistent piano hook, “Promises you once kept/Are going to break

                                                                                  Every track on this album carries an even load. No passengers here. Nowhere to hide. “I write songs in an antiquated way,” explains their creator, “Sitting at the bottom of the bed, ‘pouring my simple sorrow to the sound hole and my knee’, as Joni Mitchell put it.” As a songwriter based in L.A., Fran Healy doesn’t need anyone to tell him this is no longer how it’s done. It’s far from uncommon for the credits on successful modern pop songs to feature upwards of ten writers. Hits by committee. “It’s fine,” notes Fran, “Personally though, I’ll take ten songs written by one person over one song written by ten people. And if I feel that way, then surely someone else must do too.”

                                                                                  FORMAT INFORMATION

                                                                                  2xDeluxe LP Info: Deluxe double coloured vinyl - one Red + one Blue.
                                                                                  Include demo versions of the tracks on disc 2.

                                                                                  2xDeluxe CD Info: Include demo versions of the tracks on disc 2.

                                                                                  Various Artists

                                                                                  Ellas Son Electricas

                                                                                    Shining a light on women's role in the late 70's and 80's Hard Rock scene in Spain, "Ellas son Electricas" comes filled to the rafters with kick ass Spanish Metal, Hard Rock, AOR or Thrash, reviewing the story of unfairly ignored ladies of Spanish Metal. Most of these songs see a vinyl release for the very first time (only Malena y Belcebu's song had previously been released), coming straight from obscure demos. Comes with an extensive 32 pages booklet with plenty of photos, reviews, bios and other awesome shit. 

                                                                                    Denise Johnson

                                                                                    Where Does It Go

                                                                                      Simply vocals and acoustic guitar.

                                                                                      Denise Johnson's debut acoustic album 'Where Does It Go' is a very Mancunian affair.

                                                                                      Recorded in Ancoats with Thomas Twemlow on acoustic guitar, she covers iconic songs that mean something to her from Manchester bands including New Order, The Smiths & 10cc as well as her own compositions.

                                                                                      After performing on Primal Scream's 'Screamadelica', A Certain Ratio and New Order's 'Music Complete', this Manchester girl's album is well overdue but not before time.

                                                                                      Where does it go, with Denise's voice that ''does something to you'' has been eagerly awaited.

                                                                                      STAFF COMMENTS

                                                                                      says: There are myriad reasons why this is an essential purchase, but number one in my opinion is the wonderful songwriting. Denise has been the vocal force behind many a classic tune, and now her legacy continues with this beautiful collection of acoustic pieces. Simple, unadorned beauty and a superb legacy for one of the nicest people on the Manchester music scene.

                                                                                      Sufjan Stevens

                                                                                      The Ascension

                                                                                        Sufjan returns with the long awaited follow up to Carrie & Lowell, featuring some of his most confident and varied work to date. We kick things off with the unassuming beginnings of 'Make Me An Offer I Cannot Refuse' before launching into a deeply electronic but airy Thom Yorkey vocal workout. It's this sort of rapid switch and thematic flexibility that both characterises the album and leads to the most surprising and satisfying moments of his career. 

                                                                                        'Video Game' sees some haunting organy synth leading into a deeply rythmic and pop-led verse, showcasing Stevens' iconic voice, and dedication to variety in songcraft.  

                                                                                        there are some more ambient moments at play, with 'Die Happy' and 'Gilgamesh' trading on the ambient electronic backdrop, but with long tailed reverbs and soaring echoes working their way around the stereo image. 

                                                                                        Possibly the most satisfying moments on this collection comes as the flow of the album quietens down into the euphoric redux of the latter third of the album. 'Sugar' could easily have been the background to some of the earlier, skittering electronics of Múm or the Rós, while the title track encompasses everything we love about Stevens, but imbued with a mildly melancholic but wholly relaxed atmospherics. 

                                                                                        It's a beautiful LP, and one that only goes to prove how essential Stevens continues to be on our musical landscape. 

                                                                                        FORMAT INFORMATION

                                                                                        2xColoured LP Info: Limited edition clear vinyl.

                                                                                        Working Men's Club

                                                                                        Working Men's Club

                                                                                          A rumble on the horizon. Gritted teeth, nuclear fizz and fissured rock. A dab of pill dust from a linty pocket before it hits: the atom split, pool table overturned, pint glass smashed — valley fever breaking with the clouds as the inertia of small town life is well and truly disrupted. Here to bust out of Doledrum, clad in a t-shirt that screams SOCIALISM and armed with drum machine, synth, pedal and icy stare are Working Men’s Club, and their self-titled debut album.

                                                                                          It’s hard to believe that the three fresh-faced music college kids who bounced out of nowhere and onto the 6 Music playlist with the sweet-but-potent, twangy guitar-led ‘Bad Blood’ (Melodic Records) in 2019 are the same band who clattered back there with maddening techno-cowbellpuncher ‘Teeth’ less than half a year later — and that’s because for the most part, they’re not. Having signed to Heavenly and with the hype around them building, underlying tensions came to a boil a mere five days before the band’s all-important first London headline show, and wunderkind frontman Syd Minsky-Sargeant was left high and dry; guitarist Giulia Bonometti had decided to focus on her blossoming solo career, and drummer Jake Bogacki was against the new electronic direction Minsky-Sargeant saw Working Men’s Club taking. (“I guess WMC started off as a bit more guitar-based, tryna copy stuff in our own way, like the Velvets and stuff like that, but I didn’t want it to be that anymore. It became dancier and dancier as I tried to experiment”, he explains.) All that remained of the outfit was Minsky-Sargeant himself, recently recruited bassist Liam Ogburn, and — given the band’s indebtment to wood panelled, community-run venues for an early leg-up — a rather pertinent name. But with staunch determination burning in his belly, Minsky-Sargeant quickly assembled a lineup consisting of himself, Ogburn, and Mairead O'Connor (The Moonlandingz) and Rob Graham (Drenge, Baba Naga) — both of whom he had met at the Sheffield studio of producer Ross Orton (The Fall, M.I.A., Arctic Monkeys) — replaced the live drums with a drum machine, and rush-rehearsed the new setup before going ahead with the show. “If it wasn’t for Sheffield then we probably wouldn’t have played that gig” he says. “I was shitting myself, because I didn’t know what would work or not.” Luckily, something stuck: “After about three gigs with that lineup it was already way better than what we’d had before.” Two original members lighter and three new ones the richer, Working Men’s Club took on a new hard-edge permutation, their shows becoming ever more sweaty, pulsating and rammed to the rafters; their energy raw; their vigour renewed; their interplay as musicians growing ever-more intuitive and elastic. Their eponymous collection of songs is equal parts Calder Valley restlessness and raw Sheffield steel; guitars locking horns with floor-filling beats, synths masquerading as drums and Minsky-Sargeant’s scratchy, electrifying bedroom demos brought to their full potential by Orton’s blade-sharp yet sensitive production.

                                                                                          It was at home in the town of Todmorden in the Calder Valley, West Yorkshire, feeling hemmed in, that 18-year-old Syd Minsky-Sargeant first began assembling these 10 songs. “There’s not much going on, not much stuff to do as a teenager” he says. “It’s quite isolated. And it can get quite depressing being in a town where in the winter it gets light at nine in the morning and dark at four”. It is this sense of cabin fever, of “thinking that you will never escape a small town in the middle of nowhere” on which the album opens, with the boredom-lamenting and rave-reminiscent ‘Valleys’. In a post-punk talk-sing over an old-skool beat, Minsky-Sargeant begins:

                                                                                          Trapped, inside a town, inside my mind

                                                                                          Stuck with no ideas, I’m running out of time

                                                                                          There’s no quick escape, so many mistakes, I’ll play the long game

                                                                                          This winter is a curse

                                                                                          And the valley is my hearse, when will it take me to the grave?

                                                                                          Fortunately for Syd and a thousand other bored-shitless, dark-dwelling teenagers, the Calder Valley boasts a burgeoning grassroots music scene, chiefly centred around The Golden Lion in Todmorden, and the Trades Club in Hebden Bridge — both of which were instrumental in the early life of the band. “Without those venues we probably wouldn’t have been able to get into playing live music”, Minsky-Sargeant reflects. Working Men’s Club’s first ever gig, at The Golden Lion, was self-booked and self-promoted, landlord Waka having allowed the band to use the 100-capacity room above the pub for free. Even before booking himself onto the stage though, Minsky-Sargeant regularly snuck into the venue to watch the internationally renowned DJs, like Justin Robertson and Luke Unabomber, who passed through its doors. This, combined with the discovery of 808 State, his stepdad’s extensive afrobeat record collection, YouTube videos of Jeff Mills making beats on a Roland TR-909, and a chance festival encounter with Soulwax, provided sustenance and inspiration for Working Men’s Club’s developing sound. Though it is songs almost entirely written and sung by Minsky-Sargeant that appear on the record, he is quick to point out the influence of the other members of his band on the record too; that “everyone that’s been involved in this band, from the old lineup to the new lineup, played on the record, contributed and shaped it in some way, through the phases”, wheedling in and around Minsky-Sargeant’s songs, embellishing them with their own bass, guitar, key or backing vocal parts. And without Orton, “it wouldn’t have been half as good a record.” Working with the producer radically changed MinskySargeant’s songwriting practice — “I tried to replicate what he was doing in his studio in my bedroom, and think more about drum sounds and making them more complicated and messing around with synths and stuff like that. It made me think about more components than just a guitar.”

                                                                                          The songs following ‘Valleys’ come fast and relentless — momentum ever increasing, mission well and truly stated as the frenetic, pew-pewing ‘A.A.A.A’ speeds through to nonchalant existential groove ‘John Cooper Clarke’ — centred around the realisation that yes, even the luckiest guy alive, the Bard of Salford himself, will someday die.

                                                                                          Hard holds hands with soft, and rough with smooth. On washily-vocalled, Orange Juicily-guitared ‘White Rooms and People’, there are simultaneously beautifully blooming flowers and ‘people talking shit about you’, and the hazy, ricocheting ‘Outside’, the gentlest track on the album, flips straight into the tough-as-shit, industrially-geared ‘Be My Guest’, which opens the second half of the record with markedly E. Smithian brio. The opening bars of ‘Cook A Coffee’ are momentarily reminiscent of ‘Bad Blood’, but spiral into direct and uncomfortable eye contact in song-form; a lost Joy Division number from an alternate universe, about taking a dump live on the telly. ‘Tomorrow’ glitches and glimmers, whilst outro track ‘Angel’ moves between psychedelic languidity and hardcore thrash, the album playing itself out on a 12-and-a-half-minute noodle.

                                                                                          It is with war, free-fall, and re-birth already behind them that Working Men’s Club emerge, resilient; inspiration from across breadth of eras, genres and tour-mates merely strata in their very own indie-cum-dance-cum-techno niche in the crag.

                                                                                          Diva Harris, February 2020

                                                                                          STAFF COMMENTS

                                                                                          says: It's perhaps unsurprising that a band from the Calder valley draws on influences from both sides of the Pennines. They've taken a heavy dose of Factory records doomy grooves and spliced them with the industrial clatter of 80's Sheffield, added in some post punk stylings and heavy techno pulses to create a forward thinking monster of a debut album.

                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Neon yellow vinyl in an embossed sleeve with neon pantone and laminated logo.

                                                                                          Cassette Info: Clear shell + neon yellow slip-case.

                                                                                          "Róisín Machine" is the culmination of a rich, decades long partnership between Murphy and one of her most trusted collaborators Crooked Man aka DJ Parrot. Although packed to the rafters with masterclass singles, including “Simulation”, “Jealousy”, “Incapable”, Narcissus” and “Murphy’s Law”, it is also an ingeniously and seamlessly edited listening experience, designed to be listened to in one uninterrupted sitting, from start to dazzling finish.

                                                                                          From the intoxicating disco-funk of “Incapable”, to the quintessential “Narcissus” which crystallised New-Disco and established a high watermark for the genre, to “Murphy’s Law”, a 70s inflected stomper, “Roisin Machine” offers up everything you could ask for on an exquisite plate. Added to the familiar tunes are five new songs, including the Dalek-funk of ‘We Got Together’ and the fantastical “Shellfish Mademoiselle”. An album that works perfectly on the home sound system but also comes alive in a basement sweatbox, it impeccably sits alongside Murphy’s stellar cannon of work released across 25 boundary pushing, trailblazing years, a career encompassing iconic music, directorial, art and fashion moments.


                                                                                          STAFF COMMENTS

                                                                                          says: Mine's pretty much summized it above but one thing I will add: Parrot's production prowess really takes this album to the next level. His deft and ingenious hand lends itself to hefty, soundsystem tickling tracks as much is does to the ultra-detailed technicoloured new disco moments. A match made in heaven then!

                                                                                          says: Róisín Machine is comprised of 5 new songs and 5 previously released singles (all of them bangers!) and I cannot wait to play it to death on the shop player. My personal contender for album of the year.

                                                                                          FORMAT INFORMATION

                                                                                          Ltd LP Info: Standard heavyweight vinyl.

                                                                                          CD Info: Digipack CD.

                                                                                          Jónsi

                                                                                          Shiver

                                                                                            Shiver is the exciting and beautiful second record from LA-based Icelandic musician Jónsi. Recorded in Berlin, Reykjavik, London and Suomenlinna and available exclusively on heavy weight vinyl for the indies.

                                                                                            Not too long ago Jónsi was traveling through London, where he met up with iconoclastic producer A.G. Cook, who he admired for his boundary-breaking work with the PC music collective. He had no expectation for the meeting, but the more they talked, the more he realized they might be perfect collaborators. “I’ve been doing this for 30 years,” Jónsi says. “I get tired of everything really easily. I always want things to be fun and exciting and fresh, and doing another album...I just wanted to have a different approach.”

                                                                                            Jónsi had made a career on sweeping music that plumbed the depths of the human experience and our connection to the natural world. Cook’s production exists at the opposite end of the spectrum: synthetic, sometimes abrasive, and often on the cutting edge of experimentalism. On paper, their collaboration is surprising, but Shiver is a beautiful record that pushes Jónsi’s otherworldly voice into startling new territories.

                                                                                            STAFF COMMENTS

                                                                                            says: As frontman of Sigur Rós, Jonsi has been responsible for some of my favourite moments in music of the last 20 years. While things have definitely changed for his solo material (aside from 'Riceboy Sleeps' with partner Alex Somers, which was a very gorgeous ambient affair), this retains the slo-mo ambient aesthetic we've come to know him for, but imbued with some of the more upbeat moments from his previous outing, 'Go'.

                                                                                            FORMAT INFORMATION

                                                                                            2xIndies Exclusive LP Info: 2 x vinyl LP.
                                                                                            Heavyweight 180gm black vinyl indie exclusive.
                                                                                            Gatefold sleeve with spot varnish.
                                                                                            Limited to 500 copies for the UK.

                                                                                            2xLtd LP Info: 2 x vinyl LP.
                                                                                            Standard weight 140gm black vinyl indie exclusive.
                                                                                            Gatefold sleeve with spot varnish.

                                                                                            Death Valley Girls

                                                                                            Under The Spell Of Joy

                                                                                              The album opens with “Hypnagogia,” an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band’s choral objectives for Under the Spell of Joy are established right off the bat, with Bonnie Bloomgarden’s melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark.

                                                                                              The portentous simmer of the opening track yields to the ecstatic rocker “Hold My Hand,” where verses reminiscent of Velvet Underground’s “I’m Waiting For The Man” explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children’s choir chanting the album’s primary mantra “under the spell of joy / under the spell of love.”

                                                                                              Death Valley Girls have always vacillated between lightness and darkness, and on “Bliss Out” they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on “The Universe,” where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you’re looking for transcendental rock music, look no further.

                                                                                              “Death Valley Girls are a gift to the world.” Iggy Pop.

                                                                                              “If Charlie Spahn Ranch girls had formed a band that was part-Stooges, part-Bikini Kill, all groove, then they’d have sounded like this.” Classic Rock Magazine.

                                                                                              “A striking record, all brazen fury and bratty beats, something resembling hard rock before Sabbath” Noisey.


                                                                                              STAFF COMMENTS

                                                                                              says: A ruthless, but melodic jaunt through snarling punk riffs, snapping percussion and fists-in-the-air groove from Death Valley Girls here. Expertly toeing the line between distorted drive and more thoughtful, slow numbers. Utterly essential, and a superb early morning blast.

                                                                                              FORMAT INFORMATION

                                                                                              Coloured LP Info: First LP pressing limited to 1200 copies on gold vinyl, LP comes with folded poster + DL coupon.

                                                                                              West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She’s continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body’s relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her most recent full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself.

                                                                                              “I guess in one sentence, this album is my expression of love and appreciation for electricity,” says Smith. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, a “visual language” stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as Smith says, “as a reference for how frequencies can be visualized,” much like a mosaic.

                                                                                              Smith describes her first encounters with this mosaic; “the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that were moving seamlessly from one into the other...My movement practice has been a constant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday...into something else. This album has gone through about 12 different versions of itself.” As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith’s signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles.

                                                                                              “The Steady Heart” quivers to life, peppering blasts of wooden organ between winding vocal affirmations. As with a body, moving one portion requires a balance and counterbalance; here, subtle tonal twitchy signals fire in conjunction with coiling arias to create a mesmeric core. When the beat arrives at the midway mark, a swooping and jittery waltz, a sense of stasis in motion, a flow state, is sonically achieved. As soon as it syncs, it disappears back into the swirling ebbs of electric force. Other tracks stray into more ruminative physical realms. “Carrying Gravity” is built around string-like pads that expand and contract like a solar plexus, becoming taught and then loose.

                                                                                              If the record could be summarized in a single movement, it is the 10-minute closing suite, a rapturous collage called “Expanding Electricity.” Symphonic phrases establish the piece before washes of glittering electric peals and synthesized vibraphone helix into focus. Soon, Smith’s voice grounds it all with an intuitive vocal hook, harmonized and augmented by concentric spirals of harp-and-horn-like sounds. Smith’s music doesn’t capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees. 


                                                                                              STAFF COMMENTS

                                                                                              says: It's sometimes hard to listen to electronic music that has no real basis in rhythm or melody, and while the Buchla modular synth has produced some pretty 'out-there' albums, KAS is not one of those artists. She's created some mind-blowingly beautiful meditative ambient albums, but it's not one of those either. This is a wildly creative, beautifully accomplished coherent stream of gorgeousness, and shows just how diverse a modular synth album can be.

                                                                                              FORMAT INFORMATION

                                                                                              Coloured LP Info: Transparent coloured vinyl.

                                                                                              LP includes MP3 Download Code.

                                                                                              The UK’s cosmic, psychedelic-funk ensemble issue their second album on maverick producer Madlib’s label, Madlib Invazion. The Heliocentrics’ albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, they have regardless of the label on which they’ve released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans.

                                                                                              Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today’s musical climate, searching, progressive humans who are often out-of-time with current trends. They have been playing together for nearly two decades and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and “ethnic” music all revolve around “The One.” With Madilb’s label Madlib Invazion for Telemetric Sounds, the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences Latin, African, and more

                                                                                              STAFF COMMENTS

                                                                                              says: Hip-hop jazz troupe, Heliocentrics continue to keep America's most blunted head-noddingly happy as they deliver more of their idiosyncratic cosmic jazz.

                                                                                              Lana Del Rey

                                                                                              Violet Bent Backwards Over The Grass

                                                                                                Lana Del Rey reads fourteen select poems from her upcoming debut poetry book Violet Bent Backwards Over the Grass accompanied by music from frequent collaborator, Grammy Award-winning musician Jack Antonoff.

                                                                                                "Violet Bent Backwards Over the Grass is the title poem of the book and the first poem I wrote of many. Some of which came to me in their entirety, which I dictated and then typed out, and some that I worked laboriously picking apart each word to make the perfect poem. They are eclectic and honest and not trying to be anything other than what they are and for that reason I’m proud of them, especially because the spirit in which they were written was very authentic."- Lana

                                                                                                FORMAT INFORMATION

                                                                                                Coloured LP Info: Indies exclusive dark green 180 gram vinyl in a gatefold sleeve.

                                                                                                LP Info: 180 gram black vinyl.

                                                                                                CD Info: Standard Clear Jewel Case with 16 page booklet.

                                                                                                Hello Forever

                                                                                                Whatever It Is

                                                                                                  Rough Trade Records are excited to release the debut album by Californian group Hello Forever. Based in Topanga, California, the band live together in a pastoral setting high above the Pacific Ocean – not far from where Neil Young recorded After the Gold Rush or Captain Beefheart laid down the tracks for Trout Mask Replica, the group forever expanding and contracting, with members coming and going as they please.

                                                                                                  They fuse elements of the 60s West Coast sound with a DIY approach to music and creativity which has spawned their remarkable debut album, the aptly titled Whatever It Is. Samuel Joseph and company have created a contemporary throwback to a vibrant era with a set of songs that establish the collective’s exquisite harmonies and colourful instrumentation.

                                                                                                  FORMAT INFORMATION

                                                                                                  Coloured LP Info: Limited Pacific Blue / White Ink Spot LP + 7"

                                                                                                  LP Info: LP + 7"

                                                                                                  CD includes MP3 Download Code.

                                                                                                  Pan Amsterdam is back with his second album, titled HA Chu. It’s been a trip since 2018 and the release of The Pocket Watch. A UK Tour. A tour of the US with Open Mike Eagle. Contributions, interviews and shows with THE Iggy Pop...

                                                                                                  Now the oddity is back and being playful with help from Jason Williamson (Sleaford Mods), Jimi Goodwin (Doves) under his new Producer guise, Coup Diablo, the Parisian sensation/Producer GUTS. Mr.Shn – the Producer that gave us Pan Amsterdam - No Snare with Open Mike Eagle and... Malik Ameer Crumpler, Rapper/Producer with Madison Washington and co-conspirator at Def Pressé, the label Pan Am calls home...


                                                                                                  STAFF COMMENTS

                                                                                                  says: A stunningly diverse mix here from Pan Amsterdam with a veritable cornucopia of superb guests. Downbeat, hip-hop, rhythmic soul and superb beats throughout.

                                                                                                  FORMAT INFORMATION

                                                                                                  Dinked Edition LP Info: • Exclusive “springtime green” colour vinyl.
                                                                                                  • Exclusive Pan Am Slip Mat.
                                                                                                  • Numbered Edition of 350.
                                                                                                  • Dinked sticker.

                                                                                                  LP Info: Black vinyl edition.

                                                                                                  It’s been ten years since Groove Armada released their landmark album ‘Black Light’. They’ve been active in recent years - DJ sets, select live shows and the ‘Twenty One Years’ compilation - yet the prospect of a new album seemed unlikely. That all changed when they stepped out at the Boomtown Festival and saw the reaction from long-term fans and newcomers alike.

                                                                                                  Initially they planned to complete some half-finished ideas that remained from the ‘Black Light’ era. Elements of the title track and ‘Holding Strong’ both remain from that original plan, but ultimately their creative connection resulted in their upcoming seventh album.

                                                                                                  As always with GA it’s a melting pot of styles, but in contrast to the guitar laden sound of their last album, the Grammy nominated “Black Light”, the uniting stylistic thread here lies somewhere between Hall & Oates , Prince and Roxy Music.

                                                                                                  ‘Edge of The Horizon’ features a whole range of vocal talent, from friends and neighbours to the godfather of UK Garage Todd Edwards who appears on ‘Lover 4 Now’, out today. A summer anthem of positivity, love and togetherness, Todd’s signature vocals shimmer above a straight-ahead Italo-disco groove.  It was made with a moment in mind. “Ibiza. Poolside at Pikes, that time of the evening when day becomes night, and anything seems possible”.

                                                                                                  Groove Armada’s flair for blending electro elements with the energy of a live band remains at the heart of the record. In fact, the foundations of this album are the memories of the 15 years they spent on the road playing dance music live. The legendary GA tour bus parties had a strong dose of yacht rock on the playlist. ‘Holding Strong’ is an unashamed salute to the best of those searing emotional highs of the 80s. NYCs She Keeps Bees heads up the title track, born out of a groove left on the cutting room floor during the chaotic Black Light sessions. 

                                                                                                  Chicago house music icon Paris Brightledge deploys his iconic tones on two tracks, and Empire of The Sun and Pnau’s Nick Littlemore features on the lockdown anthem, ‘Get Out on the Dancefloor’.  


                                                                                                  STAFF COMMENTS

                                                                                                  says: Downbeat darlings Groove Armada serve up a late career treat for long standing fans of this iconic act. Featuring some excellent collaborations it finds the pair in a spell of relaxed creativity, eclectic as ever but with a warming, heart-felt message. Full marks!

                                                                                                  Correlations

                                                                                                  Hot Pots

                                                                                                    Following Correlations' glorious mystical/folkisms of February's "Evocation" and April's sixty eight track NewAge extravaganza,"Mayan Gods", the punningly titled "Hot Pots" serves up a magical slab of expert synthwork from Neil Hale, Correlations' main writer and instrumentalist. Although the mythical Oxford Synthesizer Company's 1983 OSCar synth was liberally applied in the beautiful soundworld of "Evocation", then here, Neil spends a long monogamous lockdown session with it, not letting it out for it's daily hour's exercise and only feeding it cream crackers through the crack under the door. As the Moog One was to "Mayan Gods", the OSCar is to "Hot Pots". Neil relentlessly configures OSCar though every frequency oscillation and filter setting it can manage, to produce a tingling, twinkling, trip to the stars as powered by a Norton motorbike. It's an intense experience. From Brighton to outer space via Oxford in 1983.

                                                                                                    Neil's suite of thrumming grooves (entitled Hot Pots 1 - 8. No time here for fanciful descriptive titles) achieves startling new high ground for those of us who live to listen to the glory of analogue synthesis. His effortless gift for melody shines through once again as we embark on the journey with Hot Pots 1. Here, Neil eases us in on the back of a fuzzed out synth patch, relentlessly sustained until the clouds part around the three minute mark with a lovely sparkling uplift as the OSCar's rudimentary sequencer goes into blissful overdrive. It's intoxicating stuff. From then on we are deep into the heart of Neil's subtractive synthesis fever dream. The enforced limitations of placing the OSCar centre stage lead to a relentless exploration of the instrument which delivers such inventive bounty. Hot Pots 3 opens with a chugging refrain, an unstoppable drumbox and the pluck of a not-guitar. Hot Pots 4 and Hot Pots 6 turn on the mystery machine as delightful fairy swirls, whoops and quavering chirrups break out and twist into ever more beautifully tuneful configurations. The closing Hot Pots 8 unashamedly gets its disco on and after a wonderfully loose five minute spin around the lit up dancefloor, the pots are just too hot to take any more and we are left at the bar in no doubt that the LP must be considered as a genuine classic of the genre.

                                                                                                    Once again beautifully co-mixed and mastered by SImon James (Black Channels/The SimonSound/Akiha Den Den), CiS056 is a limited edition of just 300 stunning heavyweight 180g black vinyl LPs. The stunning artwork by Nick Taylor playfully draws on the OSCar design, replicating the distinctive black rubberized components as designed by OSC product designer, Anthony Harrison-Griffin. 

                                                                                                    STAFF COMMENTS

                                                                                                    says: Another absolute stunner from the CiS behemoth, this time with Neil bringing a driving, euphoric suite of textural drone business imbued with the Krautrock sensibilities he's become known for. Rich, intricate synths meet heady bone-crunching basses and twinkling arps. Gorgeous as ever.

                                                                                                    Portraying dark themes and damaged characters through an empathetic filter of bittersweet optimism, 'This Road' is a work of contrasts, which musically matches the mixed emotions felt in life. Bass pressure, contemporary club beats, nourishing roots music, sumptuous instrumentation and accessible, pop-schooled melodicism are woven together by her soothing but heavy-hearted voice, which is perfectly matured and full of depth.

                                                                                                    Saturated in vibes and an ingrained cognitive understanding of recording, 'This Road' is in part the product of childhood/teenage osmosis spent imbibing the sounds at her father Adrian Sherwood's On-U Studios. The impressionable youth gained an unparalleled education in music and also human nature, living in a house/studio where Lee Perry, Neneh Cherry, Jah Wobble, Big Youth, Little Annie, Style Scott, Tackhead, Bim Sherman and countless more made tracks.

                                                                                                    Like an epic coming-of-age movie focussing on Denise's part in the ongoing On-U chronicles - charting her changing roles as daughter, musician, mother, lover and more - it's little wonder 'This Road' is both contemporary and timeless, spanning time like a family tree.

                                                                                                    STAFF COMMENTS

                                                                                                    says: Toeing the line between groove-led hip-hop, 90's downbeat and reggae, this collection from Denise Sherwood has every bit of the groove of the On-U archive, but with a fresh and invigorating ambience.

                                                                                                    In 2018 Morphology released their third album, debuting on FireScope with "Traveller". The sci-fi inspired ten tracker was an immediate success. It also marked a subtle evolution in the sound of the Finnish pioneers of Michael Diekmann and Matti Turunen. Compositions became more complex, melodies more refined. 2020 sees that transformation continue with the pair returning to FireScope for a brand new album: "Horta Proxima".

                                                                                                    This twelve track album, recorded between 2018 and 2019, sees the electronic partnership continue to further hone their audio craft. The otherworldly is ever present, in the liquid harmonies and sliding synths of “Photospehere” and the shapeshifting brightness of “Aphelion.” Countering these aural journeys into the beyond is a balance, the pulsing keys and crunched beats of “Rustbelt” and the fluid warmth of “Downlink” tethering the narrative to the here and now of terra firma. A central tenet of Horta Proxima is possibility, the possibilities of a technological future expressed through cables, filters, oscillations and permutations. Morphology have delved deeper into the potential of their machines, resurfacing with a wondrous wealth of musical works. From the chopped percussion of “Parsec” to the spirited playfulness of “Triangulum”, new advances and avenues have been explored by the duo. Despite the future gazing focus, the carnal persists. “Shadows from the Past” bares its teeth, rumbling drums chase sailing notes and acid spectres. And within this range, what the listener leaves with is an irrefutable sense of awe. The understated grandeur of “Luminous Entity”, the sensuous stratification of “Multiplex”, the reduced radiance of “Horta Proxima”, only go to further exemplify the respect and reverence this album deserves.

                                                                                                    "Horta Proxima" is firmly set in the Morphology canon. The collection is undeniably daring. Diekmann and Turunen have continued their musical journey from Traveller, pushing their sound further, developing their technique and delivering sheer quality. A beautifully crafted album that broadens themes and horizons, a musical milestone, a triumph.


                                                                                                    STAFF COMMENTS

                                                                                                    says: Unbelievably rich, deep tech for fans of Ourtime, John Shima, Space Dimension Controller etc. Lush and atmospheric yet harnessing some incredible kinetic energy. Superb!

                                                                                                    Rian Treanor returns to Planet Mu for his raw and energetic second album "File Under UK Metaplasm". The enigmatic, sweaty energy of Tanzanian singeli and Chicago footwork are juxtaposed with slick, high-def bass weight which sits at the centre of the album. Opening track 'Hypnic Jerks' is the perfect example of this, with crinkled percussive loops cut through by machine-gun kicks and acidic wobbles. Elsewhere, 'Vacuum Angle' takes Sheffield's Warp-ed legacy and brings it crashing into the future, with rhythms collapsing into static and noise but never deconstructing or losing the flow. 'Debouncing' meanwhile folds gliding square synths into rattling dancehall kicks, joining the dots between SND, Equiknoxx and Wiley with a neon Sharpie. "It's using all those formulaic dance structures but just slightly mangled or messed up," he says. "I'm still focused on making dance music for clubs, but how far can you push that before it's just no." 

                                                                                                    FORMAT INFORMATION

                                                                                                    Coloured LP Info: Neon Yellow LP

                                                                                                    Sumac

                                                                                                    May You Be Held

                                                                                                      Picking up where the band left off with their critically acclaimed ‘Love in Shadow’, the trio of Aaron Turner (ISIS, Old Man Gloom), Brian Cook (Russian Circles) and Nick Yacyshyn (Baptists) push further into the polarity of their sound with longform composition and freeform exploration.

                                                                                                      Meticulously detailed and complex one moment, rudimentary and repetitive the next and completely untethered and unscripted at seemingly random, ‘May You Be Held’ is an album that fluctuates between extreme discipline and control and an almost feral energy. “As an artist in this time of significant upheaval, society seemingly having reached the end of its current iteration, it’s of critical importance to absorb and interpret this process of dissolution - and of the transformation that hopefully follows it” says Turner, “While I don’t believe we’re on the brink of collective destruction precisely now, this is clearly a pivotal stage in the story of humankind - and there is something that feels right about this music at this exact and very uncertain moment.”

                                                                                                      Available on tan with black splatter vinyl, black vinyl and CD, packaged in wide spine jacket with high gloss slipcase. Vinyl formats include digital download cards.

                                                                                                      “Exacting, weapons-grade, military-trained, merciless” - Rolling Stone

                                                                                                      “One of this year’s most audacious metal statements” - Pitchfork

                                                                                                      “For over two decades, Aaron Turner has been on the front lines of intelligent forward-thinking heavy music” - Revolver

                                                                                                      STAFF COMMENTS

                                                                                                      says: Aaron Turner has seen some action hasn't he? Lotus Eaters, Old Man Gloom, Mammifer and of course, Isis. All of them are uncompromising in their own way but Sumac is possibly his most scathing outlet yet. Brutal, beautiful and surprising.

                                                                                                      Suzanne Vallie

                                                                                                      Love Lives Where Rules Die

                                                                                                        After a hard spell, heartbroken and drifting, Suzanne Vallie aimed to make a driving record rich with sympathy, high romance, and dedicated to the magic of good-timing. Other themes on the album include dogs, surfers, and the supernatural.

                                                                                                        Vallie, a sorta-recluse living in rural Big Sur, California, is known for her improvisational performances where she freestyles lyrics and tells stories, both mythical and rowdy. She wrote the bulk of Love Lives Where Rules Die during the bummer summer after a breakup. It was a time when she drove up and down Highway 1 trying to blow out the speakers of her 94’ Honda. (bummer summer playlist).

                                                                                                        The 11 songs of Love Lives Where Rules Die were largely live-tracked over five days. Suzanne Vallie and a core band of California col-laborators flew out to upstate New York during the last warm days of September 2019. Vallie and her producer, Rob Shelton, chose Dream-land Recording in Hurley, New York, for many reasons. The analog signal flow sounded embracing. The studio, a hundred-some-year-old church, had room for the whole crew to live-track. Some said a ghost might come around. What’s more, much of the band was already on tour out East, playing a run of shows with both Luke Temple and Meerna, double duty every night. They were plenty warmed-up.
                                                                                                        Opening with “Ocean Cliff Drive”, Vallie sings of driving on the winding cliff side of Highway 1, blinded by fog and rain, all the same singing, “I can't see the road ahead of me, but I’m coming.”

                                                                                                        The title track, "Love Lives Where Rules Die", begins with baritone guitar calling in a story of a broken heart among good company. With no way out in a three-day storm, Vallie asks friends to sing her love songs, and flies "on a wild light" with a “heart on borrowed wings.”

                                                                                                        The party anthems, “Morro Bay” and “High With You”, celebrate friendship and the delicious urge for fun with Springsteen length lyric sheets. For Vallie, recording the sing-along "High With You" was also a “high” point in the making of Love Lives Where Rules Die. “It was midnight. We were real loose. Everybody got a tambourine!”

                                                                                                        The album features production and keys by Rob Shelton (Meernaa, Sis, Luke Temple, Kacey Johansing), guitar by Blake Kennedy (The Range of Light Wilderness), guitar and vocals by Carly Bond (Meerna, Sis), guitar and bass by Doug Stuart (Meerna, Brijean), percussion and drums by Andrew Maguire (Mirah, Vetiver, Meerna) with contributions from violin virtuoso, Edwin Huizinga (Acronym, Dark Watchers), percussion by Mark Clifford and Bob Ladue, and backing vocals by Paul Spring, Emily Ritz (Yesway, Honeycomb), and Molly Sarle´ (Moun-tain Man).


                                                                                                        STAFF COMMENTS

                                                                                                        says: Shimmering folky ballads, rich with glowing strings and slide guitar, all topped with Vallie's softly enunciated vocals. A perfect mix of haze and melody.

                                                                                                        FORMAT INFORMATION

                                                                                                        Ltd LP includes MP3 Download Code.

                                                                                                        Red Rum Club

                                                                                                        The Hollow Of Humdrum

                                                                                                          Red Rum Club broaden their horizons with their second studio album, The Hollow of Humdrum.

                                                                                                          Widening the spectrum of their sonic, this record varies from acoustic ballads to disco themed festival anthems. Theatrical brass lines and pop choruses are infused with rumbling bass lines, western guitars and Latin percussion to create this instantly recognisable record.

                                                                                                          The Hollow of Humdrum depicts a metaphorical hideaway. It reflects upon the vices and virtues people use to escape the mundanities of everyday life. The identity of Red Rum Club is still very apparent but The Hollow of Humdrum marks the band’s natural evolution from their debut album, Matador.

                                                                                                          FORMAT INFORMATION

                                                                                                          Coloured LP Info: Pink vinyl edition, indies exclusive.

                                                                                                          The Reds, Pinks And Purples

                                                                                                          You Might Be Happy Someday

                                                                                                            Deep amidst San Francisco’s Richmond neighborhood misty air and washed-out pastel blocks, Glenn Donaldson has been diligently creating minor masterpieces with rudimentary home technology for some time now. With The Reds, Pinks & Purples, Donaldson has finally created a vivid reflection of this dreary scene. You Might be Happy Someday is an oblique strand of SF outer-avenue cloud cover that stretches across the Atlantic to the grey docks of Bristol as captured in Sarah Records’ fetishized insert photos. Despite the deceptively congenial presentation, Happy is often a heavy record. After a litany of Donaldson’s past iterations (from experimental abstraction to post-punk and pop), The Reds, Pinks & Purples is Glenn D’s most personal project.

                                                                                                            Balanced awkwardly atop almost ironically upbeat jangles and rhythms Mitch Easter might have captured on his reel-to-reel are prime cuts of bummer pop. Almost every track is written in second person, creating a feeling of overheard private inner conversations-on-repeat: soft-lob criticisms, supportive friend advice and embarrassing confessions, You Might be Happy Someday is a smeared window into the (kindly) cynical thoughts of a romantic misanthrope. Like the work of other U.S. depresso-pop purveyors East River Pipe, The Reds, Pinks & Purples’ mini-album is the kind of record that is both unsettling and comforting. When you’re four drinks deep and you’ve worn your Smiths records out, You Might Be Happy Someday is on deck to have wine spilled on it while you dance alone in the kitchen. 

                                                                                                            Frankie And The Witch Fingers

                                                                                                            Monsters Eating People Eating Monsters...

                                                                                                              Bubbling up from the psychedelic tar pits of L.A., Frankie and the Witch Fingers have been a constant source of primordial groove for the better part of the last decade. Formed and incubated in Bloomington, IN before moving west to scrap with Los Angeles’ garage rock rabble, the band evolved from cavern-clawed echo merchants to architects of prog-infected psych epics that evoke a shift in reality. After a stretch on Chicago/LA flagship Permanent Records the band landed at yet another fabled enclave of garage and psychedelia - Brooklyn’s Greenway Records, now working in tandem with psych powerhouse LEVITATION and their label The Reverberation Appreciation Society, the groups latest effort is dually supported by a RAS / Greenway co-release.

                                                                                                              After years of searching for the specific alchemy that would tear open the cosmos, they found the formula with the addition of Shaughnessy Starr on drums in the summer of 2018. They began a new cycle and tripped into tip-on double gatefold territory, flesh-ing out their lysergic impulses into a monolith of sound that closes in from all sides. The band reached new levels of grandiosity and utilized every minute to manifest their psych-soul Sabbath in four dimensions, spilling psychic blood on a populace ready and eagerly waiting. Yet, as expansive, inventive, and immersive as any studio album might be, the band is born for the stage. As their live prowess caught the ears of some legends in their own right, the band practically lived on the road last year with stints opening for Oh Sees, Cheap Trick and ZZ Top. Along the way the constant pulpit of the stage would form ZAM into a transformative experience while plotting their next permutation of space and time.

                                                                                                              That transformation, Monsters Eating People Eating Monsters... (repeated infinitely,) rises like a Phoenix from the road tar, van exhaust, and ozone crackle of amps in heat. Once off the road it was recorded in just five blistering days. Though, while the tour may have hammered the album into shape and brought about a wind of change, those changes stretched to the band itself as well. In the wake of the tour the band’s longtime bassist Alex Bulli made his exit, with the majority of bass parts on the album being written and played by multiinstrumental magician Josh Menashe with occasional pitch in from songwriter Dylan Sizemore. Stripped to their core the band has created their most ambitious work to date, an album that takes the turbulence of ZAM and crafts it into a beast more insidious and singular than anything in their catalog. Moving forward, the band has taken on new blood. Completing their lineup, Nikki Pickle (of Death Valley Girls) will join them working the new album out roadside on bass. A new horizon of Frankie and the Witch Fingers draws near and we’re all set to follow them into the unknown.

                                                                                                              FORMAT INFORMATION

                                                                                                              Dinked Edition LP Info: ● Half and half split ‘head splitter’ coloured vinyl – pink / black. *
                                                                                                              ● Exclusive yellow flexi disc – non album track ‘Mind’s Eye’ *
                                                                                                              ● High gloss UV light reactive sleeve.
                                                                                                              ● 12”x24” poster insert.
                                                                                                              ● Hand numbered. *
                                                                                                              ● Limited edition of 450. *

                                                                                                              * Exclusive to Dinked Edition.

                                                                                                              Coloured LP Info: 180 gram indies exclusive yellow vinyl edition.
                                                                                                              High gloss UV light reactive sleeve.

                                                                                                              Tasty, jam-packed collection of classic funk and soul hits from the early 60s (with a few dated back to '56). With a bargain bin price tag, but freshly pressed onto high quality vinyl and spread out nicely across two sides, these are beautifully definitive versions of these well known songs that all the family can enjoy! A perfect stocking filler for any funk fan, there's two more volumes to get your mitts on so you can be confident that the full gamut of the funk spectrum has been covered! Make it funky!

                                                                                                              STAFF COMMENTS

                                                                                                              says: Absolutely fuck all to celebrate this year is there? Who knows what Christmas is gonna be like. End-of-year round-up programs featuring COVID-tweets and Major Tom trundling up and down the garden. Fights with yer uncle cos he won't wear a mask when he visits aunty Gene. Food shortages and no Strictly Come Dancing?!?! Thankfully, bargain bin, top drawer comps like this MIGHT JUST keep the spirit of Christmas alive... Fingers crossed!

                                                                                                              Second installment of this all-killer-no-filler funk compilation series. All coming in at a nice bargain bin price tag but but featuring the whole kit and caboodle of funk classics, pressed nicely onto fresh wax and sounding better than ever! I honestly couldn't think of a better stocking filler for any discerning funk fan this Christmas!

                                                                                                              Vol. 2 features dancefloor staples from The Fatback Band and Gwen McCrae plus lesser-known jems from Manu Dibango, Brother To Brother and Blowfly.

                                                                                                              100% certified funk bangers, from begining to end. Sure looks funky to me! 


                                                                                                              STAFF COMMENTS

                                                                                                              says: Absolutely fuck all to celebrate this year is there? Who knows what Christmas is gonna be like. End-of-year round-up programs featuring COVID-tweets and Major Tom trundling up and down the garden. Fights with yer uncle cos he won't wear a mask when he visits aunty Gene. Food shortages and no Strictly Come Dancing?!?! Thankfully, bargain bin, top drawer comps like this MIGHT JUST keep the spirit of Christmas alive... Fingers crossed!

                                                                                                              Third and final installment of this cut-price funk compilation series which seems to have left no funky stone un-turned! Literally every single well known (and not so well known) hit is covered by one of the three volumes and with a nice, high fidelty pressing (without squeezing too many tracks onto one side as is so often the case), you can be sure that the sound quality reins supreme throughout. You might even argue you'd need to aquire 12" versions for them to sound any better!

                                                                                                              Probably my personal favourite outta the three volumes due to it closing on Lonnie Listen's breathtaking "A Chance For Peace" (which hasn't lost it's relavence 45 years on...) and also containing trakcs by Bobby Burd, Funkadelic AND T-Connection. But honestly, if you're in for a penny yer in for a pound folks, and at only forteen quid a go, I honestly can't see a reason not to plump for all three. Go on, you're worth it! 


                                                                                                              STAFF COMMENTS

                                                                                                              says: Absolutely fuck all to celebrate this year is there? Who knows what Christmas is gonna be like. End-of-year round-up programs featuring COVID-tweets and Major Tom trundling up and down the garden. Fights with yer uncle cos he won't wear a mask when he visits aunty Gene. Food shortages and no Strictly Come Dancing?!?! Thankfully, bargain bin, top drawer comps like this MIGHT JUST keep the spirit of Christmas alive... Fingers crossed!

                                                                                                              UK electronic artpop outfit Hot Chip provide the perfect antidote to these strange and uncertain times with the latest release in the hugely popular LateNightTales artist-curated series.

                                                                                                              Along with featuring new music from the band, they have selected music from some of the most engaging artists of the 21st century, taking in pulsating electronic rhythms, hypnotic grooves and leftfield ambience.

                                                                                                              Spearheaded by founders Alexis Taylor and Joe Goddard, Hot Chip are one of the UK’s most interesting and much-loved acts. Since releasing their debut album ‘Coming On Strong’ in 2004, they have received a Grammy Award nomination (‘Ready for the Floor’) and Mercury Prize nomination (‘The Warning’) and their seventh studio album, last year’s ‘A Bath Full of Ecstasy,’ received rave reviews across the globe from both critics and fans.

                                                                                                              A unique, personal collection that is both euphoric and melancholic.

                                                                                                              “I think we all had slightly different understandings of what a Late Night Tales compilation might consist of; varying interpretations of the brief. For some the mix might be what you’d want to listen to as your late night continues, after a night out. For others maybe it suggested a selection of music for listening to as you drift off to sleep; then again it could just be music evocative of night time, or concerned with its traditionally ‘darker’ moods,” says Taylor.

                                                                                                              Hot Chip’s ‘LateNightTales’ opens with the simplistic beauty of Christina Vantzou’s ‘At Dawn,’ before morphing in to the first of four exclusive tracks from the band - the floating, transcendent ‘Nothing’s Changed’, before Rhythm & Sound ft. Cornell Campbell serve up the heavy dub classic, ‘King In My Empire’.

                                                                                                              The journey continues with Pale Blue’s ‘Have You Passed Through This Night’, a silky, cold wave disco track, while Suzanne Kraft’s ‘Femme Cosmic’ and Fever Ray’s ‘To The Moon and Back’ provide squelchy synth-pop. Furthermore, the punchy ‘Much To Touch’ from Bolton-born, Berlin based producer Planningtorock and an ethereal cover of Velvet Underground’s ‘Candy Says’ by our hosts add an element of displacement and detachment.

                                                                                                              Elsewhere, other highlights include an appearance from synth-pop auteur Kaitlyn Aurelia Smith with ‘Who I Am & Why I Am Where’ and new material from Alexis’ ‘other’ band, the improv-mavens About Group, along with the adventurous ‘Workaround Two’ from electronic experimentalist Beatrice Dillon and German composer, Nils Frahm’s beautifully evocative ‘Ode’. But it is left to Alexis’ father to have the final word, with an elegant excerpt from the daring ‘Finnegans Wake’ by James Joyce.

                                                                                                              “We’ve put together a mix of music which ties all of these ideas together and represents some of our favourite music new and old, some of it directly influential on Hot Chip and some of it music we have discovered and loved, been surprised by and connected to. There are three new songs of ours which we’re really proud of, and which I think connect naturally with the nocturnal world the compilation speaks of, and a cover of ‘Candy Says’ which is one of the first songs the very early version of Hot Chip played when we were still at school,” says Taylor.

                                                                                                              The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.

                                                                                                              Following Brutalism (2017) and Joy as an Act of Resistance (2018), two releases that garnered global critical acclaim, IDLES return with their highly anticipated third album – Ultra Mono. Sonically constructed to capture the feeling of a hip-hop record (including production contribution from Kenny Beats), the album doubles down on the vitriolic sneer and blunt social commentary of their past work. Not far beneath the surface of their self-admitted sloganeering lies a deeply complex and brutally relevant album that chews up clichés and spits them out as high art for the masses. This is momentary acceptance of the self. This is Ultra Mono.

                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: Limited edition Vortex vinyl.

                                                                                                              Deluxe LP Info: Black vinyl in deluxe gatefold packaging with 28 page debossed Ultra Mono catalogue.

                                                                                                              Back with their first new album in 12 years, a confident and revitalised ACR jumped back into the studio following their most successful tour in over 20 years. 

                                                                                                              ACR Loco feels like an accumulation of ACR's DNA from point zero in 1977 through to 2020 and sounds like a band who have effortlessly perfected their craft. An album to dance to, cry to, fall in love to and most importantly, to party to. 

                                                                                                              ACR Loco by the core ACR members Jez Kerr, Martin Moscrop and Donald Johnson, are joined by long term partners Tony Quigley, Denise Johnson and Matt Steele, plus special guests Sink Ya Teeth’s Maria Uzor and Gemma Cullingford, Factory Floor’s Gabe Gurnsey and Manchester luminaries Mike Joyce and Eric Random.

                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: Limited edition coloured vinyl. First pressing available on 1 of 4 colours: White, Blue, Red, Turquoise. Each colour is of varying rarity and will be randomly packed with no external cue as to which colour is available within the package.
                                                                                                              White Vinyl – very rare (300 copies pressed)
                                                                                                              Blue Vinyl – quite rare (600 copies pressed)
                                                                                                              Red Vinyl – fairly rare (900 copies pressed)
                                                                                                              Turquoise Vinyl – rare (1200 copies pressed)
                                                                                                              Sleeve designed by Trevor Johnson + inner sleeve and booklet.

                                                                                                              This is Thurston Moore’s seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka ‘Wobbly’ (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth’s Steve Shelley, as well as Jem Doulton, alternating on drums. ‘Hashish’ is the first single from the album to be released and is described by Moore as “an ode to the narcotic of love in our shared responsibility to each other during isolation." The song includes a video with footage from The Thurston Moore Group’s tour in early 2020 in Europe, as well as footage of Thurston quarantined in his home during the past few months “with respect to the sacred healing truth of nature.”

                                                                                                              Prior to isolation during the COVID pandemic, Thurston worked in recording studios in North London until the third week of March 2020 to complete this album for release on September 5, 2020. While the musicians may not immediately tour, Thurston was adamant to release BY THE FIRE in 2020, and with Daydream Library, has released this quote: ​BY THE FIRE is music in flames.

                                                                                                              2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler's "music is the healing force of the universe", this recording offers songs as flames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. BY THE FIRE is a gathering, a party of peace—songs in the heat of the moment.

                                                                                                              Some of the songs feature all of the musicians whist a few are solo guitar and vocals.

                                                                                                              BY THE FIRE is released on The Daydream Library Series record label which was founded in 2018 especially to release London Afro-punk feminist trio Big Joanie’s debut album ‘Sistahs’.

                                                                                                              FORMAT INFORMATION

                                                                                                              2xColoured LP Info: Indies exclusive transparent orange vinyl.

                                                                                                              2xLP Info: 180 gram audiophile black vinyl.

                                                                                                              Marie Davidson & L'Œil Nu

                                                                                                              Renegade Breakdown

                                                                                                                Marie Davidson is back with a new album “Renegade Breakdown” on Ninja Tune. A new band, and a bold new sound under the banner of Marie Davidson & L'Œil Nu, it is a trio formed of old-time friends with shared roots in Montreal’s DIY scene: Marie, Pierre Guerineau (also in Essaie pas on DFA) and Asaël R. Robitaille. The record follows previous album “Working Class Woman” (2018) and is drawn to the idea of the eternal return, they deliver a forward-facing, innovative pop record that builds on the classic tenets of Marie’s music to create something that strikes out towards a broader audience. With dark humour and interpolated musical influences from Fleetwood Mac to Kraftwerk, Billie Holiday and Chet Baker. 

                                                                                                                If there’s a mood that encapsulates “Renegade Breakdown”, it’s the one found at 3AM after a long night, when it’s time to start putting on the classics.

                                                                                                                Only emerging once previously in 2020 to fuel second album rumours with the release of Coronation Street-inspired single, You’ve Made An Artform (From Falling To Pieces), just as the UK’s COVID-19 lockdown took effect, Cabbage now officially set the reels running on a technicolour sequel to the cracked-screen noir of their debut album, Nihilistic Glamour Shots’, which hit the UK Top 30 in 2018.

                                                                                                                Appearing to fade out their first, epic chapter in brooding black and white, the five-piece finally turn the page with Amanita Pantherina, released on Fri 25 September 2020, finding themselves a cartoonish state of heightened, neon-hued consciousness, facing down the darkness of modern Britain with renewed, energetic abandon. Get Outta My Brain chases the shadows of Shaun Ryder and the fast burning focus of his late-90s Black Grape-era, cutting gonzo punk fuzz with sharp-focus lyrical intent to affect an intravenous dose of similarly streetwise intellectualism.

                                                                                                                Older and wiser, yet unchanged in their mission, Cabbage – made up of Broadbent (vocals), Joe Martin (vocals/guitar), Eoghan Clifford (guitar), Paddy Neville (bass) and Asa Morley (drums) - bound from the studio having maintained the fizzing electricity of a band supercharged by the injustices they see in the world around them.

                                                                                                                Amarantha Pantherina will be the first album entirely produced and recorded by Cabbage themselves, in their own Brassica Studios, whilst bringing on board long-term collaborator, Chris Stockton to assist with technical levers. Having deftly documented the turbulent times of modern Britain since 2017, machine-gunning wry takes on the banal, absurd and cruel – from the Brexit non-anthem of Raus! to the prescient, pharmaceutically-orientated, Medicine - the band aims to remain a vital voice of the times in which we live.

                                                                                                                Amarantha Pantherina promises, according to the band, to “continue the ‘time capsule’ ideal of keeping albums current to reflect their philosophy at the time of recording.”


                                                                                                                FORMAT INFORMATION

                                                                                                                Coloured LP Info: Heavyweight Paint Splattered Vinyl.

                                                                                                                CD Info: Mintpack CD with poster insert.

                                                                                                                Sault make a stunning return after placing pretty much the whole world into a frenzy following their two mysterious and incredible debut LPs “5” and “7”.

                                                                                                                Still shrouded in secrecy as to its members, what we do know now is that it’s produced by Inflo, the London producer who has so far worked with Michael Kiwanuka and Little Simz.

                                                                                                                “UNTITLED (Black Is)” arrives as an expansive double LP, affording longer track lengths and a greater diversity of tracks than their quick-fired debuts. Characterized by an honest and soulful production aesthetic throughout, the previous melting pot of gospel, Afro and funk soul influences are reassuringly present; while lyrically the album contains a much more serious and urgent message about the current state of modern society. Touching on systemic racism, injustice and police brutality, whilst celebrating triumphantly in its own self, it’s a hard hitting and at times stark revelation set to a backdrop of effortlessly suave instrumentals that pour off the record with an abundance of style and confidence.

                                                                                                                There’s a reason Sault are so eagerly championed in the hypesphere right now: they’re unashamedly proud, unreserved and informed. Their musical message and sentiment is real; and by so far escaping any proper identification this has only added to the poignancy and impact that “UNTITLED (Black Is)” is likely to have over the next few months…


                                                                                                                In the winter of 2019, Bob Mould bucked the era’s despair with his most melodic, upbeat album in ages, Sunshine Rock.

                                                                                                                Cut to spring of 2020, and he has this to say: “We’re really in deep shit now.”

                                                                                                                That sentiment informs the new full-length album, Blue Hearts (Merge, September 25), the raging-but-catchy yin to Sunshine Rock’s yang.

                                                                                                                To be sure, we were in some shit back in 2018, when Mould recorded Sunshine Rock with longtime colleagues Jon Wurster (drums), Jason Narducy (bass), and Beau Sorenson (engineer). Back then, he had a song called “American Crisis” that didn’t fit the album.

                                                                                                                “That song is the seed for what we’re talking about now,” Mould says from his home in San Francisco during the COVID-19 lockdown. “At the time, it just seemed too heavy. Today it seems fucking quaint.”

                                                                                                                “American Crisis” is the third song in a walloping first half of an album that spits plainspoken fire at the people who fomented this crisis. “This is the catchiest batch of protest songs I’ve ever written in one sitting,” he says.

                                                                                                                Through some of the most direct, confrontational lyrics of his four-decade career, Mould makes his POV clear: “I never thought I’d see this bullshit again / To come of age in the ’80s was bad enough / We were marginalized and demonized / I watched a lot of my generation die / Welcome back to American crisis.”

                                                                                                                Why “welcome back”? Because Mould experienced deja vu writing Blue Hearts in the fall of 2019. “Where it started to go in my head is back to a spot that I’ve been in before,” he says. “And that was the fall of 1983.”

                                                                                                                Back then, Mould was a self-described “22-year-old closeted gay man” touring with the legendary Hüsker Dü and seeing an epidemic consume his community. Leaders, including the one in the White House, were content to let AIDS kill a generation. Mould later realized why his mind wandered back there for Blue Hearts.

                                                                                                                “We have a charismatic, telegenic, say-anything leader being propped up by evangelicals,” he says. “These fuckers tried to kill me once. They didn’t do it. They scared me. I didn’t do enough. Guess what? I’m back, and we’re back here again. And I’m not going to sit quietly this time and worry about alienating anyone.”

                                                                                                                Recorded at the famed Electrical Audio in Chicago with Sorenson engineering and Mould producing, Blue Hearts nods to Mould’s past while remaining firmly planted in the issues of the day. Acoustic opener “Heart on My Sleeve” catalogues the ravages of climate change. “Next Generation” worries for who comes next. “American Crisis” references “Evangelical ISIS” and features this dagger of a line: “Pro-life, pro-life until you make it in someone else’s wife.”

                                                                                                                “There are songs that have no room,” Mould says, laughing. “The other songs, there’s room. There is room for imagination on the second half of the record.”

                                                                                                                That’s where the songs turn personal in a different way. Tracks like “When You Left,” “Siberian Butterfly,” and “Everyth!ng to You” are grounded in personal relationships. “Racing to the End” captures the economic disparity of Mould’s neighborhood, and “Leather Dreams”… well, maybe Jon Wurster put it best.

                                                                                                                “Jon turns to Jason and asks, ‘Is this the dirtiest song you’ve ever played on?’” Mould recalls with a chuckle. “I clearly did not put the edit tool to that one. Those are all pretty true bits. What kind of person could possibly have a life like that?” He laughs again. “Says the author.”

                                                                                                                “Leather Dreams,” “Password to My Soul,” and “The Ocean” were composed during a writing binge before a January 2020 Solo Electric tour, when Mould stayed up for three straight days. “Songs just kept coming out,” he says. “‘Leather Dreams’ and ‘The Ocean’ both appeared within hours. I barely remember writing them.”

                                                                                                                That feels right for an explosive, hook-laden album like Blue Hearts. Only there’s nothing forgettable about it.

                                                                                                                FORMAT INFORMATION

                                                                                                                Coloured LP Info: Indies exclusive vinyl, limited edition three-color LP.

                                                                                                                Hen Ogledd

                                                                                                                Free Humans

                                                                                                                  Hen Ogledd - the quartet consisting of Dawn Bothwell, Rhodri Davies, Richard Dawson and Sally Pilkington - take a deliberately organic and natural approach on their second album ‘Free Humans’, out on Weird World.

                                                                                                                  Inspired as much by ABBA as the work of 12th Century mystic-composer-naturalist-visionary Hildegard von Bingen, touched equally by the spirits of radical philosophical plumber Mary Midgley and PC Music star Hannah Diamond, as quiet as the paintings of Agnes Martin yet bombastic like a Werner Herzog documentary... it’s an album of seamless, glorious contradictions.

                                                                                                                  Tackling themes of love, friendship, Gaia theory, sewers, the nature of time, human stench and the thrills of wild swimming, it’s remarkable that, given the intense collision of influences and wide-ranging ideas at play, ‘Free Humans’ somehow coheres into a marvellous whole.

                                                                                                                  FORMAT INFORMATION

                                                                                                                  2xColoured LP Info: One yellow disc and one blue disc.

                                                                                                                  When Mildlife’s debut album, Phase, was released in 2018 it didn’t so much explode on to the scene as ooze. Their mellifluous mix of jazz, krautrock and, perhaps more pertinently, demon grooves, was the word of mouth sensation of that year among open-minded DJs and diggers searching for the perfect beat.

                                                                                                                  Their emergence was backed up by European tours that demonstrated a riotously loose-limbed ap-proach to performance that was every bit as thrilling as Phase’s tantalising promise. What was more impressive was how lightly they wore influences that took in Can, Patrick Adams and Jan Hammer Group, while primarily sounding precisely like Mildlife.

                                                                                                                  By the end of 2018 they’d been nominees for Best Album at the Worldwide FM Awards (World-wide’s Gilles Peterson was a notable champion) and won Best Electronic Act at The Age Music Victoria Awards back home in Melbourne. Their progress post-Phase was cemented with a UK deal with Jeff Barrett’s Heavenly, who released How Long Does It Take? replete with Cosmic doyen Baldelli and Dionigi remixes, while last year they were officially anointed by DJ Harvey when he included The Magnificent Moon on his Pikes compilation Mercury Rising Vol II.

                                                                                                                  With Automatic, the band have made a step-change from their debut. It’s more disciplined, direc-tional and arguably more danceable. As on Phase, they are unafraid to let a track luxuriate in length without ever succumbing to self-indulgence. The arrangements, tightly structured thanks to Tom Shanahan (bass) and Jim Rindfleish’s fatback drumming, permit space for the others to add spice to the stew, topped off with Kevin McDowell’s ethereal vocals as Mildlife effortlessly glide between live performance and studio songwriting. “The recorded songs kind of become the new reference point for playing the songs live,’ says Kevin. “They both have different outcomes and we make our decisions for each based on that, but they’re symbiotic and they both influence each other. It’s usually a fairly natural flow from live to recorded back to live.”

                                                                                                                  With the current climate as it is, opportunities to take this album out into the live arena where the band truly come alive, might well be scant, but they are working on ways around this. “We were hoping to visit new places with this album but that’s required a bit of rethink. We have a lot more videos planned for this year and we’ll be doing shows in Australia when things re-open but it’s still all just wait and see for now.” One thing’s for sure, post-lockdown will be one hell of a party.

                                                                                                                  The centrepiece of Automatic is the title track where the band sound like Kraftwerk and Herbie Hancock on quarantined lockdown in Bob Moog’s Trumansburg workshop. It’s both a departure and quintessentially Mildlife. This is music you can dance to rather than ‘dance music’ and it’s all the better for it.

                                                                                                                  - Bill Brewster

                                                                                                                  FORMAT INFORMATION

                                                                                                                  LP Info: Black heavyweight vinyl with locked groove.

                                                                                                                  Preorder the album for a chance to win a Test Pressing plus a copy of all of Dipped In Gold's releases so far!

                                                                                                                  Heavy Salad’s Cult Casual is set for release this September 25th through Dipped In Gold Recordings and was recorded by producers Christophe Bride at Oxygene Studio in Manchester and with Ross Orton at McCall Sound in Sheffield. Christophe, known for this work with Spear of Destiny and Theatre of Hate has recently been busy producing the forthcoming ACR album ‘ACR Loco’ forthcoming on Mute Records and Ross, known for his work with Arctic Monkeys and Amyl & The Sniffers has recently produced the forthcoming album by Working Men’s Club on Heavenly Recordings.

                                                                                                                  The LP was written by Heavy Salad at their base in East Manchester by the core trio of Lee Mann (live bassist with The Moonlandingz), Rob Glennie and Allan Hutchison. The band are joined by live backing singers ‘The Priestesses’ and Oscar Remers. The band bonded over a joint interest in psychedelic horror films with Panos Cosmatos’ cult classic Mandy being a particular favourite, Heavy Salad loved the idea of the band being a psychedelic cult albeit a cult with no rules, hence Cult Casual! The album explores the idea of finding your own reality via hallucinogenic nights plagued with polar bears and conversations with the AI in your phone to imagining after death experiences and apocalyptic visions of the future. Heavy Salad share a love of melody and the sound of the album was influenced by their love of psych pop and acid rock. No distortion pedals were used in the making of Cult Casual.

                                                                                                                  STAFF COMMENTS

                                                                                                                  says: With more hooks than a cenobite's fishing bag, this 7-strong casual cult come with the acid-drenched endless summer sound to get your fingers snapping and your brain melting. 100% fun psychey powerpop with general themes of transcending reality, multi-dimensional mind travel and the spirit of the eternal cosmic party. I'll have another cup of that kool-aid please waiter!

                                                                                                                  Nicolas Jaar

                                                                                                                  Cenizas

                                                                                                                    Even from his earliest edits and deep but different club tracks on Wolf + Lamb, it was clear that Nicolás Jaar was a special talent, and once he'd arrived at his Essential Mix in 2012, he'd more or less mastered dance music. Since then, he's turned his attention to noise experiments, film scores, politico-punk and some inspired production work for other artists, most notably FKA Twigs second LP 'Magdalena'. 

                                                                                                                    Written and produced between 2017-2019, 'Cenizas' sees Jaar in introspective mode, leading us through deep waters and seductive darkness for a little under an hour. Almost entirely fluid, the thirteen tracks bleed from one to the next, occasional snatches of latin rhythm, sleek clarinet or jazzy keys disrupting the moody electronics and crepuscular vibrations. At times beautiful and beatless, incorporating elements of drone, modern classical, latin, jazz and electronica, this LP flows like a film score and captures the otherworldly atmosphere of his aformentioned Essential Mix perfectly. There's no one out there who sounds like him, and few who operate at his level. 

                                                                                                                    FORMAT INFORMATION

                                                                                                                    2xDeluxe LP Info: Deluxe double vinyl with book.

                                                                                                                    Deluxe CD Info: Deluxe CD with book.

                                                                                                                    A new project by Chicago-based drummer/producer Makaya McCraven. An addendum to his critically-acclaimed 2018 release Universal Beings, which The New York Times said "affirms the drummer and beatsmith's position as a major figure in creative music," Universal Beings E&F Sides presents fourteen new pieces of organic beat music cut from the original sessions, prepared and produced by Makaya as a soundtrack to the Universal Beings documentary film.

                                                                                                                    Directed by Mark Pallman, the Universal Beings documentary follows Makaya to Los Angeles, Chicago, London and New York City for a behind the scenes look into the making of the artists breakthrough album, taking the viewer through the story of Makaya's life, his process and the community of musicians that helped bring this project to life. The Universal Beings documentary and Universal Beings E&F Sides album will be released on International Anthem.

                                                                                                                    Named one of the best jazz albums of 2018 by The New York Times, Rolling Stone, NPR, Stereogum, Billboard, SPIN, The Wall Street Journal, The Chicago Tribune, and more, Universal Beings was recorded at four sessions in New York, Chicago, London and Los Angeles, and features some of the best "new" jazz players from those hot bed cities: Brandee Younger, Tomeka Reid, Dezron Douglas, Joel Ross, Shabaka Hutchings, Junius Paul, Nubya Garcia, Daniel Casimir, Ashley Henry, Josh Johnson, Jeff Parker, Anna Butters, Carlos Niño and Miguel-Atwood Ferguson - all of whom are on the forthcoming Universal Beings E&F Sides.

                                                                                                                    Kate NV

                                                                                                                    Room For The Moon

                                                                                                                      “Music knows what she wants,” says Moscow-based artist, Kate NV. On Room for the Moon, the lyrical follow up to the buoyant minimalism of 2018’s для FOR, NV follows this muse in fluid expression, harmonizing her lunar lullabies with a starry compositional choreography. NV says, “I always let music express herself without pressure, and with or without voice.”

                                                                                                                      NV began sketching the music of Moon sometime before для FOR, but the album did not take its full shape until the artist entered a new physiological phase. After trying to make a Buchla synthesizer mirror human imperfections, she was compelled to look past the patch bay and reconnect with her own voice. “I spent almost a year and half sitting, at best, or bending over the table. In the end it, my body rebelled, on some kind of physical level.” No longer concerned with demonstrating a traditional composer’s craft of для FOR, the return to vocal forms first found on her debut album Binasu was liberating and (gasp!) gleeful.

                                                                                                                      On Moon, NV’s vocals contour through screens of tulle or jars of glitter, the entire collection composed and produced by NV at home and studio spaces throughout Moscow. “I finished this record during the loneliest period of my life,” confides NV, with hints of melancholy, or fabled life lessons, adding even more depth to songs of cheery disposition. Her songs, sung in Russian, French and English, each carry unique features, like ten personas or ten scenes in a play where each character has its own keynote. Room for the Moon was conjured from unlived memories of 70s and 80s Russian and Japanese pop music and film, a 20th century fairy tale suspended in time like a moon torn from a paper sky.

                                                                                                                      NV is accompanied by long-time music collaborators on Moon: Jenya Gorbunov on bass guitar, Vladimir Luchanskiy on saxophone, and Quinn Oulton on both instruments. Musician Nami Sato’s gentle words lift and lilt over synth for one piece, too. These friendly contributions are in service of NV’s singular vision; the album is personal and particular in its construction. Filled with warm and sweet memories of her own invention, NV says, “these songs are now my closest friends.”

                                                                                                                      Moon could be made from chiffon ripples, night sky transmissions and long shadows. With each song we enter another chamber of illusion, NV’s vocals tiptoe through one track, toy with riddles on another and try to save time in a polka-dotted pocket. On “Plans,” NV, through some sort of sorcery, created a sax solo using only samples from the Found Sound Nation’s “Broken Orchestra” sample pack. A laugh slips from the sheets of music in “Ça Commence Par” like a misplaced photo. Mallet and marimba converse over mushroom tea on “Du Na.” “Tea” herself borrows melody from Tchaikovsky’s Piano Concerto No. 1, and “Telefon” teases us that “there’s nowhere to hide from the song.” But that’s ok, we’re all invited to the party.

                                                                                                                      Moon’s cast might make friends with other electric, eclectic, and visionary works of Lizzy Mercier Descloux, Akiko Yano, and Ann Steel. You know the feeling of instant affinity? It’s how you may respond to Room for the Moon. You’ll recognize something strangely familiar and inexplicably attractive, an afterglow of times spent in happy company, imagined or otherwise.


                                                                                                                      FORMAT INFORMATION

                                                                                                                      Dinked Edition LP Info: Exclusive Swirled clear, blue and yellow vinyl.
                                                                                                                      Kiss-Cut Sticker Sheet (a series of stickers based on Kate's illustrations and the album design).
                                                                                                                      Numbered sleeve.
                                                                                                                      Limited 300 pressing.

                                                                                                                      Dinked Edition LP includes MP3 Download Code.

                                                                                                                      Ltd LP includes MP3 Download Code.

                                                                                                                      Surfer Blood

                                                                                                                      Carefree Theatre

                                                                                                                        The Carefree Theater in West Palm Beach, FL was the only real venue in town for most of John Paul Pitts childhood. It was where he would go for anything from shows to theatrical productions. It was just the kind of exposure that showed him there was a whole world outside of Florida, the kind of experience that would inform a twenty-one year old student to drop out of school and start a band.

                                                                                                                        He did just that. Surfer Blood’s rise was remarkable – and just recently recounted in detail with the 10 year anniversary of their debut and breakout album Astro Coast. A decade ago. That’s a long time. Where a lot can happen.

                                                                                                                        Surfer Blood have released Carefree Theatre an album that bring them full circle. Pitts returned to Florida, returned to Kanine and created an album worth of short pop songs.

                                                                                                                        The Hives

                                                                                                                        Live At Third Man

                                                                                                                          Blistering live album from The Hives, recorded live to a brimming 250 person audience at Third Man Records' Blue Room in Nashville. Still holding strong as one of the best live bands of their time.

                                                                                                                          Events currently taking place throughout the world only serve to stoke a fire under the likes of Pillow Queens, who find themselves continually inspired by a Dublin that is no stranger to fighting social injustice. Street artists, fashion designers, musicians, film makers and more comprise a scene which routinely champions queerness and marginalized groups, and engages with and activates young people in response to the likes of the city’s ongoing housing and mental health crises. Pillow Queens’ songs of togetherness and unity ring out louder than ever before.

                                                                                                                          In their short lifespan as a band they've released two demo EPs, performed on a successful string of UK & Irish dates & festival appearances, had playlisting from BBC 6 Music, and found themselves opening for the likes of American Football and Pussy Riot, as well as stadium performances opening for IDLES and Future Islands.

                                                                                                                          With all this under their belt, the band began working with Mercury Prize nominated producer Tommy McLaughlin for their single 'Gay Girls' – which received a nomination for the RTE Choice Music Prize song of the year, as well as International pickup from NPR’s World Cafe and KEXP. The song also found its way into the heart of actor Cillian Murphy and his BBC6 mixtape show.

                                                                                                                          2019 saw Pillow Queens venture into mainland Europe, as they lit up the Eurosonic festival and completed a string of tour dates opening for Soak. The tour was a messy and joyous affair captured beautifully in the DIY video for the bands summer single 'HowDoILook'.

                                                                                                                          In Waiting is Pillow Queens’ debut album, the result of four years of brotherly love in a sisterly unit from Ireland’s most urgent, yearning, rock band. Crafted from our lives, and honed in a studio in rural Donegal in the northwest of Ireland, this is a record by queens in waiting and kings in the making. It’s an album about love; self-love, queer love, the anxiety-inducing fault lines of romantic love, and the love for a city and a country that simultaneously has your back and is on your back.


                                                                                                                          FORMAT INFORMATION

                                                                                                                          Ltd LP Info: Limited gatefold heavyweight vinyl.

                                                                                                                          I Like Trains

                                                                                                                          Kompromat

                                                                                                                            LIKE TRAINS return with their razor-sharp new record KOMPROMAT. The Leeds band’s first studio album in eight years deals with knotted themes of information; how we consume it, and how we can possibly make any sense of it in an age of constant bombardment. It digs beneath populism’s rise, from the divide and conquer tactics that caused Brexit in the UK, to the ascent of Trump in America and the subsequent reign of lies and misinformation, to discover the grubby hands that have engineered it all.

                                                                                                                            I LIKE TRAINS - made up of Martin (vocals/guitar), Alistair Bowis (bass), Guy Bannister (guitar/synths), Simon Fogal (drums) and Ian Jarrold (guitar) - have never shied away from confronting the possibility of humanity’s collapse, of course. Early records, like the towering, Godspeed-influenced Progress Reform (Fierce Panda, 2006) and Elegies to Lessons Learnt (Beggars Banquet, 2007) took tales of tragic characters and events from history and applied them to the modern day, while He Who Saw The Deep (2010) looked uneasily ahead to the climate change battle we stand on the precipice of losing. Previous album The Shallows (2012) focused on how the internet and smart technology is re-wiring the human mind and affecting our concentration spans.

                                                                                                                            KOMPROMAT simultaneously sounds like none of those records, yet also contains DNA from all of them. The group have gone back to go forwards in some ways, returning to some of the primary influences that caused them to first form back in 2004: Joy Division, The Birthday Party, Gang of Four, Television and The Velvet Underground. It marks a welcome return for a band who remain a singular presence away from the ebb and flow of UK guitar music fashion; a band in their own orbit, working to their own distinctive style.

                                                                                                                            FORMAT INFORMATION

                                                                                                                            Coloured LP Info: Indies exclusive silver vinyl.

                                                                                                                            Coloured LP 2 Info: Clear vinyl edition.

                                                                                                                            Deftones

                                                                                                                            Ohms

                                                                                                                              Recorded at Henson Studios and Trainwreck Studios, Ohms is an other-worldly body of work meticulously crafted by the 5 piece band. It is a magnificent tour de force and their first album in 4 years since the critically acclaimed Gore LP in 2016. The band, which includes Chino Moreno, Frank Delgado, Stephen Carpenter, Abe Cunningham, and Sergio Vega, has produced a dense LP with every member firing on all cylinders. The album also boasts a familiar collaborator in veteran producer and engineer Terry Date, who worked on 1995’s Adrenaline, 1997’s Around the Fur and 2000’s White Pony. All of the above assembles and sets the stage to deliver Ohms; 10 tracks of raw escapism and unparalleled grooves that have made Deftones' sound singular for over two decades.

                                                                                                                              This year also marks the 20 year anniversary of Deftones' monumental album White Pony. In a virtual press conference for the 20th anniversary of the seminal body of work, the band announced that they would be releasing a companion remix album titled Black Stallion, an idea conceived during the original album’s creation.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Coloured LP Info: Limited edition gold coloured vinyl.

                                                                                                                              Colorama

                                                                                                                              Chaos Wonderland

                                                                                                                                Listening to ‘Chaos Wonderland’ means above all the verification of Colorama being a safe bet. But also, it means that Carwyn is open to what he listens to, and the influence of those who surround him. It is impossible not to figure out details that recall Muscle Shoalsbased white soul, Miami’s Criteria Studios (‘Shawn Lee helped me make more soul material without being aware of it’, Carwyn says), even sweet soft-rock from the seventies. Classic pop, without any doubt, to which the Colorama trademark – with its expansive production, its open-mindness and its fake feeling of simplicity and fragility – ends up depriving of any trace of expiry date to turn it into timelessness.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Ltd LP Info: Limited to 300 copies only.

                                                                                                                                Carlos Niño & Miguel Atwood-Ferguson

                                                                                                                                Chicago Waves

                                                                                                                                  In late November of 2018, long-time collaborators (& life-long Los Angelenos) Carlos Niño & Miguel Atwood-Ferguson flew to Chicago to participate in the album release performance of Makaya McCraven’s Universal Beings. Just 11 months prior, Carlos & Miguel were part of recording the ‘Los Angeles Side’ of Universal Beings at Jeff Parker’s house in Altadena, California, and this performance in Chicago would be the first time that all of the musicians reunited to re-learn and perform the music they’d collectively composed during those sessions.

                                                                                                                                  The Universal Beings performance and preceding days of rehearsal took place at the iconic South Shore Cultural Center – a historic gilded-era urban club-turned-public facility deep on Chicago’s Southside and right along the reedy shore of Lake Michigan, giving the building’s backdrop an infinitely blue Northern expanse.

                                                                                                                                  The night after the performance at South Shore Cultural Center, friend of International Anthem Jeremy Cunningham was scheduled to debut new music (The Weather Up There, which has since been released on Northern Spy Records) at our HQ, Co-Prosperity Sphere. Since Carlos & Miguel were still in Chicago (before they’d head to NYC for a second Universal Beings performance at Le Poisson Rouge), we invited them to do a Special Guest duo set to open the show.

                                                                                                                                  At the conclusion of their 44-minute improvised set that night, Carlos spontaneously dubbed the piece “Chicago Waves.” His proclamation gave us the distinct impression that the previous days spent in South Shore (and the many commutes to-and-from, along Lake Shore Drive) had imprinted the deep blue vastness of early-Winter Lake Michigan into Carlos & Miguel’s respective & collective consciousness, and thus, into the spirit of the luminous music they created that night at Co-Prosperity Sphere. We at IARC are happy to share Chicago Waves with the world in a time when peace-bringing sound and a sweet memory of live music, sparkling inside the collective breath of community in community space, has potential to provide the utmost nourishment.

                                                                                                                                  Anteloper

                                                                                                                                  Tour Beats Vol. 1

                                                                                                                                    Anteloper is a duo of psychedelic sonic compatriots starring a pair of raggedy celestial sound warriors: trumpeter jaimie branch and drummer Jason Nazary. These longtime friends and collaborators met as young explorers and consider their electronic duo a continuous experiment into the unknown sonic abyss. Recent results have come back as mind-bendingly abstract head boppers, improvised organisms guided by a unique desire to hear what hasn’t been heard before. This is music made of and for the moment, tipping towards the future, moving feet to the new-new beat.

                                                                                                                                    Of Anteloper, in his liner notes for their 4/20/2018 debut Kudu, audiovisual avant-garde sage Rob Mazurek says: “Multiple dimensions collide and caress like a wooly tiger, kissing suns and embracing the nothingness, cracking this nothingness into sheets of corrugated dreams…” Despite only being released on cassette, Kudu was dubbed one of the “Best Albums of 2018” by Bandcamp, Pop Matters, and Rolling Stone, who said “the duo convincingly bridges woozy psychedelic abstraction and furiously propulsive free funk... fractured beats and pealing, effects-heavy brass suggests a punkminded update of Miles Davis’ most thrillingly weird Seventies explorations…”

                                                                                                                                    In May 2018, Branch took up a month-long residency at Pioneer Works, an art center down the street from her home in Red Hook, Brooklyn, with a recording studio attached. She called up Nazary, and he rolled by the studio loaded with acoustic drums, electronic triggers, modular FX unit, synths, sequencers, and a myriad of processors. Branch engineered the recordings, and brought her rig to the table: trumpet, synths, delay/looper pedal, auxiliary percussion, and a Roland TR08 drum machine. Then they did what they always do — rolled tape and started from nothing.

                                                                                                                                    In the Fall of 2019, they set out for the “Ante-Myths Sonic Projections Tour” that took them across the US alongside DC duo Blacks’ Myths. For the journey, they self-produced a limited-edition tour tape, Tour Beats Vol. 1, with recordings from the Pioneer Works sessions. For Summer 2020, International Anthem is proud to re-present Anteloper’s Tour Beats Vol. 1 on 45RPM 12” vinyl in a package featuring artwork by Branch, photos by Richard R Ross, and liner notes as poem, again, by Rob Mazurek: “citing against the pricks, within sullen elastics, ecstatic pulse weft; new informal districts of time and energy…”




                                                                                                                                    Acid bass, slow funk and cosmic energy make for a mind expanding trip in the Liquid Canoe.
                                                                                                                                    Load up on edibles, make it a macro-dose and let the music lead the way.

                                                                                                                                    Whether you’re hard at work on a Hamburg allotment, basking in the heat of a Balinese beach or enjoying the cool waters of the Salish Sea, remember that the same sky stretches over all of us. And if you forget your finger for a minute and soak in the heavenly beauty instead, you might just catch the cosmic vibrations of Liquid Canoe, the latest members of the Growing Bin family.

                                                                                                                                    A loose ensemble, Liquid Canoe is the brainchild of Wolfgang Matthes, a lost Angelino who’s swapped the rush and push of a mega city for the space of the Pacific Northwest - and listening to this eight track offering, you’ll realise that space is the place. Armed with an array of vintage synths and programmed rhythms, Wolfgang sketched out a slew of inter dimensional transmissions, inspired by the commune electronics and space rock of 70s Germany and inhabited by the spirit of the boogie. Inviting friends to drop by and lend their own instrumental skill, Wolfgang quickly turned Liquid Canoe into a true collaboration. Finalised in a converted stable on Galiano Island, the LP is a perfect marriage of the electronic and organic, shimmering arps and spheric synth bass intertwined with American primitive guitar, nuanced hand percussion and glassy chimes. As this mind expanding collection stretches out towards infinity, you’ll hear Floyd-ian funk, cosmic dub, tangerine daydreams and micro-dosed ambience, all imbued with the memories of New York lofts, Bay Area warehouses, skyscraping pines or the world wide web of fungi. Liquid Canoe taking you on an oarsome trip.

                                                                                                                                    Situated in the Atlantic, approximately two hundred miles off the west coast of Ireland, the island of Hy Brasil featured on maps from around 1325 until the mid 1800s. Legend has it that it was surrounded in mist, appearing only every seven years. It was long thought to be the home of an advanced mysterious ancient civilisation.

                                                                                                                                    Although often spotted by sailors, landing on Hy-Brasil proved elusive, though the Scottish sea captain, John Nisbet reports to have made land there in 1674. His expedition describes an island of large black rabbits and a stone castle, inhabited only by a strange magician.

                                                                                                                                    In a strange twist, the phantom island is linked to the infamous Rendlesham Forest UFO event of 1980. After touching the craft that reportedly landed in Suffolk, USAF Sergeant Jim Peniston describes telepathically receiving a 16 page binary code text. Many years later, this code was deciphered to reveal that it was a list of co-ordinates of ancient sites around the world including the pyramids of Giza, the Nazca lines in Peru...and the location mapped over centuries as being that of Hy Brasil.

                                                                                                                                    Field Lines Cartographer is the recording project of Mark Burford. Here, Mark explains the inspiration for the album and the recording process:

                                                                                                                                    "When I stumbled on the legend of Hy Brasil, I knew straight away that I wanted to make an album inspired by it. It doesn't matter to me whether UFOs, ghosts, monsters or phantom islands are real or not, they're still fascinating to me and hugely inspirational for writing instrumental electronic music. I decided that the first two tracks - Side A of the LP - would be the trip to the island, perhaps spotting it on the horizon at night, seeing strange lights & journeying through mist & fog banks to strange shores. The second side of the record would be an exploration of Hy Brasil itself, which is why it gets a little bit darker & weirder, before finishing with a more serene, transcendental atmosphere in "The Hall Of Eyes" where the island's secrets become manifest...

                                                                                                                                    "The whole album was written and recorded over a 6 week period using some new eurorack modules to augment my existing Moogs. I recorded the bulk of these pieces as a single live take - tweaking and improvising on a prepared theme and then adding overdubs afterwards. the concept of Hy Brasil inspired and drove me to be very quick.

                                                                                                                                    "As with most of my work, I also buried some field recordings in the mix. The shifting sands and tides of the Lancashire coast and some shortwave radio samples are very deep in the recordings and you have to listen very carefully to pick them out. They are mainly there as a sort of base texture - almost like surface noise or hiss. In a 'deep listening' environment this record really takes me on a strange, hypnotic journey - that's how I felt as I was recording it and I really hope that comes across to other listeners. Hopefully people can go on a weird adventure in their minds with this on in their headphones!"

                                                                                                                                    STAFF COMMENTS

                                                                                                                                    says: Sometimes with concept albums the idea is tenuous or even absurd. At times it's executed with imagination and sincerity. "The Spectral Isle" instantly had me in its grasp - reading about Hy Brazil as it's otherworldly textures and enchanted atmospheres drifted through my headphones. For people obsessed with fantasy and mythology, this is a spectacular release.

                                                                                                                                    Employee and Beatbude present: "Hold Music Vol. 1". Written and produced by Max Graef and limited to 267 copies, this record carries on Max's current obsession with his own unique brand of electro-jazz. Quirky, fully integrated compositions that meld digital technology and live instrumentation in a beguiling and highly enjoyable way. Ridiculously accomplished, the tracks here embue a rich musicality that belies Max's youthful self!

                                                                                                                                    Think Art Of Noise recording on Firecracker with K. Leimer as exectutive producer and you might get an idea of what's in store. Or just dive in with zero expectations and be prepared sail off on a vivid and colourful musical journey! 


                                                                                                                                    STAFF COMMENTS

                                                                                                                                    says: Most probably gonna be in my albums of 2020 list this one. Playful and inventive, an electronic jazz album that doesn't take itself seriously at all yet delivers on every level.

                                                                                                                                    Following up one of the most truly obscure, cult electronica offerings to date, BYO-JO finally get round to dropping release no. 2, twenty four years later!! Somewhat of a golden treasure around these parts, BY01 - the "Space Disco EP" by Slow Rota and various artists fetches upwards of £80 if and when it surfaces 2nd hand. I think there MAY be a copy in Vinyl Exchange at the moment if you're lucky! Unheard through online platforms, googling the release's titles ain't gonna get you very far either... there's very few records left with so much mystery surrounding them!

                                                                                                                                    Anyway, label owner and contributor, Andrew has been kind enough to bring forth the latest offering. Artist going under the name Caution! Horses. The vibe sees cushion soft electronics toying with cerebral drones and organic chimes. Recalling the childlike brilliance of fellow North West experimentalist, Solar Power Buddha whilst paying respect to industrial pioneers Chris & Cossy and their Throbbing Gristle moniker. There's more than a nod to Detroit techno and its futuristic slant; yet there's a primitive and simple beauty to the tracks displayed, shunning them from a particular chronology. Crowning glory for me is "Moment Is The Message", which sees hardwired, DIY electronix merged with splurging analogue phlegm and a Kraut-informed drum palette. "K-Balcony" is a shimmering, content and sublime number, unpacking your woes and strains on a white sandy beach as the waves lap around your ankles. Caution! Horses' skilled piano work rubs you up and down as a highly musical piece is rolled out effortlessly; bliss is the air and vigor on the horizon! "Every Cloud" concludes the breathtaking long player in a suitably otherworldly way; recalling the best bits of B12 and Model 500 as eerie atmospheres wash over rigid, mechanized beats. It's another stone cold epic addition into the annals of UK electronica and in particular the freeform and creative sprit of the North West. Stupendously limited and most recommended - get those skates on folks!


                                                                                                                                    STAFF COMMENTS

                                                                                                                                    says: A wonderful & completely under-the-radar offering of DIY electronix, forward-leaning techno and industralized utopia from local legend Andrew Odia. First release is one highly coveted and sought-after piece!

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    Ltd CD Info: Small repress run of this cult, North West techno classic.

                                                                                                                                    Schlammpeitziger

                                                                                                                                    Ein Weltleck In Der Echokammer

                                                                                                                                      Schlammpeitziger is the alias of musician, illustrator and performance artist Jo Zimmermann. He has been an integral figure in the evolving sound of Cologne since 1992, releasing his surrealist lo-fi krautronica on imprints such as A-Musik, Pingipung and Sonig. The first notes of the opening title track Weltleck instantly confirm that this is no run-of-the-mill record. Jo Zimmermann confounds expectations as he wraps the art-electro sound of Schlammpeitziger in otherworldly dub echo loops -a surprising, yet perfectly coherent development.

                                                                                                                                      South Africa’s jazz scene today is a vibrant one brimming with young talent. Several have emerged as bandleaders and composers, while at the same time being members of their contemporaries’ collectives - cross-pollinating each other’s music with various influences and pushing South Africa’s proud jazz heritage into the future.

                                                                                                                                      From the trios of pianists Kyle Shepherd, Bokani Dyer and Yonela Mnana, to the genre-defying exploits of guitarists Vuma Levin and Reza Khota; and from artists inspired by age-old traditions, like Lwanda Gogwana and Mandisi Dyantyis, to the cosmic explorations of Siya Makuzeni, Benjamin Jephta, Thandi Ntuli, Zoë Modiga and Shane Cooper’s Mabuta - Johannesburg label Afrosynth Records’ upcoming 2xLP compilation New Horizons highlights some of the country’s most talented young composers and bandleaders, as well as a wider cast of supporting musicians.

                                                                                                                                      The current crop of jazz stylists under the spotlight are visionaries in their own right, exceptionally inventive figures who, while they enjoy the advantage and privilege of tapping into the rich musical heritage that preceded them, have brought to bear their creative impulses to collapse boundaries and push frontiers.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      2xLP Info: Double LP, with gatefold sleeve

                                                                                                                                      Various Artists

                                                                                                                                      Make More Noise! Women In Independent Music UK 1977-1987

                                                                                                                                        4CD / 90 track set exploring the work of female artists in the decade following the punk explosion.

                                                                                                                                        In the wake of punk rock and its boundary breaking, rule bending remoulding of the musical landscape, female artists in particular found themselves able to work, at last, in a more meritocratic environment. Quickly, an industry long dominated by male artists, producers, managers and Svengalis became more accessible than ever before, and countless inspired and inspirational artists poured onto stages and into recording studios throughout the UK. ‘Make More Noise’ charts a path through the cultural shift that followed.

                                                                                                                                        Featuring ninety of the most remarkable female artists, all-girl bands and female-fronted groups to have recorded in the UK during the decade spanning 1977-1987, irrespective of genre and commercial success, “Make More Noise” proudly explores the breakthrough of countless pioneering women of the era. Of course, hugely successful female pop stars were nothing new in 1977, but this isn’t their story. This is the story of the everyday artist. The jobbing, gigging, working musician. The independent spirt.

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        4xCD Box Set Info: Hardback book format includes over 14,500 words of sleeve-notes (including artist-written pieces) and introductory essay by Lucy O’Brien.

                                                                                                                                        Various Artists

                                                                                                                                        Jobcentre Rejects Vol. 3: Ultra Rare NWOBHM 78-83

                                                                                                                                          The first volume of Jobcentre Rejects was included on many lists over best reissues of last year. Tom Erlewine of All Music had it on his top three while Rough Trade had it ranked amongst the best compilations of 2019. Vol 2 followed hot in the heels and now the time is right for a third installment in the Jobcentre Rejects-series. Twelve tracks licensed from rare and hard to find New Wave Of British Heavy Metal-singles originally released in England 1978-1983. Kind of a Nuggets, Pebbles or Killed By Death-series for NWOBHM.

                                                                                                                                          Jobcentre Rejects vol 3 will appeal to metal fans, but also to punk fanatics, garagerock-maniacs, DIY-lovers and even to the powerpop afficionados. Jobcentre Rejects vol 3 is for everyone into rock music history and anyone interested in British music- and culture history. Iron Maiden, Def Leppard, Judas Priest and Saxon all got signed by majors and sold records galore, meanwhile bands in every village across England formed. Inspired by the energy and DIY attitude of the punk scene these acts recorded and released their records all on thieir own.

                                                                                                                                          The music heard on Jobcentre Rejects have so far been treasured only by NWOBHM connoisseurs. Jobcentre Rejects clearly shows that it is music far too good to be buried in the past. It’s music that deserve to be heard not only by the most die hard record collectors. Remastered and restored sound. Extensive liner notes by Kieron Tyler (Mojo Magazine). Richly illustrated with many rare photos

                                                                                                                                          Various Artists

                                                                                                                                          Jobcentre Rejects Vol. 4: FWOSHM

                                                                                                                                            What springs to mind when pondering Swedish heavy metal? A Nordic mish-mash conjuring up a black-death-Viking metal wall of sound? Doom metallers Candlemass? Soft rockers Europe? Guitar titan Yngwie Malmsteen? The history and mythology fixated Amon Amarth? Maybe even the tempestuous jazzer Mats Gustafsson’s metal-informed attack?

                                                                                                                                            Unless you’re a Swedish collector or a very deep-digging non-Swede, whatever does come to mind is unlikely to be Greensleeves, Squetters or Trazer, three of the stars of Jobcentre Rejects Vol. 4: Ultra-Rare FWOSHM 1978–1983. The title’s acronym stands for the First Wave Of Swedish Heavy Metal.

                                                                                                                                            The previous Jobcentre Rejects volumes scrutinised The New Wave Of British Heavy Metal and its marginalia. Volume four is cut from the same cloth but puts Sweden under the musical microscope. As eye-opening as it is enjoyable, the vital story told here is one which has not been told before.

                                                                                                                                            In the UK, before the pervasive producer-driven dance-pop boom, ABBA came to define how Swedish music was seen in terms of mainstream success. Poppy. Hyper-poppy. Where the stylised Army Of Lovers and Roxette would do just fine, thank you. Standing apart, Robyn was and is a delightful Swedish export. Earlier, the edgy Leather Nun only got so far. In the Eighties, Sweden’s Sixties-informed garage band boom was never going to be as cool as California’s Paisley Underground.

                                                                                                                                            Of course these are generalisations and, however it was seen, Sweden was always on the ball musically. Rock ’n roll hit hard in the Fifties, The Shadows inspired hordes of instrumental bands and there were world-class beat, mod and psychedelic groups aplenty. Also, a rich seam of often wonderful schlager-pop thrived. In the period ABBA was on the rise, the progg scene confirmed Sweden was home to innumerable idiosyncratic, original and wonderful musicians. Punk arrived and, in 1978, Ebba Grön, New Bondage, The Rude Kids and Skabb issued their first singles. In parallel, other bands headed down the path signposted metal. This is what Jobcentre Rejects Vol. 4 celebrates.

                                                                                                                                            Also lauded is a form of regionalism. Highbrow were from Stockholm. Otherwise, only Malmö’s Silver Mountain were from a major conurbation. The bands here mostly came from beyond the orbit of the capitol city. The trends which ebbed and flowed in Sweden’s national hub were side-stepped – whether by accident or design. This is the sound of small-town Sweden. Finally – and belatedly – it is honoured.

                                                                                                                                            Kieron Tyler, Mojo Magazine, April 2020 

                                                                                                                                            Wax Chattels

                                                                                                                                            Clot

                                                                                                                                              It is universally agreed that New Zealand’s Wax Chattels are a must- see live act; their hypnotically sinister debut captured this perfectly. Released in 2018 and supported by relentless touring, the eponymous album reached #7 on the New Zealand Album Charts, and release week saw the title feature as #1 in Rough Trade’s Top 20 New Releases. Tastemakers like NPR and A.V. Club came on as early champions. The album’s success at home and abroad led to the well-deserved nomina- tion of Best Alternative Artist at the 2018 New Zealand Music Awards, as well as the band’s inclusion in the coveted shortlist of finalists for the Taite Music Prize and Auckland Live Best Independent Debut Award. After a knock-out entrée, the anticipation that surrounds their sophomore album, Clot, is immense.

                                                                                                                                              Much like their debut, the writing process for Clot took the best part of a year. While some songs were written on the road, the bulk of the album was workshopped throughout 2019 across bedrooms and storage containers. Demos were fine-tuned before recording engi- neer James Goldsmith (Aldous Harding, Mermaidens) stepped in. The band maintained the use of only the barest of ingredients — bass guitar, keyboard, and a two-piece drum kit — but spent more time ex- perimenting with and finding new sounds. They wanted to maintain the same live element, but, this time, heavier — for which they enlisted the help of mixing engineer, and fellow noise-maker, Ben Greenberg (Uniform, Destruction Unit, The Men). The keyboards are thicker, the bass more intense. A marked step-up, this new record keeps the visceral energy of the debut, only this time they dig deeper into ca- thartic noise.

                                                                                                                                              At Clot’s center is confrontation. “Mindfulness” asks do you accept the status quo over forcing tangible change? The vitriolic choruses of “Cede” are in Cheng’s native language — Taiwanese Hokkien — and are an indignant confrontation about Cross-Strait relations and self- determination. The experience of being a first generation immigrant is expressed in the melodic single “No Ties”. The song touches on cul- tural differences and the parental sacrifice of careers and support sys- tems to provide a “better” future for their children. The explosive arc of “Efficiency” describes knowing when to bide your time, and when to push, in which the band treads a line between the explicit and in- tuitive. This is carried through “An Eye”, in which the band stresses the physical harm and psychological breakdown emanating from the escalating racial and political uproar throughout the world. Though the band seethes and boils throughout, Clot concludes with a message of hope. Perhaps it’s this capacity for self-awareness that makes Wax Chattels one of New Zealand’s most treasured independent exports.


                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              Coloured LP Info: White vinyl.

                                                                                                                                              Mathematics strikes back! The second of three albums released in 1999 for the Rephlex label, "Samurai Math Beats" exists somewhere between the outsider jungle mined by labelmates Aphex Twin and Squarepusher (dubbed “drill’n’bass”) and the sun-bleached public information music of Warp artists such as Plone and Boards Of Canada. Whilst many listeners at the time were left scratching their heads at the full on collision of hyperkinetic rhythms and arcade game melodies, in many ways the record pointed the way towards future musical mutations, from the frenetic BPMs of footwork to the deconstructed pop music of Mica Levi.

                                                                                                                                              "Bogdan was a massive inspiration for some of my tracks on the Drukqs album, the fact he was doing it all on a shit PC tracker… totally amazing. This was before 99.9 percent of people used the computer for everything. His records are so underrated." - Aphex Twin


                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              2xLP Info: Includes 24” x 12” 2-side colour fold-out insert poster

                                                                                                                                              2xLP includes MP3 Download Code.

                                                                                                                                              Will Butler

                                                                                                                                              Generations

                                                                                                                                                In the five years since Will Butler released his debut album, Policy, he’s toured the world both solo and as a member of Arcade Fire, released the Friday Night live album, recorded and released Arcade Fire’s international #1 album Everything Now, earned his master’s degree in public policy from Harvard, hosted a series of touring town halls on local issues (police contracts, prison reform, municipal paid sick leave, voting rights), and spent time raising his three children. He also found the time and inspiration to write and record a new album, Generations. “My first record, Policy, was a book of short stories,” Butler says. “Generations is more of a novel despairing, funny, a little bit epic… A big chunk of this record is asking: What’s my place in American history? What’s my place in America’s present?

                                                                                                                                                Both in general as a participant, as we all are, in the shit that’s going down but, also extremely particularly: me as Will Butler, rich person, white person, Mormon, Yankee, parent, musician of some sort, I guess. What do I do? What can I do? The record asks that question over and over, even if it’s not much for answers.” While the songs on Generations contain their fair share of dread and regret, there is ultimately a lightness that shines through Butler’s music. That brightness is at its most intense when he and his solo band Miles Francis, Sara Dobbs, and Julie and Jenny Shore perform on stage. Their electricity is palpable throughout Generations, with the bulk of the new songs having been worked out live.

                                                                                                                                                Wild synth production gnarly bass synths with live drums and anthemic backing vocals as on first single “Surrender” are punctuated by intimate, direct moments: Butler’s voice cracking on “Fine” as he conjures his ancestors, and “Promised,” a meditation on friendship, how lives are built together, and how and why they drift apart. Generations was recorded and produced by Butler in the basement of his home in Brooklyn. Tracking finished in March 2020, as New York closed down for the pandemic. Half the record was mixed in Montreal by longtime Arcade Fire engineer Mark Lawson, the other half by Brooklyn-based producer Shiftee (who is, incidentally, bandmate Julie Shore’s husband and Will’s brother-in-law). Generations opens a dialogue with the world. It posits answers and deals with those answers being refuted. Ultimately, it navigates the conversation as a way to find the truth… or at least a way forward. 

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Coloured LP Info: Indies exclusive red spatter on milky vinyl

                                                                                                                                                Coloured LP includes MP3 Download Code.

                                                                                                                                                Run The Jewels

                                                                                                                                                RTJ4

                                                                                                                                                  Run The Jewels, the lauded duo of El-P and Killer Mike, have shared the long-awaited details of their feverishly anticipated new album, Run The Jewels 4.

                                                                                                                                                  This eleven song, 40 minute powerhouse is their most ferocious and focused effort to date, and sports a lineup of all-star guests including Pharrell Williams, Mavis Staples, 2 Chainz, Zack de la Rocha, Josh Homme, DJ Premier, and Greg Nice. Recorded primarily at Rick Rubin’s Shangri-La Studios and the iconic Electric Lady Studios in NYC, RTJ4 represents two years of intensive writing, recording, distilling, and amplifying the most potent elements of their music.

                                                                                                                                                  The result is a collection of wall-to-wall bangers illuminating the group's unique ability to straddle the worlds of pointed social commentary and raw, boisterous fun.


                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                  says: Bombastic, aggressive, assertive, political and absolutely effin BANGING, RTJ are back to save you from whack MCs and company stooges. Fire from start to finish here, but I'm advising you to bump "Ooh La La", the prescient "Walking In The Snow" and the trapping "JU$T" featuring RATM's Zack De La Rocha.

                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                  2xColoured LP Info: Neon Magenta coloured vinyl.

                                                                                                                                                  OSEES

                                                                                                                                                  Protean Threat

                                                                                                                                                    Latest iteration of John Dwyer’s everchanging, impossible-to-describe band.

                                                                                                                                                    Witness the ever-changing, ever-mutating threat that is reality. Perception is under duress; sensibility is bending everyday under the barrage of nonsense. One must make note of whom one is and what one has become: look into the mirror of the planet-killers—psychic cannibals infiltrate and contaminate once familiar and seemingly secure territories… formidable foes indeed! What powers these beasts? What fuels discord and hatred? The behemoth of a “civil” society? What are the weapons at one’s disposal? Generosity is the aegis against greed, empathy is the armor to deflect apathy, love is the club to abate hate…the fog is lifting and humans are opening their eyes.

                                                                                                                                                    And so Castle Face offers this field recording, the Osees Protean Threat, from the pits as a quick booster between protein pills and recycled sweat beverage anthems to assist the listener to not worship at the altar of violence and greed, to not offer oneself up for free, to stand up and be vigilant! Truth will not be found in the speeches and photo ops of the overlords— stand strong and together under the gaze of the oppressors. Stand vigilant, united with those who don’t have the same privileges. Demand respect and a peaceful life for all. This recording is at the apogee of scuzz—punk anthem amulets for the ears and heart, a battery for one’s core. Be strong. Be human. Be love.

                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                    says: They're going to start running out of different iterations of those 5 (or 6) letters soon aren't they? No matter the moniker, this is classic Oh Sees territory, mathy guitars, perfect production and DRIVE. Quintessential OCS.

                                                                                                                                                    El Ten Eleven

                                                                                                                                                    Tautology

                                                                                                                                                      RIYL: Explosions in the Sky, Sigur Ros, Do Make Say Think, Mogwai, Russian Circles, Minus the Bear.

                                                                                                                                                      Experiencing an unexpected tragedy or loss often provokes a period of self-reflection, a time to contemplate one’s own place and purpose in the world. That was true for El Ten Eleven’s Kristian Dunn. When a beloved family member passed, Dunn found his own reflections on life emerging in the music he composed. Those expressions led to the creation of Tautology a sonic meditation on the arc of human life, composed in three parts.

                                                                                                                                                      Over the course of three discs, Tautology is, in Dunn’s words, “a representation of life from the teenage years, through middle-age, until the end of life.” The sounds on the album echo Dunn’s own experiences, veering from aggressive metallic riffs to blissful ambient soundscapes. And while there are shared melodies and harmonies through all three records, each one has its own distinct qualities: Tautology I, which represents adolescence, is angsty, aggressive and occasionally depressive; Tautology II is head-noddy and mid-tempo, and represents middle age; while Tautology III, quiet and ambient, represents one’s golden years.

                                                                                                                                                      Tautology is not a typical rock album, and El Ten Eleven are not a typical rock band. For seventeen years the instrumental duo of Dunn (bass/guitar) and Tim Fogarty (drums) have flourished outside the accepted norms of rock orthodoxy, releasing eight full length albums and four EPs, and performing over 750 live shows. Utilizing inventive arrangements and a masterful use of looping, El Ten Eleven create a sound much bigger than the sum of its parts. Joyful Noise Recordings will digitally release each of Tautology’s three discs, individually and in sequential order, beginning May 1st, with a physical 3LP release on September 18, 2020.

                                                                                                                                                      Dunn explains there’s no right or wrong way to listen to Tautology, suggesting that a deep dive into the full project will yield rewards. “I think someone could listen to any one of the discs by themselves and have a really great experience—even if they didn't know about the others. But if they do want to go deeper, I think there will be a lot of interesting stuff to discover. It works symbolically and it all connects. I think this is the best record we've ever done.” 

                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      says: Having been at the forefront of two-man post-rocking for some time now (their self titled debut was, and still is one of my favourite albums), it was a delight to see this triple LP covering all the ground they've touched on in the past 10 years or so. Starting off a lot more driven and gradually rolling towards tender, shimmering post-rock,this is a true impression of just how varied El Ten Eleven can be. Lovely.

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      3xColoured LP Info: Limited to 1000 Ultra Clear Vinyl is for Indies only. Deluxe triple Gatefold packaging and comes with a download card.

                                                                                                                                                      Fenne Lily

                                                                                                                                                      Breach

                                                                                                                                                        Isolation is nothing new for Fenne Lily – in fact, she’s written an album of songs all about it. “It’s kind of like writing a letter, and leaving it in a book that you know you’ll get out when you’re sad – like a message to yourself in the future,” she says, referring to BREACH, her Dead Oceans debut she wrote during a period of self-enforced isolation pre-COVID.

                                                                                                                                                        It’s an expansive, diaristic, frequently sardonic record that deals with the mess and the catharsis of entering your 20s and finding peace while being alone. “I think this record is proof that I can be emotionally stable, even if right now I feel a little bit up and down,” says Fenne. “There’s the ability to find clarity in that. It’s sobering, weirdly.”

                                                                                                                                                        Fenne was born in London and moved to Dorset as a toddler, where she grew up in the picturesque English countryside. She was a “free range kid,” as she calls it, after her parents took her out of school for a period at the age of seven. Over the following year, they taught her while the family travelled Europe in a live-in bus. Even after she returned to traditional school at 9, her home education never ended, extending to music. Her mother gifted Fenne with her old record collection, through which she discovered her love for T-Rex and the Velvet Underground and Nico. Soon after she fell for the strange genius of PJ Harvey and came to worship Nick Drake, Joni Mitchell, and the richly crafted worlds of Feist, which inspired Fenne to pick up a guitar. It’s that journey to find peace inside herself that underpins the whole of Fenne’s second album.

                                                                                                                                                        Its title, BREACH, occurred to Fenne after deep conversations with her mum about her birth, during which she was breech, or upside down in the womb. The slippery double-sidedness of the word – which, spelled with an “A”, means to “break through” – drew her in. “That feels like what I was doing in this record; I was breaking through a wall that I built for myself, keeping myself safe, and dealing with the downside of feeling lonely and alone. I realized that I am comfortable in myself, and I don’t need to fixate on relationships to make myself feel like I have something to talk about. I felt like I broke through a mental barrier in that respect.” Even though it also carries implications of awkwardness, rebellion, and breakage, it’s a widereaching word, representing new beginnings and birth.

                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                        says: Perfectly on-point songwriting, crisp production and a keen ear for melody make this a perfect release for stalwart label, Dead Oceans. Fenne Lily writes clever, catchy and effecting poppy odes, rich with grit but *just* polished enough to shine. Beautiful.

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        Coloured LP Info: Indies Exclusive on Flame Orange Opaque vinyl.

                                                                                                                                                        Tanya Donelly And The Parkington Sisters

                                                                                                                                                        Tanya Donelly And The Parkington Sisters

                                                                                                                                                          Tanya Donelly covers some of her favorite songs by The Go Go’s, Leonard Cohen, Kirsty MacColl, Split Enz, Linda Ronstadt, The Pretenders, Wings, Echo & The Bunnymen, and Mary Margaret O’Hara on this outstanding new album. "When Joe from American Laundromat asked if I’d be interested in doing a covers album, I was hesitant, mainly because most of the songs I truly love are already perfect in their original form. But then I had the idea to ask the brilliant Parkington Sisters to be the band for this project, to bring their gorgeous sound and spirit, and make it something cohesive and centered. Happily, they said yes. So I chose a handful of songs that have been on heavy rotation in my head and heart from the first time I heard them, and the Sisters took over. They charted and plotted and arranged, and I joined Rose and Sarah and Ariel recording at Jon Evans’ Brick Hill Studio in Orleans MA, with guest players Matthias Bossi and Jon Evans (who also engineered). Lydia P put down some cello later, and I recorded additional vocals at Q Division Studios in Somerville MA, with James Bridges engineering. These are some of the most honest, moving, beautiful, unfiltered, true and cool songs that have ever been written, in my opinion. And those same adjectives apply to the Parkington Sisters as well." – Tanya.

                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          says: Tanya Donelly presents a perfect selection of covers, ranging from minimalistic guitar, to full Americana-tinged orchestration, and Donelly's legendary vocal prowess. A superb counterpoint to the original versions, and a superb listen.

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          Coloured LP Info: Teal Vinyl

                                                                                                                                                          The recording had been first devised as a benefit concert in LA which was at- tended by Dr. Dre who took to the stage to express thanks for Sly5thAve’s ar- rangements. Having spent the past three years performing the project with orchestras around the world, ‘What It Is’ sees Sly5thAve retain the high-quality that fans and critics alike have come to expect from him while stepping out with something considerably different, delving deeper into the worlds of hip hop, jazz and soul.

                                                                                                                                                          Celebrating not only his own versatile musicianship but that of his collaborators and friends, ‘What It Is’ is a collection of tracks showcasing the best of the multi-faceted musician. A sought-after collaborator himself, Sly5thAve has attained much respect from his work with a host of highly f ted musicians including; Prince (as a member of the New Power Generation Band), Stevie Wonder, Gladys Knight, The Dave Brubeck Quartet, Taylor Swift, Janelle Monee, Freddie Gibbs and Quantic.

                                                                                                                                                          “It’s a little jazzy. There is some hip hop in there. A little bit of orchestral chamber vibes... It’s me”, Sly5thAve admits. From the NYC-Texas inspired sounds of “More Or Less” featuring prolific New York rapper Marlon Craft to the politically charged Brazilian-Portuguese “Expatria” recorded with Grammy-nominated Thalma de Freitas, the album spans a myriad of genres and offerings from fellow talented musicians.

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          2xColoured LP Info: Limited edition purple vinyl.

                                                                                                                                                          2xColoured LP includes MP3 Download Code.

                                                                                                                                                          Nouvelle Vague

                                                                                                                                                          Version Francaise

                                                                                                                                                            The 80s owed everything to the punk revolution ... and betrayed it time and again.

                                                                                                                                                            ln 76-77, the incredible explosion of English-speaking bands focused the energies of a whole generation of Western youth - rebels ready to pick up a guitar and use it like a weapon. Yet more than punk music itself, it was the creative burst it triggered that radically shaped 80s pop and heralded an unending stream of inspired performers.

                                                                                                                                                            Although we often speak of the British and American golden age of post-punk from 78 to 84, with artists that included Talking Heads, Joy Division, PIL and Devo, France (together with Switzerland and Belgium) joined the movement too. Today, on a new album, the group Nouvelle Vague have paid tribute to this sumptuous "Frenchy" period clothed in the nihilism of punk, along with bitterness fuelled by the economic crisis and, paradoxically, the bewitching spirit of pop.

                                                                                                                                                            lts title, Couleurs sur Paris (Colours on Paris) is based on both a famous postcard collection and Oberkampf's 1981 punk anthem, and reflects the period, which oscillated between elation and despair. Written by artists sometimes known as "the modern young people" and including faux naïf electropop nursery rhymes by Elli & Jacno ("Anne cherchait l'amour", 1979), Lio ("Amoureux solitaires" , 1980) and Etienne Daho ("Week-end à Rome", 1984), along with Lili Drop ("Sur ma mob", 1979) and Taxi Girl ("Je suis déjà parti", 1986), the songs clearly express the hopes and disappointments of the day.

                                                                                                                                                            The sense of melancholy suggested by the disenchanted lyrics of "Déréglée" - performed in 1977 by Marie-France, an icon of Paris nightlife - is even more noticeable on the 1981 hit by The Civils, who cynically sang, "Tonight, they're dying in Chad, but l'm buying my dream Walkman" before taking it to the chorus: "The economic crisis is fantastic, decadence is the right feel".

                                                                                                                                                            The punk shockwave con also be felt in the music of bands who radically shaped French culture and song. Like Rouen, with Les Dogs ("Sandy, Sandy", 1982), every provincial town and city in France began to produce bands at the end of the 70s and the start of the 80s. Wunderbach's 1983 punk pamphlet "Oublions l'Amérique" was a foretaste of what is now called alternative punk, a genre that won acclaim in 1988 with Mano Negra's "Mala Vida". Indochine, French pop legends for the last thirty years, also encouraged the trend in the summer of 1983 with "L'aventurier", after a first single brimming with the spirit of rebellion, "Dizzidence Politik".

                                                                                                                                                            Rita Mitsouko, the duo that emerged from the underground Parisian punk scene of the late 70s, rocketed to stardom in 1984 with "Marcia Baïla". Equally baroque, TC Matic - the first band fronted by Belgian singer Arno - released an ironic, political underground hit in 1983: "Putain, putain". Other artists fuelled a post-punk movement that explored the romanticism of machines and the darkness of new wave, including the cult, much-neglected duo from Nancy, Kas Product ("So Young but so Cold", 1982) and Switzerland's Stephan Eicher, whose "Two People ln A Room" (1985) followed on from "Eisbaer", a hit in a more underground style written with Grauzone in 1981. However, the genre's most influential practitioners were certainly Noir Désir. From their first single in 1987 ("Où veux-tu qu' je r'garde?"), they won mainstream success with their unique fusion of 80s gloom and power rock. Beyond from the meteoric success of Bordeaux's Gamine ("Voilà les anges", 1988) and the subversive spirit of Jad Wio ("Ophélie", 1989), French post-punk reached its climax with the success of Noir Désir, Rita Mitsouko, Stephan Eicher and Manu Chao, whose albums reigned supreme in the 90s French charts. From the underground scene to gold records: the eternal story of pop.

                                                                                                                                                            Harmonious Thelonious is the solo project of the Düsseldorf musician Stefan Schwander. His works combine American-influenced minimal music with African rhythms and European melodies.

                                                                                                                                                            "I was busy experimenting with noisy rhythms when Bureau B asked me if I would like to release an album on their label. I was aiming for a more industrial sound; backwards cymbals, loops generated from non-musical sources such as slamming doors, and had the feeling that this would align nicely with Bureau B’s own story." Stefan Schwander’s new album Plong is something of a hybrid in the discography of Harmonious Thelonious, drawing on his existing strengths plus a sense of adventure in a mix of all his musical predilections. Dipping into the music, Middle Eastern elements can be heard on "Original Member Of A Wedding Band" and "Mumba", whilst tracks like "Höhlenmenschenmuziek" are characterized by more pronounced bass structures. Tuned down xylophones, evocative of ritual drums, sub bass and electrifying basslines catalyse the idiosyncratic sound of Plong: hypnotic, danceable, irresistible. A powerful head of steam builds across the nine tracks, with subtle changes in harmony ("Geistertrio Booking") or unexpected cameos such as a new wave bassline on "Abu Synth" shaking things up before the album hurtles onward with renewed force. Take "Interpretation de reve" as a case in point – floating sequences and themes sweep ashore in wave after wave of melody; analogous to dreams which enter the subconscious in episodes, their apparent randomness gradually shifting into a correlative pattern. "Totentanz" closes the album in a homage to the Basle club of the same name, a place which played a decisive role in Schwander’s musical socialisation: "I was lucky enough to see bands like Liquid Liquid, Gun Club, Jonathan Richman and a very young Aztec Camera there".

                                                                                                                                                            Harmonious Thelonious comes off with an exceptional work in the genre of electronic music, successfully embracing the physical power of a club night soundtrack whilst exploring the dramatic depths of sonic worlds to create an intensive listening experience in total solitude.

                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                            says: Durian Bro and Dusseldorf sorcerer Stefan Schwander gets industrial and middle eastern on this Bureau B LP, translating his usual sonic manipulations into a hypnotic set of trance dancers for the alternative club kids. I'm gonna buy like 5 copies of this!

                                                                                                                                                            This is Tolouse Low Trax’s 4th solo album Jumping Dead Leafs.
                                                                                                                                                            A 38 minutes exorcism, dionysac sexyness fueled with romanticism, made of mechanical incantations mixed with spectral vocals of forgotten imaginary tribes, words from a physicist (Incomprehensible Image), and mystical breathings… To remind you that music is demanding your soul and body, fully. A master irritator, disclosing this talent all the way, down to every chosen title, for the album itself and all of its components (would you put Milk in Water ?). As repetitive or minimalist music may already make some of you feel nervous, it seems more accurate to talk here about primitive music - notwithstanding a non violent anarchism. But those are only words and vain attempts to attach TLT to a region or a family. Neither the burden of classical European music legacy, which eventually lead to pop music, seemed to interfere with his wild mind, and if it is no surprising to hear Bach in German electronic music, there is here a clear statement that you are out of this sirupy prison… For D.W. is a sorcerer. He’s been empirically learning the speaking of trance with years of touring and experimenting with all kinds of audience and venues, from clubs to museums, from Mongolia to Brazil, from his performances with his bands Kreidler or Toresch to solo ones, sustained by a steady limited set up, as the one used when he’s recording : one MPC, rudimentary synths, few effects and a mixer. No sound engineer on stage as only he knows his secret language… Raw dubmaking, leaning towards
                                                                                                                                                            hip hop, indubitably underlining here a significant distanciation from his previous industrial inspirations. The bewitchment of this record is operating with no warning from the very first seconds until the last epiphany of Sales Pitch. He is using his knowledge of techno, psychedelism (Inverted Sea), UK bass (Jumping Dead Leafs), only to bring you out of it. We all tend to be slaves, without even being conscious about it, and a balance must be existing between being a slave and showing off. Mr. Weinrich’s answer is unsettling because it is an utter call to this balance, in our world of black and white and political correctness. There is no morality in music… Don’t expect anything else than an unaccountable liberating immediate experience. Don’t expect any kind of music because you are already in the past or the future… From his recording technique mainly relying on one takes, his adoration of mistakes and jeopardy, to the core essence of repetitive music, it is all hereabout being in the present. No ears no glasses. 


                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                            says: Dusseldorf's dance floor Derrida comes correct with his first solo album in six years, providing a little club deconstruction for the fringe DJ and haunted home listener! Frankly, no one sounds like Detlef, and as this LP blazes its hazy trail through warehouse smog, dislocated dubspace and an entirely crepuscular strand of psychedelia, it becomes increasingly clear how much we've missed him.

                                                                                                                                                            David Turpin, Stephen Shannon & Kevin Murphy

                                                                                                                                                            The Lodgers (OST)

                                                                                                                                                              Beautifully haunting gothic score to The Lodgers by Stephen Shannon, Kevin Murphy and David Turpin.

                                                                                                                                                              David Turpin’s first feature as screenwriter – the gothic fantasy premiered at the Toronto Film Festival in 2017, and was subsequently acquired for worldwide release by Netflix.

                                                                                                                                                              Film synopsis:
                                                                                                                                                              A family curse confines orphaned twins Rachel and Edward to their home, in punishment for their ancestors' sins. Bound to the rules of a haunting childhood lullaby, the twins must never let any outsiders inside the house, must be in their rooms by the chime of midnight, and must never be separated from one another. Breaking any of these rules will incur the wrath of a sinister presence that inhabits the house after midnight.

                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                              says: Another stunning release from Burning Witches records, with all the neo-classical gloom and horror slo-burn we've come to expect from this legendary label. Crackling ambience and slowly drawn strings are accentuated with crescentic wails and simmering unease. Gorgeous to look at and most importantly, to listen to.

                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              Coloured LP Info: Lake Water colour vinyl, heavyweight sleeve, insert and download card

                                                                                                                                                              Tim Koh

                                                                                                                                                              In Your Dreams

                                                                                                                                                                In Your Dreams is Tim’s most straightforward and accessible release to date, and an exciting addition to his body of solo work, which hitherto can broadly be described as experimental noise. The poignant song collection tackles core themes of life’s calamities, broken love, and transitory relationships, yet counterbalances its essential melancholy with a whimsical, upbeat, and playful spirit throughout. While not strictly autobiographical, the songs draw from Tim’s recent personal experiences during his two-year isolation from friends and family, and create a compelling narrative of alienation, loss, and love.

                                                                                                                                                                Tim wrote In Your Dreams in Amsterdam, L.A., and London in-between his time touring with Ariel Pink, and subsequently recorded the songs at home in Amsterdam while recovering from a near-fatal 2018 accident. The recurring hospitalizations that Tim has endured in recent years subtly find their way into the album through phone recordings from Tim’s actual hospital stints, underscoring the album’s themes on this highly personal work. In Your Dreams deftly juxtaposes lush, densely layered sounds with stark simplicity through a series of quick turnarounds, creating the captivating feeling of tension and release that characterizes this remarkable song collection.

                                                                                                                                                                Guest musicians on In Your Dreams include Chris Cohen on guitar, and drum help from Jay Watson (Tame Impala, Gum) and Josh da Costa (CMON). Adding to the family feel of the album, longtime Ariel Pink and Tim Koh collaborator Jorge Elbrecht performed mixing duties along with mastering by Heba Kadry.


                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                Dinked Edition LP Info: • Exclusive Mulberry Coloured Vinyl *
                                                                                                                                                                • Exclusive 7” - 2 bonus tracks *
                                                                                                                                                                • Artworked inner jacket
                                                                                                                                                                • Signed & Numbered Print *
                                                                                                                                                                • Exclusive Tote Bag *
                                                                                                                                                                • Dinked info sticker *
                                                                                                                                                                • 350 copies only.
                                                                                                                                                                * Dinked Exclusive

                                                                                                                                                                Coloured LP Info: Vapour coloured vinyl.

                                                                                                                                                                Sarah Davachi

                                                                                                                                                                Cantus, Descant

                                                                                                                                                                  The new Sarah Davachi record is an 80-minute, 17 track double album meditation on impermanence and endings, framed by minimalistic organ études and careful harmonic layering. On two tracks the artist’s own vocals are also heard for the first time. This is the first release on the artist’s own label, Late Music.

                                                                                                                                                                  The title of the record - ‘Cantus, Descant’ - has both literal and metaphorical meaning and is something of a concept album that addresses the relationship between the two. In medieval music, the Latin ‘cantus’ was used as a general term for unadorned singing or chant and by the end of the Middle Ages it came to represent the highest voice of a polyphonic choral texture, often improvised. ‘Descant’, at that time, was used in part to denote the structures of polyphony and counterpoint, the harmonious play of two or more voices against one another.

                                                                                                                                                                  The instrumentation is predominantly organ-based, a combination of electric organ, reed organ and a pipe organ based on a 15th Century design. These arrangements are embellished with tape-based technologies like the Mellotron and echo devices.

                                                                                                                                                                  Davachi comments: “The pervading effect on the album is one that gives reverence to the suspension, the epoché, a space where we welcome and attempt to reconcile impermanence. It is an opportunity to go inside - oneself, one’s sound - in order to simultaneously commune with our comforts and that which we mourn, perhaps not unlike the function of a hymn.”

                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                  2xColoured LP Info: Limited edition clear vinyl.

                                                                                                                                                                  2xColoured LP includes MP3 Download Code.

                                                                                                                                                                  Neil Young

                                                                                                                                                                  The Times

                                                                                                                                                                    'The Times' is a moving and topical solo acoustic performance, a unique collection of songs, recorded by Neil Young at home during lockdown as part of the raw and personal, 'FIRESIDE SESSIONS' series.

                                                                                                                                                                    The songs include his updated 'Lookin' For A Leader - 2020,' ‘Alabama’ from the seminal ‘Harvest’ album, the Young penned CSN&Y classic ‘Ohio’, the brilliant ‘Southern Man’ from the ‘After The Gold Rush’ album, and Bob Dylan's 'The Times They Are A-Changin' closing with 'Little Wing' from the latest Reprise release, 'Homegrown'.


                                                                                                                                                                    Tobin Sprout

                                                                                                                                                                    Empty Horses

                                                                                                                                                                      Artist, illustrator, writer and lo-fi innovator, Tobin Sprout was the super-productive partner of Robert Pollard in the legendary Guided By Voices. The gifted songwriter returns with a pensive, expansive part autobiographical new album ‘Empty Horses’. Here he’s part Townes Van Zandt, part John Prine, part Robbie Robertson at his retrospective best.

                                                                                                                                                                      The album is a meticulously observed study of America and Americana (not the music, but the state of mind). An alternative American Songbook, if you will, a collection of laments to simpler times and the struggle for what’s right, peppered with an examination of faith and the search for a sense of justice. Close up and personal, ‘Empty Horses’ is a poignant carefully etched experience, a rolling journey in modern times, nodding back to tradition, a personal snapshot filled with honesty.

                                                                                                                                                                      ‘Empty Horses’ is released on vinyl LP and also a deluxe bookback CD, beautifully packed with 24 pages of paintings and lyrics by Tobin Sprout, a true collectors piece for fans of Tobin’s music and art.

                                                                                                                                                                      “The perfect aural encapsulation of melancholy: in turns somnambulant, romantic and all-consuming” Rolling Stone.



                                                                                                                                                                      “Raw, honest and often revelatory” Consequence Of Sound

                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                      LP Info: LP Standard Black Vinyl with download.

                                                                                                                                                                      CD & Book Info: CD BOOK ‘Bookback’ CD, Exclusive artwork & paintings.

                                                                                                                                                                      Emma Kupa

                                                                                                                                                                      It Will Come Easier

                                                                                                                                                                        Following successes fronting Mammoth Penguins and (the much missed) Standard Fare, Emma Kupa releases her first full length solo album It Will Come Easier. “The title is a hopeful line, and one that is important to me – it is something I try to hold onto when things feel difficult”. The album delves through the trials and tribulations of attempting to navigate through the crossroads of your early thirties. Direct, raw and frank, Kupa leads us through her tender reflections on relationship regrets, the torment and pressure to succeed, and the dichotomy of now finding herself tending to choose logic over impulse - “does her smile light up your heart, or do you just want to get under her shirt?” she asks on Does It Feel New. Picking up from the intimate family portraits of her debut solo EP, Home Cinema, this is her most personal collection of songs yet.

                                                                                                                                                                        “The album explores aspects of love, escapism and fidelity, but there’s also a thread which is about ac-cepting feelings of hopelessness when you don’t quite meet the many pressures of life’s expectations”. Despite the brutal directness of the subject matter, It Will Come Easier has an audible freshness and spring to its step. The optimistic jaunt of Nothing At All defies the futility in being unable to influence a particularly toxic situation. I Keep An Eye out is a follow up to Half Sister, written for the eponymous sibling that doesn’t know of Emma. Written and recorded over several years, Kupa felt she needed to give these 10 tracks some emotional space before releasing the record. Joined by bandmates from both Mammoth Penguins and Suggested Friends (Mark Boxall and Faith Taylor, respectively), alongside Laura Ankles, Joe Bear, Rory McVicar and Carmela Pietrangelo, the instrumenta-tion is more diverse than in previous Kupa bands. From the sparse, evocative strings of Hey Love and the simple piano backing of unexpected wedding drama in Crying Behind The Marquee, through to the grinding synths of CP Reprise, there’s textural flourishes abound that bely her background fronting noisy three-piece indiepop outfits. With nods to Dusty Springfield, The Unthanks and The Postal Service, It Will Come Easier is a mesmerising journey through early adulthood, poignant and expertly detailed. Emma Kupa currently fronts Mammoth Penguins, and The Hayman Kupa Band alongside Darren Hayman. She ini-tially made her name with Standard Fare, whom called it a day at the peak of their success in 2013. Her insightful warmth, eye for lyrical detail and powerful, idiosyncratic voice has made her a firm favourite amongst fans and critics alike. 

                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                        Ltd LP includes MP3 Download Code.

                                                                                                                                                                        Cults

                                                                                                                                                                        Host

                                                                                                                                                                          Cults have embarked on a radical reimagining, both of the band’s sound and its dynamic, and the result is the NYC indie duo’s utterly mesmerizing fourth album, Host. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band, one fueled by an ever-deepening trust and a boundless appetite for growth and experimentation.

                                                                                                                                                                          The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics. The production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. As its title suggests, Host is an exploration of the sinister dynamics at play in a parasitic relationship, but rather than dwell in the discomfort, the record charts a cathartic journey towards freedom and self-reliance, reveling in the power that comes from standing your ground and declaring independence in the face of exploitation and manipulation.

                                                                                                                                                                          Formed while Follin and Oblivion were still just students in college, Cults first emerged in 2010 with their breakout single, “Go Outside,” which the New York Times hailed as “one of the indie rock highlights” of the year. Both a commercial and critical smash, the track would go on to rack up more than 40 million streams on Spotify, land in soundtracks everywhere from Broad City to Gossip Girl, and help the band score a major label deal for their self-titled debut, released the following year on Columbia Records.

                                                                                                                                                                          The duo followed it up with the similarly celebrated Static in 2013, and they returned in peak form four years later with Offering, building up a devoted audience along the way through relentless headline touring and festival appearances at Bonnaroo, Lollapalooza, Coachella, Austin City Limits, and more.

                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                          Coloured LP Info: Evergreen coloured vinyl.

                                                                                                                                                                          Charli XCX

                                                                                                                                                                          How I'm Feeling Now

                                                                                                                                                                            Over the course of her trailblazing career, Charli XCX has earned critical acclaim for her forward-thinking musical output and refreshing entrepreneurial spirit that has seen her carve her own lane on the global pop circuit. A singer, songwriter, video director, documentary maker, radio host and record label boss, Charli’s story is one of an artist continuing to succeed without compromise.

                                                                                                                                                                            Now in 2020, Charli is already breaking boundaries - this year has seen her first BRIT nomination for British Female Solo Artist, marking a huge moment of validation from a mainstream audience that Charli has built on her own terms. In reaction to the global COVID-19 pandemic of 2020, Charli has proven herself to be one of the most adaptable artists working today; initially providing programs of Instagram live sessions that invited various guests to spark conversation, share insight, or simply entertain fans across the world who are currently practicing social distancing. Charli’s vision then expanded further, leading her to announce ‘how i’m feeling now’ - a new album to be written, recorded and released in 39 days, completely in self-isolation. The creative process was also to push her collaborative stream in a unique way; opening up the recording, writing, artwork, music videos and more to fans for feedback and contribution - she also further inspired her fans’ creativity, allowing them access to song stems to create remixes and greenscreen footage to be edited using their own imagination.

                                                                                                                                                                            ‘how i’m feeling now’ has given further spotlight to Charli’s status as one of the most adaptable, exciting pop artists working today, and through it’s uniquely collaborative approach, provided a shared space for those who listen to feel safe enough to express themselves however they wish at a time when they need it most.


                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                            Coloured LP Info: Exclusive, 140g Neon Orange 12” vinyl.

                                                                                                                                                                            Matt Berry

                                                                                                                                                                            Phantom Birds

                                                                                                                                                                              BAFTA Award-winning actor Matt Berry has been the star of a number of high profile TV series including Toast Of London, The IT Crowd and most recently What We Do In The Shadows. Concurrently he has cultivated a career as a musician that has seen him release six solo albums and collaborate with the likes of Bond composer David Arnold, Jean-Michel Jarre and most recently Josh Homme, who invited him to perform on the Desert Sessions.

                                                                                                                                                                              His most recent album ‘TV Themes’ was a UK Top 40 hit and was awarded four stars by Will Hodgkinson writing for The Times. His reinterpretation of British TV themes of the past was no mere wallow in nostalgia but an exploration of recording techniques and a joyous celebration of the music.

                                                                                                                                                                              ‘Phantom Birds’ was inspired by a fascination with Bob Dylan’s ‘John Wesley Harding’, the way it was recorded with the minimum of musicians to draw attention to the songs. For the recording Matt worked with drummer Craig Blundell - known for his work with Steven Wilson and Steve Hackett - and legendary pedal steel player BJ Cole, yet the tinges of Americana are never allowed to overwhelm Matt’s own distinctive style.

                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              Coloured LP Info: Red vinyl.

                                                                                                                                                                              Ed Harcourt

                                                                                                                                                                              Monochrome To Colour

                                                                                                                                                                                Haunting and other-worldly new record from Ed Harcourt, his ninth studio album and second release on Point Of Departure following 2018’s ‘Beyond The End’.

                                                                                                                                                                                Recorded at his own Wolf Cabin studio in rural Oxfordshire between January and October 2019, this beautiful 12-track album was written and produced entirely by Harcourt. It features Clive Deamer from Portishead on drums on three tracks, and Gita and Amy Langley on violin and cello respectively

                                                                                                                                                                                The new album is full of rapturous outreach. It was made with an interesting blend of instrumentation, ancient and modern. There’s a 1910 Hopkinson baby grand piano and also a dulcitone, a 19th-Century oddity where hammers strike an array of tuning forks.

                                                                                                                                                                                A much-acclaimed recording artist who released his Mercury Prize nominated debut ‘Here Be Monsters’ on Heavenly Records in 2001, in recent years Harcourt has gained acclaim for his songwriting for a variety of artists. He’s co-written songs with Marianne Faithfull, Lisa Marie Presley, Paloma Faith, Sophie Ellis-Bextor and Orbital’s Paul Hartnoll. He’s featured on albums with Mark Lanegan and alongside an intercontinental array of musicians, from Egypt and Tanzania to Argentina and Russia (this global cast featuring on the 2019 album ‘Beyond Music: Same Sky’). Moving from bands to the big screen, Ed has written for several soundtracks, including the recent superhero comedy Supervised and the 2014 drama Like Sunday, Like Rain.

                                                                                                                                                                                Rudy De Anda

                                                                                                                                                                                Tender Epoch

                                                                                                                                                                                  FFO: Chicano Batman, Brainstory, Drugdealer, Sugar Candy Mountain.

                                                                                                                                                                                  Conceived in the 1980s in Mexico and brought to California through the border inside of his 6-month-pregnant mother, Rudy de Anda's debut solo record is a love letter to the long historical lineage of rock 'n roll music as interpreted through his multicultural lens. "I write my own story, I don't want to be defined by any scene" de Anda proclaims of his personal journey, and his ability to adapt and flit between cities and cultures is part of why L.A. Record has called his sound "deliberately difficult to classify, familiar but novel at the same time." Since 2005, De Anda has played thousands of shows in various musical projects, but with 'Tender Epoch', tellingly the first recorded under his own name, he has clearly found his own voice with a wealth of stories to spotlight. It's exquisitely crafted pop, with universal messages of heartbreak and loss that still feel appropriate played speeding windows-down on the highway in the coastal sunshine.

                                                                                                                                                                                  Above all, De Anda likes to keep people guessing: from the album artwork to the multi-faceted textures of sound, 'Tender Epoch' feels ambiguous to any era, a perfect collusion of old and new that showcases a music historian's knowledge of both past greats and influential peers. Sculpting his own path through a wild ride that feels unlikely to let up, De Anda refuses to settle down or get comfortable, instead carving out a classic record that is sure to set a standard for songwriting to come. The whole Colemine and Karma Chief family is proud to welcome Rudy De Anda and to present Tender Epoch.

                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                  Coloured LP Info: Limited Topo Chico bottle clear vinyl for Indie stores only.

                                                                                                                                                                                  The Death Wheelers

                                                                                                                                                                                  Divine Filth

                                                                                                                                                                                    From beyond the gutter, The Death Wheelers bring you their second album, the soundtrack to the fictional bikesploitation flick that never was: Divine Filth. Drawing inspiration from instrumental rock, proto- metal, punk and funk, the band embalms the listener in their sonic world of decay, groove and debauchery. Surfing the line between Motörhead, The Cramps and Dick Dale, the Canadian quartet uncompromisingly blends rawness and power in their riff fueled compositions. Recorded entirely in 48 hours in a live setting just like in the good old days, this second opus is a testament to what the band stands for: a no BS attitude spiked with a heavy layer of crass. Just like their previous offering, the album is devised to serve as a soundtrack loosely based on a plot synopsis of a B-movie:

                                                                                                                                                                                    It’s 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain’t pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumour has it that the motorcycle cult, The Death Wheelers, is behind this concoction. Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals?
                                                                                                                                                                                    The cycle of violence indeed continues with this sordid slab of sounds. So hop on, and enjoy one last ride with The Death Wheelers.

                                                                                                                                                                                    Young Knives

                                                                                                                                                                                    Barbarians

                                                                                                                                                                                      Barbarians was written, recorded and mixed by Young Knives (brothers Henry Dartnall and The House of Lords) in their studio near Oxford, UK. John Gray’s book Straw Dogs inspired the brothers to dial into the ultra-violent, brutal nature of human beings. Our progresses in science and knowledge have not made us any less barbaric: our entertainment is obsessed with it, our world is full of it. What if cruelty to others is just part of who we are? How do we live with that?

                                                                                                                                                                                      Building on a base of loved hits from their early work last decade (Voices of Animals and Men, Superabundance, Ornaments from the Silver Arcade) and the metamorphosis of 2013’s Sick Octave, Barbarians is a leap into sonic experimentation by a band who love to confuse and entertain in equal measure.


                                                                                                                                                                                      The Apartments

                                                                                                                                                                                      In And Out Of The Light

                                                                                                                                                                                        Based in Sydney, Peter Milton Walsh and his band, The Apartments, are acclaimed by critics and fans alike all over the world. Peter Milton Walsh formed The Apartments in Brisbane, 1978, and left Australia for New York a few years later, and relocated to England when The Apartments were signed by Rough Trade. But before leaving Australia, Walsh was sought out by Robert Forster and Grant McLennan, of Brisbane's most critically adored band, The Go-Betweens. Having been offered an 8-album deal by Beserkley Records, Forster and McLennan asked Walsh to join The Go-Betweens as their fourth member in late 1978. The union was, however, short-lived, as the deal with Beserkley fell through. Grant McLennan famously said of their different personalities, "Walsh is night, we are day. We're sun, he's rain." In and Out of the Light is a classic Apartments album, with songs, lines and melodies coming back to you long after the music has stopped playing. The album came together in a new way for The Apartments. Recording began in Sydney, at the end of winter of 2019. Working a few hours a day, one or two days a week, the album was finished in the summer, with the final mix completed the day before coronavirus lockdown hit Australia in 2020.

                                                                                                                                                                                        Peter Milton Walsh and bass player Eliot Fish worked with producer Tim Kevin in his Marrickville studio in Sydney, while French Apartments, Natasha Penot and Antoine Chaperon, recorded their parts in various studios in France. English drummer Nick Allum worked in London. In and Out of the Light (their 7th studio album) again features Chris Abrahams from The Necks on piano. The vocal and piano for We Talked Through Till Dawn were recorded live in one take with Peter singing as Chris played piano. Miro Bukovsky, who played on No Song, No Spell, No Madrigal, again plays flugelhorn and trumpet. In 2015, The Apartments surprised fans by re-emerging -after over a decade of silence-with No Song, No Spell, No Madrigal, an album that saw a new audience drawn to The Apartments music. By year's end, readers and critics of French music magazine Magic named No Song, No Spell, No Madrigal #1 Album of the Year. Five years later, In and Out of the Light is the highly anticipated album that will once more appeal to existing fans and new ones as well. The Apartments exquisite instrumentation and beautiful harmonies and Peter Milton Walsh's impressionistic storytelling work together beautifully on In and Out of the Light. Here are eight songs to get lost in-for a day, for a week, for a lifetime.

                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                        LP includes MP3 Download Code.

                                                                                                                                                                                        Bear's Den + Paul Frith

                                                                                                                                                                                        Fragments

                                                                                                                                                                                          Bear's Den are beloved by their fans for the way their songs have woven themselves into the fabric of some of the most bittersweet chapters of their lives. Last April the band released their 3rd album ‘So that you might hear me’ which debuted at no. 13 in the UK charts, no. 4 in Belgium, and top 40 in Germany.

                                                                                                                                                                                          Fragments is a collaboration album between Bear's Den and award winning composer Paul Frith, stemming from some live shows in 2018. Fragments sees Paul Frith rework and arrange a number of songs from the Bear’s Den catalogue with an orchestra; from adding orchestral flourishes to the originals to completely pulling apart and reimagining tracks - hence “Fragments”. 


                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                          Coloured LP Info: White block-coloured vinyl.

                                                                                                                                                                                          Franke Ene

                                                                                                                                                                                          No Longer

                                                                                                                                                                                            “No Longer is a suite of six absorbing, patient reveries on conflicted concupiscence and encroaching darkness by Berkeley songwriter Frank Ene, who composed the material in a period of solitude following the demise of his noise-pop group Pure Bliss. Ene abstained from socializing to write the songs, venturing outside mostly to work in the basement of a frame-shop or observe students on the nearby UC Berkeley campus, vintage self-help paperbacks stuffed in his pockets.

                                                                                                                                                                                            When it came time to record, he opted to play nearly every instrument himself. ‘Some songs are affirmations,’ he said. ‘The saddest ones I can’t remember writing, as if someone entered my mind and body in a really brutal way.’ “Suffused with an atmosphere of slow-simmering tension, No Longer traffics in understated grooves reminiscent of latter-era Nick Cave & the Bad Seeds, with Ene’s rich voice somehow sounding at once wispy and full-bodied.

                                                                                                                                                                                            ‘Flesh In The Womb,’ one of the songs to feature songwriter and Fresh & Onlys guitarist Wymond Miles, channels the lasciviousness of Serge Gainsbourg as well as the beguiling sparseness of Dean Blunt. The lyrics to ‘Housing Alcove,’ a crushing meditation on childhood trauma, reveal competing, interconnected feelings of vulnerability and ambition (a duality captured by the evocative album art). A dynamic, repeat listen, No Longer stands among the most musically arresting and emotionally contoured Bay Area solo debuts in recent memory.” —Sam Lefebvre

                                                                                                                                                                                            Various Artists

                                                                                                                                                                                            Bob Stanley Presents 76 In The Shade

                                                                                                                                                                                              “76 In The Shade” follows in the footsteps of Bob Stanley’s hugely successful comps for Ace, including “English Weather” and “The Tears Of Technology”. It suggests bright yellow sunshine, hot plastic car seats, cats lolloping on the lawn. A few tracks (Smokey Robinson, Cliff Richard, David Ruffin, Carmen McRae) act as necessary splashes of cooling water; most of them sound like it’s just too hot to move. Luckily, you don’t need to.

                                                                                                                                                                                              The months without rain and airless days and nights might not have been something out of the ordinary in the Algarve or the south of France, but it was without precedent in Britain. The Summer of 1976 has remained a benchmark for long, hot summers – there may have been scorchers since, but none have seemed quite as relentless or enervating. The country melted into a collective puddle. “76 In The Shade” probably wasn’t anyone’s real life soundtrack of the year – that could have included Bowie’s “Station To Station” and Abba’s “Greatest Hits”. Instead, Saint Etienne’s Bob Stanley has put a compilation together that sonically evokes the summer of 1976 itself, its sweet heat and almost narcotic lethargy.

                                                                                                                                                                                              Getting out of the sun, you might have sat inside with the radio on, and heard the dreamy wooziness of Liverpool Express’s ‘You Are My Love’, 10cc’s ‘I’m Mandy Fly Me’, or the Emotions’ ‘Flowers’. Or maybe you flopped out in front of the telly, where you heard an alternative summer soundtrack – the music libraries that provided the bulk of the testcard’s music gave us Simon Park’s minimal ‘Stoned Out’ and John Cameron’s deeply immersive ‘Liquid Sunshine’; the Californian jazzer Spike Janson provided the wordless vocal harmonies of ‘Walking So Free’.

                                                                                                                                                                                              “76 In The Shade” follows in the footsteps of Bob Stanley’s hugely successful comps for Ace, including “English Weather” and “The Tears Of Technology”. It suggests bright yellow sunshine, hot plastic car seats, cats lolloping on the lawn. A few tracks (Smokey Robinson, Cliff Richard, David Ruffin, Carmen McRae) act as necessary splashes of cooling water; most of them sound like it’s just too hot to move. Luckily, you don’t need to.

                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                              2xLtd LP Info: 180g pressing, with deluxe heavy-duty gatefold sleeve, that features a bonus track!

                                                                                                                                                                                              On the Corner goes beyond being a record label. It is a story of innovative artists from hotbeds of ancient-future* music across the globe. This ‘Door to the Cosmos’ compilation is the 10th full release (and an eclectic array of 20 EPs). OtCs rawkus sonic explorations are brought to the fore via 24 tracks making a heady blend of label mainstays and fresh family recruits. The label is an inimitable mixture of Miles Davis’ ‘call it what you want’ attitude, the afro centric futurism of Sun Ra and the evolving electronic frontier where black music kicks it to the dance floor.

                                                                                                                                                                                              ‘Door to the Cosmos’ expresses On the Corner’s adventure; future sounds referencing the source, be it Detroit, UK bass culture, New Orleans or the Niger delta. The title riffs off of the otherworldly, afro futurist jazzer Sun Ra’s infamous chant ‘dare to knock at the door to the cosmos’. Sun Ra’s sound and narrative bending inspires us to kick at the rules and push at the infinite, the ecstatic and the unknown through music by knock, knock, knocking at the door to the cosmos. The compilation is the first outing for a new raft of artists who are celebrated by the label and welcomed to a creative space brimming with the tales of unsung pioneers of the past and champion sonic explorers of the future.

                                                                                                                                                                                              Star Creature's first official compilation featuring unreleased tracks and new mixes by label fav's E. Live, Giovanni Damico, Shiro Schwarz, Ourra, Saucy Lady, Proh Mic, Amalia and Kutcorners...

                                                                                                                                                                                              Star Creature is the no. 1 international label for new boogie and modern funk. No other camp has represented the sound so strongly and authentically in present times. Finding a natural habitat across the digital airwaves of many a Manchester radio show, and soundtracking a fair share of its nightlife too (check the whole Wet Play / Full Beam / Red Laser Disco gamut for proof...), it continues the long standing tradition of US dance music going down a storm in the north west of England!

                                                                                                                                                                                              Star Creature have lavishly dished out seven new tracks for our dancing feet, and at remarkably good value too. They could have just as easily reissued five of their now-sold-out 7" across one disc and charged us twenty quid for it. Instead we get a jam packed 12" with ALL NEW material and featuring a different artist on each track, and for less than the price of two cocktails in the Northern Quarter. Star Creature we love you! 


                                                                                                                                                                                              Various Artists

                                                                                                                                                                                              How The River Ganges Flows: Sublime Masterpieces Of Indian Violin, 1933-1952

                                                                                                                                                                                                How The River Ganges Flows is a transcendent collection of Carnatic violin performances captured on 78 rpm disc between 1933 and 1952. Most of these sublime recordings have not been heard since they were first etched in shellac decades ago. These melodies are ethereal and transporting: meditative. The rhythms undulate from despair to ecstasy, often within the same phrase. Remastered from the collection of Christopher King along with a set of deep notes, this music is unlike anything you’ve ever experienced.

                                                                                                                                                                                                Can you believe it's five years since Invisible, Inc. started releasing records?! Run by GK Machine, the label's been pivotal at unearthering lost, digital-only tracks from cult underground artists and re-issueing them on vinyl; alongside a plethora of incredibly strong new music from the current underground, often by artists with very little profile. Who knew such a formula would proove so popular (we did! - ed) but five years on and the label is a mainstay here at Piccadilly Records as well many other establishments who embrace the 'wierd shit' catagory with open arms.

                                                                                                                                                                                                Focussing on artists who provided much of his favourite music of last year; for the fifth anniversary of the label GK Machine has enlisted people like Anatolian Weapons, Youkounkoun, Puma & The Dolphin, Golden Bug & In Fields and TCB, alongside acts that have been the backbone of the label from the beginning: Sordid Sound System, Secret Circuit and Double Discone. It's a brilliant snapshot of this truly great label five years into fruition and still as vital as when it was first conceived.

                                                                                                                                                                                                For newcomers, expect immersing dips into modern kraut, voodoo percussion workouts, digital sonic shamanism and technicoloured, over-flowing Balearica. It's a magical listen, captivating and transportative in equal measure and probably one of the strongest releases we've got in this week! 


                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                says: Sick label this; celebrating five years of ingenuity and passion. A great snapshot of what they're about and featuring pretty much the whole roster of artists. Nice.

                                                                                                                                                                                                Doves

                                                                                                                                                                                                The Universal Want

                                                                                                                                                                                                  In a tumultuous 2020, the re-emergence of Doves with new music has provided a shaft of light in an otherwise brooding sky, finally landing their fifth album, The Universal Want, after an eleven-year artistic break.

                                                                                                                                                                                                  The equally ecstatic and relieved response from fans and critics to the first track to emerge, Carousels, during the final, confusing throws of the UK and Europe’s strict COVID-19 lockdown in June, proved how desperately their idiosyncratic sense of euphoric melancholy was, and is, needed. Catching many off-guard, Doves unleashed a track of unfathomable depth, unfurling rich and unpredictable pockets of sound, twisted round a sample of the great Tony Allen at his very best.

                                                                                                                                                                                                  “This place is wild at heart and weird on top, you just couldn’t make it up,” said Jimi Goodwin, surveying the world through his window while a global pandemic was taking root in late-March 2020. Paraphrasing Laura Dern’s character, Lula Pace Fortune in the 1990, David Lynch film Wild At Heart, Goodwin hits on the Lynchian-obsessions shared by all three Doves. Himself, Andy (drums/vocals) and Jez Williams (guitars/programming/vocals) would often find themselves hosting impromptu post-rave, home screenings in the early 1990s.

                                                                                                                                                                                                  By quoting the film, the lead singer and bassist of the twice Mercury-nominated band also, accidentally, expresses what everyone else was feeling at the time of disorientation, fear and hope. Doves have a longstanding habit of doing just that.

                                                                                                                                                                                                  First emerging in 1998 with the release of their debut, vinyl-only Cedar EP, Doves’ first album, Lost Souls (2000), received both press and award-panel praise, before Number One follow-up, The Last Broadcast (2002) provided the trio with a major breakthrough, offering with the hit singles, There Goes The Fear and Pounding. Straight-to-Number One follow up, Some Cities (2005) and the difficult birth of the much-loved Kingdom of Rust (2009) appeared to complete a perfect legacy if the hiatus the band called in 2010 lasted longer than anyone hoped. It certainly lasted longer than the band had expected. “It’s bizarre how quickly life just passes,” says Goodwin, reflecting on the years that turned into a decade.

                                                                                                                                                                                                  The story of The Universal Want, the title itself and other tracks such as Prisoners giving an impression of the band’s disdain towards the consumerist illusion, starts in a rented house in England’s Peak District during secret, unintended writing sessions in 2017. Joining the dots, band historians note that it came a full year before announcing their live return and 18 months before they appeared together publicly. That they were a creative force once more was a near impossible secret to keep, as they worked between studios in the North West and the Midlands.

                                                                                                                                                                                                  Andy Williams describes the excitement of the sessions, saying: “There were times when we felt an indescribable buzz. It was a breeze compared to ‘Kingdom Of Rust’, with one of the nicest things being just hanging out. We were never that far apart; I’d call Jimi every month. We’re too closely tied to have lost contact; I’d miss them.”

                                                                                                                                                                                                  Refusing once more to fall into predictable, guitar-bass-drums, ‘plug in and play’ dynamics, The Universal Want’s overwhelming sense of intrigue owes everything to Doves’ three decades experience at the wheel of their band (a lifespan going back to their time as dance band, Sub Sub), and an autobiographical trip through the sounds of their own lives. From seaside amusements (Carousels) and the remembered heat of acid house (Universal Want) to the aimless summer days of youth (Forest House), each song sets a new reel running to show fragments of their lives and, in turn, those of their listeners. Shadows of Bowie, rare 70’s soul, Detroit House and Afrobeat are cast subtly across the shapeshifting album.

                                                                                                                                                                                                  Cycle Of Hurt’s, disembodied mantra of ‘it’s a trap’, finds the band once more concerned with finding freedom in a cynical, aspirational age. A band that respects creativity itself, allowing the process to meander, it wasn’t, and isn’t their intention to write a manifesto rallying against vapid consumer culture. “When it comes to themes,” says Jez “we always find a very collaborative way forward. It’s all quite subconscious. It’s only when you look back that you can see the threads linking the songs.” 


                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                  says: It's been plenty long enough since a new Doves album, and this one on the venerable Heavenly hits all of the high notes we'd expect. Superb melodies, brilliant songwriting and a crystal clear narrative throughout. It's a brilliant return after ELEVEN years, and one we've been sorely needing.

                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                  Coloured LP Info: Indie stores exclusive white coloured vinyl, gatefold sleeve, printed inners and download card.

                                                                                                                                                                                                  LP Info: Heavyweight black vinyl, gatefold sleeve, printed inners, download card.

                                                                                                                                                                                                  CD Info: Minpack, 16 page booklet.

                                                                                                                                                                                                  Ltd Box Set Info: Lenticular Cover of album artwork on box.
                                                                                                                                                                                                  Ex Picture Disc LP
                                                                                                                                                                                                  Cassette (limited to box set only)
                                                                                                                                                                                                  High quality 12 x 12 prints (art)
                                                                                                                                                                                                  Digital Download Code
                                                                                                                                                                                                  Numbered Limited Edition
                                                                                                                                                                                                  Set of 5 postcard prints using album/single artwork
                                                                                                                                                                                                  Remix LP - 12” LP featuring two Doves Remixes (A/B)

                                                                                                                                                                                                  FREE SHIPPING This item has FREE UK shipping!

                                                                                                                                                                                                  The Flaming Lips

                                                                                                                                                                                                  American Head

                                                                                                                                                                                                    American Legends The Flaming Lips announce the release of their 21st studio album, American Head via Bella Union. The album is comprised of thirteen new cinematic tracks, produced by longtime collaborator Dave Fridmann and The Lips. Among them, “God and the Policeman” featuring backing vocals from country superstar Kasey Musgraves. American Head takes on a welcome temporal shift that occupies a similar space to that of The Soft Bulletin or Yoshimi Battles The Pink Robots and just may be their most beautiful and consistent work to date

                                                                                                                                                                                                    American Head finds The Flaming Lips basking in more reflective lyrical places as Wayne Coyne explains in a longer form story titled “We’re An American Band.”

                                                                                                                                                                                                    Excerpt below:
                                                                                                                                                                                                    “The Flaming Lips are from Oklahoma. We never thought of ourselves as an AMERICAN band. I know growing up (when I was like 6 or 7 years old) in Oklahoma I was never influenced by, or was very aware of any musicians from Oklahoma. We mostly listened to the Beatles and my mother loved Tom Jones (this is in the 60’s)... it wasn’t till I was about 10 or 11 that my older brothers would know a few of the local musician dudes.

                                                                                                                                                                                                    So... for most of our musical life (as The Flaming Lips starting in 1983) we’ve kind of thought of ourselves as coming from ‘Earth’... not really caring WHERE we were actually from. So for the first time in our musical life we began to think of ourselves as ‘AN AMERICAN BAND’… telling ourselves that it would be our identity for our next creative adventure. We had become a 7-piece ensemble and were beginning to feel more and more of a kinship with groups that have a lot of members in them. We started to think of classic American bands like The Grateful Dead and Parliament-Funkadelic and how maybe we could embrace this new vibe.

                                                                                                                                                                                                    The music and songs that make up the AMERICAN HEAD album are based in a feeling. A feeling that, I think, can only be expressed through music and songs. We were, while creating it, trying to NOT hear it as sounds... but to feel it. Mother’s sacrifice, Father’s intensity, Brother’s insanity, Sister’s rebellion...I can’t quite put it into words.

                                                                                                                                                                                                    Something switches and others (your brothers and sisters and mother and father...your pets) start to become more important to you…in the beginning there is only you... and your desires are all that you can care about...but... something switches.. I think all of these songs are about this little switch.”




                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                    says: Well, well well.. a new Flaming Lips album. If things were getting on top of you a little bit, what better way to ease the ills than by going down the rabbit hole with Coyne & crew. Perfectly times swathes of guitar and smooth-as-silk melodies, reminding us exactly why the 'Lips have a place so deep in our hearts.

                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                    2xColoured LP Info: 2 x 180g heavyweight tri-colour vinyl.

                                                                                                                                                                                                    2xColoured LP includes MP3 Download Code.

                                                                                                                                                                                                    Everything Everything

                                                                                                                                                                                                    Re-Animator

                                                                                                                                                                                                      The band’s approach to ‘Re-Animator’ was to streamline the creative process by focusing on harmonies and melodies over synths and programming.

                                                                                                                                                                                                      Inspiration came thick and fast: wonderment at the wider world despite the horror of its politics; existentialism and the prolonged, if fading, youthfulness of being in a touring band; and the ominous threat of climate change.

                                                                                                                                                                                                      All things which contribute to a sense of one door closing while another awaits.

                                                                                                                                                                                                      Extensive reading shaped such ideas further, especially regarding frontman Jonathan Higgs’ fascination with the eminent psychologist Julian Jaynes’ theory of the bicameral mind.

                                                                                                                                                                                                      It argues that early in human evolution, the two sides of the brain were next to each other but functioned independently. In essence one side would hear the other sending instructions via a disembodied voice -a zombie-like state of pre-consciousness.

                                                                                                                                                                                                      “This idea of the divided self captivated me,” said Higgs.

                                                                                                                                                                                                      “Jaynes attributes this to the origin of gods, people ascribing deity status to this voice they could hear in their head. All this blew my mind, and I started thinking of ways I could make this a central concept.

                                                                                                                                                                                                      It really touched me. So across the whole record there are millions or references to this theory – to having a split brain, two selves, hearing voices.”

                                                                                                                                                                                                      Fittingly, the album also emerged in two stages. A year of writing and demoing was followed by two weeks recording at RAK last December with producer John Congleton (St. Vincent, Sharon Van Etten, David Byrne).

                                                                                                                                                                                                      He complemented the band’s back-to-basics nature by encouraging them to record quickly and decisively. It’s a looser, less cluttered sound that heightens their focus on the fundamentals of songwriting.

                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                      says: Everything Everything have always produced album bang in tune with the time of their conception, and this newest one definitely keeps the tradition alive. We get the classic Everything sound but imbued with even more synths and production snippets in keeping with todays modern musical landscape. A heady and enthralling listen, and one that keeps them as listenable and relevant as ever.

                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                      Coloured LP Info: Milky white coloured vinyl.

                                                                                                                                                                                                      Consisting of saxophonist Jordan Smart, pianist Nick Smart and drummer and tabla player Jesse Barrett, the trio have forged a growing reputation for their hypnotic fusion of jazz and electronica and have recieved glowing recommendations from the likes of The Guardian and Gilles Peterson. Drawing on their love of electronic, contemporary classical, world, folk and jazz music, Mammal Hands take in influences including Pharoah Sanders,Gétachèw Mekurya, Terry Riley, Steve Reich and Sirishkumar Manji.

                                                                                                                                                                                                      Forming in Norwich in 2012, brothers Nick and Jordan along with Jesse, developed their distinctive and polished sound with their meteoric live shows and release of three critically acclaimed albums: 'Animalia' (2014), 'Floa' (2016) and 'Shadow Work (2017). Landmark live performances have included shows at The Roundhouse London, the main stage at Field Day Festival, La Cigale Paris, Montreal Jazz Festival, Hamburg Elb Jazz, Athens Technopolis and Unit Tokyo.

                                                                                                                                                                                                      Teaming up once again with trusted producer George Atkins (Wiley, The Courteeners) at 80 Hertz Studios in Manchester, 'Captured Spirits' explores themes including existence and displacement. "The name has multiple readings but was first inspired by something Jordan was reading about past experiences of ancestors being caught and coded into our DNA and having an effect on who you are today. This ties in with themes that we have touched on before relative to identity and the collective unconscious ('Shadow Work'). It also toys with the idea of feeling contained/trapped and the need to break out of something and also the idea of people being spirits that are "captured" in a body", says Nick.

                                                                                                                                                                                                      Opening with the melodic rhythmic patterns of 'Ithaca', the tempo picks up with the mesmerising 'Chaser', as heavy percussion and Nick's frenetic keys draw the listener deep into Mammal Hand's distinctive soundsphere. North Indian influences dictate the meditative 'Versus Shapes' with Jesse's transcendental tabla playing taking centre stage while the dark and moody 'Spiral Stair' relies on a multitude of colliding and intersecting shapes and sounds.

                                                                                                                                                                                                      All three members of the band contribute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. "I think with this record, there was a strong and renewed sense of collective enjoyment and appreciation for the process and each other's contributions. After a long period of touring and a slow build up to the actual recording sessions we were able to mull over ideas for long periods, build on lessons from the past and pull our playing connection to an even deeper place. Realising each other's visions for the whole and clearly understanding how they intersect", says Jesse.

                                                                                                                                                                                                      That vision is also realised by longtime collaborator and artist Daniel Halsall who designed the artwork for 'Captured Spirits'. His strong instinctive feel for the band's visual world is a key component to understanding the music. "Our work with Dan over such a long period of time now has become integral to the bands aesthetic and he always seems to grasp the themes and ideas that we send for each album and distills them into something striking and engaging that really complements the music. This is really important with instrumental music, as we need to be able to convey our ideas without being too literal or definitive and give the listeners space for imagination and to take their own journey when they listen to the music and look at the artwork", says Jordan.

                                                                                                                                                                                                      Elsewhere across 'Captured Spirits', 'Riddle' and 'Rhizome' are rich in texture and heavy on groove and both compositions showcase a complex, emotional range and demonstrate three like-minded musicians with a dazzling understanding of jazz, electronica and cinematic rhythms. "Music has the capacity to fill so many spaces in our lives, as I think fundamentally it is a more direct form of communication than even language. In this way it can be refuge, it can be social, it can be revelatory, it can be memory, it can be what we need at a given point in time", says Jordan.

                                                                                                                                                                                                      The high intensity of the trio's live shows is recreated with the spiritual jazz-influenced 'Into Sparks' as Jordan's sax exhibits an unrestrained energy and freedom but it's left to 'Little One' to bring down the curtain on arguably their most accomplished album to date, a soothing, breezy gift to Jesse's new daughter.

                                                                                                                                                                                                      Gondwana Records is an independent record label founded by Matthew Halsall in 2008. The label has gone on to release music by, Allysha Joy, GoGo Penguin, Hania Rani, Matthew Halsall, Phil France, Portico Quartet and Sunda Arc.

                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                      says: You ALWAYS know what you're getting with a Gondwana release, not in style obviously but in sheer quality, there is no doubting they are one of the best around. This time sees Mammal Hands in full filmic soundtrack territory, beautifully produced and soaringly gorgeous. It's Olafur Arnalds for people who like Jazz, or Jazz for people who are wildly stoned. Stunning.

                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                      Coloured LP Info: Clear vinyl edition.

                                                                                                                                                                                                      Signed LP Info: Limited signed version on clear LP.

                                                                                                                                                                                                      PJ Harvey

                                                                                                                                                                                                      To Bring You My Love - Demos

                                                                                                                                                                                                        10 track collection of previously unreleased demos of all songs from the third studio album by PJ Harvey – To Bring You My Love – from 1995. Includes demo versions of the singles ‘Down By The Water’, ‘C’mon Billy’ and ‘Send His Love To Me’. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator John Parish. Features brand new artwork with previously unseen photos by Maria Mochnacz.

                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                        Ltd LP Info: 1LP, 180 gram black vinyl.
                                                                                                                                                                                                        Full colour outer sleeve, with printed inner sleeve.
                                                                                                                                                                                                        Artwork includes previously unseen photos.
                                                                                                                                                                                                        Download card.

                                                                                                                                                                                                        CD Info: Mini-gatefold outer sleeve.
                                                                                                                                                                                                        Printed inner sleeve.

                                                                                                                                                                                                        Marilyn Manson

                                                                                                                                                                                                        We Are Chaos

                                                                                                                                                                                                          Marilyn Manson returns with his eleventh studio album We Are Chaos via Loma Vista Recordings. Co-produced by Manson and Shooter Jennings [Brandi Carlile, Tanya Tucker], the ten-track opus was written, recorded, and finished before the global pandemic. 

                                                                                                                                                                                                          Manson’s painting, Infinite Darkness, which can be seen on the album cover, was specifically created to accompany the music. His fine art paintings continue to be shown all over the world, including gallery and museum exhibitions from Miami to Vienna to Moscow.

                                                                                                                                                                                                          Manson says of the album, “When I listen to We Are Chaos now, it seems like just yesterday or as if the world repeated itself, as it always does, making the title track and the stories seem as if we wrote them today. This was recorded to its completion without anyone hearing it until it was finished. There is most definitely a side A and side B in the traditional sense. But just like an LP, it is a flat circle and it’s up to the listener to put the last piece of the puzzle into the picture of songs.

                                                                                                                                                                                                          “This concept album is the mirror Shooter and I built for the listener - it’s the one we won’t stare into. There are so many rooms, closets, safes and drawers. But in the soul or your museum of memories, the worst are always the mirrors. Shards and slivers of ghosts haunted my hands when I wrote most of these lyrics.

                                                                                                                                                                                                          “Making this record, I had to think to myself: ‘Tame your crazy, stitch your suit. And try to pretend that you are not an animal’ but I knew that mankind is the worst of them all. Making mercy is like making murder. Tears are the human body’s largest export.”


                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                          says: It's funny isn't it, that as we mature, the artists we've known from our youth go and do the same thing. Sure, the Slipknot and Marilyn Manson and Deftones of yesteryear are still making music, but it definitely doesn't sound the same. That's definitely no bad thing, with the slowed pace and less chaotic energy of Manson's heyday replaced with a more measured and placid artistic outlook still hitting all of the emotional notes of yore, just with less NOISE.

                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                          Coloured LP Info: Limited Edition indies-only Single White Vinyl w/ 24x24 Poster

                                                                                                                                                                                                          Deluxe CD Info: Limited Edition Softpack with two bonus acoustic tracks (‘Bricks & Mortar’ Exclusive)

                                                                                                                                                                                                          Gilroy Mere

                                                                                                                                                                                                          Adlestrop

                                                                                                                                                                                                            Clay Pipe is very happy to bring you Gilroy Mere’s third record on the label, after 2017’s ever popular ’Green Line’ came the flexi-disc EP ‘Over the Tracks’ earlier this year, which hinted at things to come. Adlestrop is a full length LP inspired by the remains of the rural railway stations, that were closed in the wake of the 1963 Beeching Report.

                                                                                                                                                                                                            “This record started with Edward Thomas’s poem Adlestrop and a chance visit to the village that it takes its title from. I wanted to see the station, but found it was no longer there, all that remains is the old platform sign Adlestrop, now part of a local bus shelter. However as I walked around the village I was struck that; “all the birds of Oxfordshire and Gloucestershire” were still singing away - like ghosts from Thomas’ verse.

                                                                                                                                                                                                            Visiting Adlestrop spurred me to get hold of a copy of the Beeching Report which, in Appendix 2, lists all the services and stations recommended for closure in the 1960s. The names read like an epic British poem, from halts to branch-line stops and stations and singular terminals for public schools, mines, ferries and even an asylum. There’s Ravenscar where a resort was planned but got no further in its construction than the station, and a hotel - the grid marked out for the roads never laid. Bethesda, a short branch line from Bangor up towards Snowdonia, was used for slate and passengers and is now just a quiet green valley, Christ’s Hospital on the old Cranleigh Line, opened with seven platforms to cope with the daily flood of pupils attending the famous school nearby which never came as it was a boarding school. Many of the stations have vanished, with just fields and car parks left in their place, some are repurposed as houses, or shops, or abandoned as artefacts of a lone-gone industrial past.

                                                                                                                                                                                                            Armed with a digital recorder, and with a copy of Beechings Report as my guidebook I made notes and recordings on my travels around the country, and used them as the starting point for a set of pieces that try to capture the fading layers of history, in the areas where the stations had once stood making sure each track retains something of the real place within them. Back in my studio I reacted, improvised, and crafted musical responses to each station, trying to capture the ghosts and former lives of the stations and their imprint on the present.”

                                                                                                                                                                                                            Gilroy Mere is Oliver Cherer who trading as Dollboy, Rhododendron, and Australian Testing Labs as well as his own name has meandered his way through the backwaters of left of centre English folk, ambient and electronic music, issuing numerous albums of original music to much critical acclaim via highly regarded boutique labels such as Static Caravan, Second Language, Deep Distance, Polytechnic Youth, and Awkward Formats

                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                            says: All of the :gesticulates everywhere: chaos meant I missed out on the first pressing of this but THANKFULLY, the good folk at Clay Pipe are doing a repress, and we're getting some! If you've not heard Gilroy Mere before, you're in for a treat. Gorgous, pastoral soft-focus synth music infused with the sensibilities of rural folk and heady ambience. A gorgous and perfectly balanced mix of wonderfully applied compositional skill and warming whimsy.

                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                            Coloured LP Info: Amber vinyl - Second pressing edition

                                                                                                                                                                                                            1995 Epilepsy

                                                                                                                                                                                                            1995 Epilepsy

                                                                                                                                                                                                              Minimal info and maximum mystery on this one folks! Emerging on the World Music imprint, often home to Dean Blunt and Inga Copeland, 1995 epilepsy are here to twist minds, push boundaries and have some fun! 

                                                                                                                                                                                                              Fusing autotuned RnB sweetness, brain shredding white noise, celestial breaks and gnarly braindance the unknown ensemble / individual manage to soundtrack your very vague memories of a mid 90s pirate station whose name you've forgotten, and whose signal shifts weakly in your drug addled brain. If you're into Dean B, Lolina or Demdike this will slot neatly into your collection - you experimental bastard. 




                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                              says: Lo-fi rave experimentalism here on the Dean Blunt associated World Music imprint. The best way I can describe it is Caretaker's 'An Empty Bliss Beyond This World' for the jungle generation...

                                                                                                                                                                                                              Joanne Robertson

                                                                                                                                                                                                              Painting Stupid Girls

                                                                                                                                                                                                                After making musical waves with her 'Walhalla' LP with Dean Blunt back in 2017, fine artist Joanne Robertson takes a break from her critically lauded day job to deliver her first solo album in four years. 

                                                                                                                                                                                                                Pared back to vocals, acoustic guitar and the kind of reverb which makes you feel she's sat in your living room, "Painting Stupid Girls" wraps fragile folk-pop in the tonalities and texture of Seattle grunge and dreampop. Emotive, expressive and always led by her heartaching voice, this set should delight fans of the Dean Blunt world, as well as Mazzy Star, Drugstore and Belly devotees.




                                                                                                                                                                                                                Various Artists

                                                                                                                                                                                                                Breaking The Beats: A Personal Selection Of West London Sounds

                                                                                                                                                                                                                  At the end of the 90s, a movement began in West London that birthed a fresh direction in dance music. Though this movement never got mainstream press coverage, never had a crossover chart single, and never really transcended its community roots, there was a unique alchemy at work - a fertile moment of creativity, where a group of friends began to experiment with new cadences, rhythms and distilled influences, crafting a new direction in the attics and bedrooms of their neighbouring postcodes. Their music was a head-on collision between the sounds they had been raised on; the reggae sound system culture of Notting Hill Carnival, the sophistication and sheen of Electro-Funk, Jazz Fusion, Soulful House and Disco, the Afro-Beat sounds of Tony Allen and Fela Kuti, and the raw minimalism of early Hip Hop.

                                                                                                                                                                                                                  Though “Broken Beat” was never a tagline that the producers anticipated, and one that they often publicly resisted, those two words would gradually come to represent the scattered rhythms, rolling basslines and soaring changes that were inherent to this exciting new sound. It’s not clear who first coined the term “Broken Beat”, but try to imagine how it felt to hear it for the first time; the production was grounded in MPCs and SP1200s, the hand-me-down samplers of the Hip-Hop and Jungle golden eras, and the drums that tumbled out of these machines at the hands of these creators had a jagged, stuttering feel, almost as though the groove was close to collapse.

                                                                                                                                                                                                                  "As a music lover I was always a fan of the broken beat records that came out of west London in the late 90s/early 2000s. I preferred the jazzier soulful end of it to the harder edged drum driven, rap led bruk sound. Like Jungle & UK garage it was a very UK sound, but one that spread worldwide, be it on a very underground level. So there’s songs on here from Germany (Jazzanova and Lars Bartkuln) Japan (Jazztronik and Hajime Yoshizawa) to represent that. When putting this album together it is hard not to notice the presence of Kaidi Taitum on many of the songs, he was such an instrumental force in the evolution of the sound. ‘Breaking the Beats’ isn’t a best of broken beat album and due to some licensing issues we were unable to include every song I would have liked but I think it does give the listener a good taste of the sound."
                                                                                                                                                                                                                  - Dave Lee, 2020

                                                                                                                                                                                                                  Bill Callahan

                                                                                                                                                                                                                  Gold Record

                                                                                                                                                                                                                    For his first record in….uh, well, just a little over a year (!), Bill Callahan’s given us his first Gold Record. They can’t all be gold, and they’re not all six years apart either — all good! You could probably call the album “Gold Records,” too: all the songs have a stand-alone feel, like singles, meant for you to have a deep encounter with all of a sudden, from the start of the song to the finish. And what do you got when you have a record full of singles — and let’s face it, hit singles, at that?

                                                                                                                                                                                                                    That’s a Gold Record for you.

                                                                                                                                                                                                                    From the top, it’s clear this is music with an affection for people, as Bill immediately slips easily and deeply into his characters. Among them: a limo driver, a watcher of television, a suitor, a man in a broken-down car, a reader of books, a Ry Cooder superfan, and in the closing number, a wanderer who “notices when people notice things”. The voices of the people, with their ups and downs, their loss and laughter. You can feel the love.

                                                                                                                                                                                                                    For Bill, preparing to tour for Shepherd In a Sheepskin Vest meant considering being away from home for long stretches of time — maybe up to a year, who knew? Feeling his oats, Bill pulled out a few sketches from over the years and touched them up. Before he knew it, he was recording them, and in the shuffle, newer songs started popping up.

                                                                                                                                                                                                                    It happened fast. Basics were recorded live with Matt Kinsey playing guitars, guitars, guitars and Jaime Zurverza holding it down “and then letting it go” on bass. Drums and horns were brought in for a couple songs. Spirits were high! Six out of the ten were done first take; overdubs, when needed, came equally quickly. Listening, one hears their intuitive cohesion coming together richly behind Bill’s titanic voice spread across the stereo spectrum: the gentle conversation of Bill and Matt’s guitars, the subtle percussion of the bass and drums, and odd appearances of trumpet, woodwind and synth, striking notes both decorous and discordant, sounding for all the world like the naturally occurring sound meant to accompany and express lives lived everywhere.

                                                                                                                                                                                                                    These are in fact songs meant for other people to sing — but until they do, Bill’s got this. He’s got a secret on this one, and before we go, we don’t mind sharing it with you: he’s figured out how to perfectly place his voice in proximity to your ear. It’s based on the distance from your heart to your brain. Simple! Why don’t more people think like this?

                                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                                    says: It would appear that Mr. Callahan is entering a super productive time in his life, with not one but two records out in the short space of a year. This follows on from 'Sheepskin..' in many ways, with the more languid, minimal moments echoing those from the gorgeous 2019 outing, but with a little more focus on Callahan's (still) spellbinding vocal drawl. Beautiful stuff.

                                                                                                                                                                                                                    Andrew Wasylyk

                                                                                                                                                                                                                    Fugitive Light And Themes Of Consolation

                                                                                                                                                                                                                      Fugitive Light And Themes Of Consolation is the third in a trio of records by Andrew Wasylyk which unearth and reshape the landscape of Eastern Scotland as shimmering and inventive instrumental music. Where Themes for Buildings and Spaces (2017) toured the architecture and industry of Dundee, evoking a place caught between decay and regrowth, the Scottish Album of the Year Award shortlisted The Paralian (2019) explored the littoral exchanges between sea and shore on the North Sea coastline.

                                                                                                                                                                                                                      Fugitive Light And Themes Of Consolation carries a trace of this arc on a return upriver, drifting back inland along the River Tay's inner estuary: a record of the low light on winter fields, empty suburban streets at dawn, the deep clear waters of the quarry excavated to build the city. Ten songs circling landscapes for meaning, channelling half-heard melodies and misremembered memories; caught somewhere between settling down and setting out towards the shining levels of the estuary and beyond.

                                                                                                                                                                                                                      The record is threaded with the influences of people, place and musical lineages – David Axelrod, John Barry, Virginia Astley, Mark Hollis, Alice Coltrane – yet as with all of Andrew's solo work it has a deft, clear voice all of its own. Recorded between Summer 2019 and January 2020, Fugitive Light… displays his talent as a multi-instrumentalist and composer: all hushed drum grooves, rolling waves of plucked acoustic guitar, cascading upright piano, Bob James-inspired Fender Rhodes, rippling clàrsach harp, and ECM-worthy electric guitar motifs. As on The Paralian, string arrangements are by fellow Tayside musician Pete Harvey, known for his work with King Creosote, Modern Studies and The National Theatre of Scotland.

                                                                                                                                                                                                                      This is a record scored through with patterns of light: the song titles evoke last sunbeams, the fugitive light of water, the violet hour of autumn, cemetery silhouettes, and the half-light of the moon; the arrangements aglow with subtle shifts of texture and refractions of melody. Fugitive Light… is an atmospheric (in both the sonic and elemental sense) evocation of the ebb of the world, something that Andrew describes as, "simultaneously about knowing loss and accepting love, the optimistic and the downhearted, where the lightness and dark gather together." 

                                                                                                                                                                                                                      Andrew has a knack for writing melodies that seem at once timeless yet entirely individual: emerging somewhere between spiritual jazz, neo-classical and library music, diffracted by the blues and greys of the wide Tay firth. The instrumentation has a soft-focus glow of its own: piano keys gently pressed, the metronomic click of analogue drum machines, the well and wash of strings and brass, a singing saw whirring into the heavens. Fugitive Light And Themes Of Consolation is another Wasylyk song-cycle wonder; a wander through glimmering internal and external landscapes.

                                                                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                                                                      says: There are few records that united the staff like Andrew's 2019 outing, 'The Paralian', eventually hitting no. 3 in our overall end of year chart. 'Fugitive Themes..' is every bit the follow-up, perfectly balancing the gorgeous plaintive Scottish countryside balladry we got from the previous LP, but imbued with an uneasy melancholy, reflective no doubt of the troubling social and political issues of our time. An absolutely stunning follow-up, and a definite shoo-in for my end of year list.

                                                                                                                                                                                                                      Tricky

                                                                                                                                                                                                                      Fall To Pieces

                                                                                                                                                                                                                        "Fall To Pieces" was recorded in Tricky’s Berlin studio in late 2019. Tricky is keen to point out that the tracks on the record can be deceptive; often short, ending abruptly and moving on to the next without warning. Although instrumentation varies from bursts of tense synths, distorted dial tones, and samples, the song’s lyrics can be dark and dense. Tricky’s music has always enlisted female vocalists to carry his ideas: the majority of tracks on Fall To Pieces, including ‘Fall Please’ rely on Marta Zlakowska, the singer he discovered during a european tour when he was left without a vocalist on the opening night. She saved the tour from disaster. “I can tell when someone is humble and down to earth,” says Tricky. “Marta doesn't care about being famous, she just wants to sing.” 


                                                                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                                                                        says: Tricky has been at the forefront of out downbeat landscape for some years now, and 'Fall To Pieces' sees him in fine form, moving from bass-rich grooving dancefloor material to more abstract, classic trip-hop territory. It's a wonderful and mature record, and goes to show why Tricky is still one of the top names in electronic music.

                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                        Coloured LP Info: Indies exclusive red coloured vinyl.

                                                                                                                                                                                                                        Throwing Muses

                                                                                                                                                                                                                        Sun Racket

                                                                                                                                                                                                                          ‘Sun Racket’ is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos. When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “It sounded beautiful jumping around like that”.

                                                                                                                                                                                                                          Two-minute songs reappearing as twisted instrumentals or another song’s bridge. They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. ‘Sun Racket’ is the opposite. It refused to do anything but sit still. It says, “sit here and deal”. “All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more” - Kristin Hersh And so, they continue. Business unusual.

                                                                                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                                                                                          says: Throwing Muses bring us their newest selection of gritty, fuzzed-out rock and / or roll, classic rock tinged melodies and deep, bluesy grooves. It's an intoxicating and exciting mix, and one that hasn't tempered any over time.

                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                          Coloured LP Info: Limited edition violet vinyl in die-cut sleeve.

                                                                                                                                                                                                                          Richard Norris

                                                                                                                                                                                                                          Elements

                                                                                                                                                                                                                            Hypnotic sequences, majestic drones and deep listening ambience collide on a new album from Richard Norris entitled ‘Elements’.

                                                                                                                                                                                                                            The five long tracks use warm, pulsing electronics and washes of synthesiser to create an evocative and widescreen sound.

                                                                                                                                                                                                                            Electronic Sound magazine called Richard “the electronic musician’s electronic musician’, whilst Time Out New York referred to him as an ‘unhinged sonic magician’ He has a deep and broad history spanning decades of electronic culture, which serves him well on ‘Elements’.

                                                                                                                                                                                                                            His background includes working alongside Soft Cell’s Dave Ball in the Grid, alongside Erol Alkan in Beyond The Wizards Sleeve, and collaborating and mixing countless artists including Brian Eno, Sun Ra, Robert Fripp, Warpaint, Tame Impala, Joe Strummer, Yello and many more. He has also recently released two deep listening ambient albums entitled ‘Abstractions’ on the Group Mind label, as well as a series of weekly 20 minute pieces called ‘Music For Healing’ during lockdown.


                                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                                            says: Now THIS is exactly up my street. Slowly morphing arpeggios and modulated filters work their way around a solid rhythmic backbone, bringing to mind some of the early pioneers of Kosmische synthesis, or more recently, Panabrite. Beautiful.

                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                            Dinked Edition LP Info: • Exclusive picture disc.
                                                                                                                                                                                                                            • Gatefold sleeve.
                                                                                                                                                                                                                            • Hand Numbered.
                                                                                                                                                                                                                            • Limited to 300 copies.
                                                                                                                                                                                                                            • Custom Dinked sticker.

                                                                                                                                                                                                                            LP Info: Black vinyl edition.

                                                                                                                                                                                                                            Emily Barker

                                                                                                                                                                                                                            A Dark Murmuration Of Words

                                                                                                                                                                                                                              Dark Murmuration of Words contends with a modern era built on racial and gender inequality, poverty and slavery, environmental exploitation and the climate crisis, finding them all connected by the dark shadow of patriarchy, pursuits of power, and the suppression of history. “Finding meaning becomes challenging with the deafening clamour of social media in this age of fake news,” she says, “but it’s important to try discerning the patterns, learning to pay attention to things closer to home as well as to overwhelming global issues.” Referencing Emily Dickinson’s assertion that “If you take care of the small things, the big things take care of themselves,” Barker draws connections between the familial, the local, and the global: a mother sings to her unborn child, asking for its forgiveness on “Strange Weather”, “Where Have The Sparrows Gone?” looks outside an apartment window and imagines a post-apocalyptic birdless London, and a monument to a Confederate general comes alive for a “how-I-got-away-with-it” confession on “Machine.” Throughout A Dark Murmuration of Words, all of our choices, our unspoken prejudices, our carelessness, connect us to the whole, but becoming aware and honest on a local, personal scale, can begin to effect change, allow for healing, and tease out beauty from chaos. “Like the starlings in a murmuration, where the movement of each individual bird is related to just seven of its closest neighbours,” Emily Barker says, “none of us are aware of the fluctuating shapes being created by the flock.”

                                                                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                                                                              says: Emily Barker is exactly what we need nowadays, a wash of politically charged lyricism, but enclosed within a calming, serene shell. Brittle guitars and Barker's strong but smooth vocals coalesce into a soaring and meditative whole.

                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Coloured LP Info: Indies exclusive white vinyl.

                                                                                                                                                                                                                              Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                              Deluxe CD Info: Deluxe CD is beautifully packaged with a 24 page booklet.

                                                                                                                                                                                                                              All Them Witches

                                                                                                                                                                                                                              Nothing As The Ideal

                                                                                                                                                                                                                                All Them Witches will return with Nothing as the Ideal on September 4th, 2020 via New West Records. The 8-song set was recorded at Abbey Road Studios in the legendary Studio Two (home to landmark recordings by The Beatles, Pink Floyd, and more). It was produced by the band and Mikey Allred (producer of their 2015 New West debut Dying Surfer Meets His Maker).

                                                                                                                                                                                                                                Nothing as the Ideal is the follow up to All Them Witches’ acclaimed 2018 ATW LP and last year’s standalone single “1X1.” Unremittingly forward-looking, the new album is their most experimental work to date. Tape loops coincide with unplugged minimalism. It’s their heaviest album marked by their broadest atmospheres, intimate and pummeling. Nothing as the Ideal is also their first full length album as a paired down trio, their smallest iteration as a band.

                                                                                                                                                                                                                                Nothing as the Ideal might forever be known as “the album All Them Witches made at Abbey Road.” Fair enough. You don’t record in a legendary studio surrounded by mics The Beatles used, sitting on the bench where John Lennon tracked the acoustic guitar for “A Day In The Life” without acknowledging that history. There’s no getting away from it. Where the album triumphs, however, is in making that space and that history the band’s own. All Them Witches not only did justice to the moment they were capturing — the sheer adventure of being there, doing that thing — but answered the call of their inspiration as they always do. They succeeded in crafting a defining moment for who they are as a band, with each player’s personality coming together to create a fluidity that is unique unto them. 

                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                Coloured LP Info: Clear vinyl.

                                                                                                                                                                                                                                MFM048 sees the release of a special collaboration between two unique voices within the ambient landscape, Suso Sáiz & Suzanne Kraft (SK U KNO), with their collective debut album ‘Between No Things’.

                                                                                                                                                                                                                                Whilst having first connected at a Gaussian Curve release show in Amsterdam back in 2017, in which both musicians also performed, the two really got to know each other during a three day recording session that followed immediately after; “We would have good chats and laugh setting up and in between long takes but, for the most part, we almost didn't talk when recording.” An instant apparent chemistry between both was present and which, via effortless experimental jams, resulted in over 30 hours of raw material that would sit silently untouched until the tracks were slowly narrowed down to a potential album in late 2018.

                                                                                                                                                                                                                                Treated with overdubs and edits by the duo at Suso's studio in Madrid in 2019, the album slowly began to take on it’s final form. It would eventually be completed when Suso sent one final piece, resulting in something of a remote jam session between the two, which would become the closer of the record as well as the title song. Fully improvised, ‘Between No Things’ is an honest musical reflection of a new friendship between two kindred musical spirits, in its purest form.

                                                                                                                                                                                                                                Hurts

                                                                                                                                                                                                                                Faith

                                                                                                                                                                                                                                  Formed in Manchester over a decade ago, Hurts are an electronic pop band featuring vocalist Theo Hutchcraft and multi instrumentalist and producer Adam Anderson. Known for their striking and stylish videos, Hurts make epic, dramatic pop music that takes inspiration from a finely curated mix of influences including '70s Krautrock, '80s new wave, and '90s R&B. 
                                                                                                                                                                                                                                  Arrving on the scene with a studied appreciation of La Dolce Vita, a naif interpretation of 90s holiday pop and a snare sound craftily adapted from the sole of a very expensive shoe hitting a largely ordinary floor, Hurts made a big impression, and their subsequent chart success is testament to a longevity their contemporaries lacked. This new album, packed with stadium pop songs, punchy productions and radio friendly tracks sees the duo once again flaunt an uncanny ability to translate intellectual and emotive subjects into something accessible enough to make it into a particularly dramatic scene in Hollyoaks (or whatever people young enough to be relevant watch).

                                                                                                                                                                                                                                  Grant-Lee Phillips

                                                                                                                                                                                                                                  Lightning, Show Us Your Stuff

                                                                                                                                                                                                                                    His tenth solo release bears the markings of his prolific output, a melodic prowess and an ear for lyric in everyday conversation. The album is grown from the same rich soil that Phillip’s long career, from Grant Lee Buffalo to his solo work has sprang from.

                                                                                                                                                                                                                                    The result is a beautifully human musical tapestry. The warm, live on the floor, instrumental bed is the perfect support for Phillips’ inimitable voice. This spontaneous approach has become a tradition among his solo works. This record is supported by peerless drummer, Jay Bellerose (whose many credits include Raising Sand by Alison Krauss and Robert Plant) and bassist Jennifer Condos (heard on Bruce Springsteen’s Ghost of Tom Joad and other classics).

                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                    LP Info: LP Plus bonus red 7".

                                                                                                                                                                                                                                    Sophie Hunger

                                                                                                                                                                                                                                    Halluzinationen

                                                                                                                                                                                                                                      Berlin-based, Swiss singer, multi-instrumentalist and film composer Sophie Hunger will release her seventh studio album - her first in two years - ‘Halluzinationen’ on August 28, 2020 via Caroline International. The album - recorded at Abbey Road Studios in live continuous takes - is produced by MPG UK Producer Of The Year, Speedy Wunderground’s Dan Carey (Kate Tempest, Fontaines DC), also at the helm for 2018’s ‘Molecules’ which featured 6Music play-listed single ‘I Opened A Bar’.

                                                                                                                                                                                                                                      ‘Halluzinationen’ arrives bearing an emphatic German title, as Hunger - still resident in Berlin’s Kreuzberg neighbourhood - picks at the creative dependency between loneliness and the imagination. Electing this time around to decamp from Carey’s Speedy Wunderground studio in South London to the august surrounds of Abbey Road’s Studio 2, ‘Halluzinationen’ is suffused with the nervous energy of its continuous live recording technique, with the album captured in sequence just six times over the course of two days. It’s an approach Hunger succinctly identifies as ‘Full risk’.

                                                                                                                                                                                                                                      Sophie Hunger’s six solo albums to date have accrued over a quarter of a million sales, drawing her comparisons to contemporaries including Sharon Van Etten and PJ Harvey, with fans as wide-ranging as Lauren Laverne (who says of Sophie ‘I love this woman’), Steven Wilson (who tapped Hunger to guest on his UK Top 3 album ‘To The Bone’) and unlikely enough, footballing legend Eric Cantona (a long-standing fan of Sophie’s who guested to intone in French on ‘Supermoon’). Sophie made her debut at Glastonbury in 2010 as the first Swiss artist to ever play the festival (since selling out 1,000 capacity venues with ease on the continent), and 2016 saw Hunger also make her - very successful - first outing in film scoring, with her soundtrack for the Oscar & Golden Globe-nominated Ma Vie de Courgette earning her a Cesar nomination to boot.


                                                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                                                      Coloured LP Info: 12” Heavyweight Transparent ‘Smokey’ Vinyl.
                                                                                                                                                                                                                                      60x60 poster.

                                                                                                                                                                                                                                      LP Info: 12” Heavyweight Black Vinyl.

                                                                                                                                                                                                                                      Declan McKenna

                                                                                                                                                                                                                                      Zeros

                                                                                                                                                                                                                                        On Columbia Records - Eagerly anticipated sophomore release from 21 yr old singer-songwriter Declan McKenna.

                                                                                                                                                                                                                                        The 10 song follow up to 2017's "What Do You Think About The Car?", includes the hit singles "Beautiful Faces", The Key To Life On Earth", "Daniel, You're Still A Child" & latest single "Be An Astronaut".

                                                                                                                                                                                                                                        Deafkids & Petbrick

                                                                                                                                                                                                                                        Deafbrick

                                                                                                                                                                                                                                          The new decade is only a few months old, and already the only certainty is that certainties have ceased to exist. Yet as we traverse through new and intimidating terrain unfamiliar a short while ago, two collaborators have come together to unwittingly create a record curiously suited to an intimidating and unpredictable new era. ‘Deafbrick’, the multiplication sum of Säo Paulo’s sonic warriors Deafkids and London’s pulverising duo Petbrick is a veritable force against adversity, and less a polite meeting of minds than a fiery collision whose impact and incandescence extend beyond the horizon. The project first came to light by way of a collaboration at Roadburn Festival, which in itself was the result of the friendship between Deafkids and Petbrick’s Iggor Cavalera (also of Sepultura /Soulwax/ Cavalera Conspiracy) who had met the band in Brazil, “We had so much fun doing the collab and there was a real chemistry between the five of us, so it seemed like a natural progression to actually get into a studio together and write a record.” – reckons Petbrick’s Wayne Adams (also of Big Lad/ Death Pedals).

                                                                                                                                                                                                                                          The results run the gamut through a litany of uniformly invigorating audial landscape – this is an arena where Deafkids’ appetite for lysergic punk-damaged tumult and Petbrick’s ventures into dystopian synth-driven soundscapes can happily engage in gladiatorial contest. From the unearthly percussive clangour of ‘Hyperkinetic Mass Disordert’ to the DHR-addled chaos of the paint-stripping ‘Mega Ritual’, every second of ‘Deafbrick’ is infused with malevolent charisma and iconoclastic élan. Yet perhaps the ultimate destructive moment of this particular demolition derby comes via a thrillingly monomaniacal take on Discharge’s ‘Free Speech For The Dumb. Not that it necessarily met the approval of Discharge themselves, who make a cameo appearance on the song’s outro. “I asked them to record some quotes saying how much they hated our version” laughs Iggor. “One of them even said that Metallica did a better job. That really freaked me out!” Metallica, it’s fair to say objectively, do not do a better job.

                                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                                          Coloured LP Info: Red & Black splatter LP.

                                                                                                                                                                                                                                          Daniel O'Sullivan

                                                                                                                                                                                                                                          The Colour Of Entropy (In Three Stages)

                                                                                                                                                                                                                                            The Colour of Entropy (In Three Stages) is a collaboration between Belgium's Sleeperhold Publications and multi- instrumentalist  /  composer Daniel O’Sullivan (DOS) with imagery by French artist Felicia Atkinson. The title of this release might not unreasonably suggest decay and decomposition. The first few bars of Entropy instantly dispel any such forebodings. You find yourself, instead, transported to some ineffably gorgeous but nevertheless very earthly paradise. Entropy is over fourteen-minutes long, staged in three parts and, as anyone who knows and loves Daniel O’Sullivan will tell you, he is nothing if not mercurial.

                                                                                                                                                                                                                                            Daniel O’Sullivan has achieved international acclaim writing, recording and performing with Grumbling Fur, Ulver, Sunn O))), Guapo, Miracle, Æthenor and the recent reincarnation of This Heat in the form of This Is Not This Heat. As for his solo work, DOS seems to mature with every recording he puts out. The Colour of Entropy (In Three Stages) features one lengthy suite broken down into three parts which meticulously melt into one other. Every section has its own character, taking us on a voyage of majestic beauty and uniquely ornamented melancholy. With an all-star cast of musicians DOS creates a auditive spectacle with an enduring lyrical poise and an elegant palette of sounds.

                                                                                                                                                                                                                                            Felicia Atkinson’s colourful drawings adorn Entropy’s sleeve and one side of the wax. (All three tracks are featured on the record's A-side.) The experimental French musician, poet, and visual artist reacted in beautiful contrast to the musical output of DOS. Scrawls of colour, not quite figurative but highly suggestive messages of inner space. DOS’ music and Atkinson’s artworks, share a common ground. Views of the natural world through a lens that invokes almost alien qualities. Raising their little families while investigating a series of landscapes, both internal and external.

                                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                                            Ltd LP Info: Single-sided / Felicia Atkinson Etching on the B-side.

                                                                                                                                                                                                                                            Dylan Henner

                                                                                                                                                                                                                                            The Invention Of The Human

                                                                                                                                                                                                                                            "The Invention of The Human" is designed as a response to the question "what makes us human?" The question has become increasingly important in this period of history, in that many of the answers aren't good enough. "Civilisation" could be one answer; but what good is civilization where there is so much misery within it? "Progress" could be another; but what good is progress without kindness and empathy to sustain it? Taking the thought of man's relationship with technology as a measure of humanity, I asked the computer "what do you think a human sounds like?", and with that I built this album of synthesised vocals, wondering if technological development can help explain what we are."


                                                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                                                            says: For all those dum dums (myself included) who couldnae make head nor tails of Dylan's foreword, this is an exceptional exploration of ambient textures and minimalist repetition built out of computer generated voices, dsp and synthesis. Kinda freeform Fairlight escapism for fans of Oneohtrix, Suzanne Kraft, Eno or Laurie Anderson. Bonus marks for the best sleeve of the year so far.

                                                                                                                                                                                                                                            Soundwalk Collective With Patti Smith

                                                                                                                                                                                                                                            Peradam

                                                                                                                                                                                                                                              The sounds of bird song, singing bowls and water rippling invite us to Peradam, the transcendent new album by Soundwalk Collective with Patti Smith, released via Bella Union.

                                                                                                                                                                                                                                              Peradam takes as its entry point René Daumal’s early 1930s novel Mount Analogue: a Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing, in which the French writer, critic and poet mapped a metaphysical journey to “the ultimate symbolic mountain” in search of meaning. In it, Daumal introduced the idea of the “peradam”, a rare, crystalline stone – harbouring profound truths – that is only visible to seekers on a true spiritual path.

                                                                                                                                                                                                                                              Peradam arrives as “the final stone”, says Soundwalk Collective’s Stephan Crasneanscki, in The Perfect Vision, a triptych of albums that evoke and explore the sainted spaces of thought and creativity opened by three French writers. After albums devoted to Antonin Artaud (The Peyote Dance) and Arthur Rimbaud (Mummer Love), Peradam expands on “the living space”, says Smith, that Daumal left for future seekers to enter and create out of.

                                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                                              2xColoured LP Info: Double blue coloured vinyl.

                                                                                                                                                                                                                                              2xColoured LP includes MP3 Download Code.

                                                                                                                                                                                                                                              Naked Roommate

                                                                                                                                                                                                                                              Do The Duvet

                                                                                                                                                                                                                                                Vivien Goldman-style dubby post-punk synth pop.

                                                                                                                                                                                                                                                With a handful of twitching insta-sketches, each addled with late-nite D.I.Y. quiver, the duo’s side-hustle sprouted in classical easy/cheap fashion [see the demo tape on their Public Nipples imprint for evidence].

                                                                                                                                                                                                                                                As “global” concerns slowed, compatriots Michael Zamora (a superbly slanted multi-instrumentalist late of BAD BAD) and Alejandra Alcala (the region’s one true bass supervisor, also of bright lights BLUES LAWYER and PREENING) joined Sermeńo & Jordan as additional exposed flesh.

                                                                                                                                                                                                                                                In full form, Naked Roommate has not only become a must-see, ever-evolving live act, but architects of Do The Duvet, one of the most intriguing and inspired recordings to come out of 2020’s American subterranea.

                                                                                                                                                                                                                                                Do The Duvet proffers leftfield hijinks via punk execution, answering all the questions posed by questionable post-punk revivalism with sour lemon sneering and cherry-sweet smiles. It’s a fever dream, really…A flailing, sparking wire of hyper-compressed rhythms (breathing and synthetic), devolved guitar work and minced electronic compost. The resultant congealed groove is suitable for club situations and/or living space pulsations alike. Either way, the landlord is pissed.

                                                                                                                                                                                                                                                Jordan’s beat programming, presumably inspired in part by recent obsessions with unjustifiably discarded electro sounds, manages to elicit physical response without veering into genre clichés like decay dance or Armageddon rave.

                                                                                                                                                                                                                                                Instead, movement is prompted by sheer playfulness and high humour: see the sleepily sampled City sax on “Fondu Guru” or the comically taut bassline from “Credit Union”, itself a dreamwork born straight from a lovingly held-tight 99 Records 12”.

                                                                                                                                                                                                                                                Thematically, Do The Duvet bounces between dissections of bourgeois trickery, the absurdity of domestication and the recognizable insanity of living in this particular age.As narrator, Sermeńo’s vocal presence is time-capsule great: a commanding grand-slam performance, alluring yet switchblade-dangerous in terms of wit and gaze. So totally wonderful.

                                                                                                                                                                                                                                                What do you really own, anyway? What if your home does not even exist? Why not simply Do The Duvet and answer these queries yourself?
                                                                                                                                                                                                                                                Mitch Cardwell 


                                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                                Coloured LP Info: 180g sun yellow vinyl. 500 worldwide.

                                                                                                                                                                                                                                                Various Artists

                                                                                                                                                                                                                                                Angelheaded Hipster: The Songs Of Marc Bolan & T. Rex

                                                                                                                                                                                                                                                  An extraordinary tribute album to one of rock's great composers, Marc Bolan, which was also made under the direction of the legendary Hal Willner, ‘Angel Headed Hipster: The Songs of Marc Bolan & T. Rex’ is a collection of major stars including Elton John, U2, Joan Jett, Nick Cave, Peaches and Marc Almond who have reinterpreted and reimagined some of Marc Bolan &T.Rex’s greatest tracks including Jeepster, Bang A Gong (Get It On) and Ride A White Swan.

                                                                                                                                                                                                                                                  The album, which was made under the direction of Hal Willner who sadly passed away on 7th April, is launching along with the audio and video of Nick Cave’s moving reinterpretation of ‘Cosmic Dancer’. The video will be included onNick Cave & The Bad Seeds Tee Vee, a newly launched 24 hour Nick Cave stream.





                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                  2xColoured LP Info: White double vinyl.

                                                                                                                                                                                                                                                  Bristolian promoters Worm Disco Club have been championing South-Western talent since their inception in 2014. Having collaborated with Glastonbury Festival on their notorious ‘Wormhole’ stage and hosted the likes of The Comet Is Coming, The Heliocentrics and The Mauskovic Dance Band at their regular club night, the name has become synonymous with quality groove laden goodness, percussive madness, jazz, psych and beyond.

                                                                                                                                                                                                                                                  Now proudly presenting their label Worm Discs, the collective recruit some of Bristol’s most notable emerging talent for an exploration into the new wave of Jazz emanating from the city. As Andrew Hayes, (Run Logan Run) explains : “Bristol has always had its own sound, but there’s been a new crop of young players come through over the past five years that’s revitalised the scene and expanded its expectations about what jazz music means.”

                                                                                                                                                                                                                                                  Featuring the likes of Waldo’s Gift, Run Logan Run (Montreux Jazz Talent Award winners), BaDaBoom, Lyrebird and Alun Elliot, ‘New
                                                                                                                                                                                                                                                  Horizons’ channels the seismic energy of the sonically rich landscape into 12 progressive, psychedelic, impeccably crafted tracks.

                                                                                                                                                                                                                                                  The Worm Discs team explain: “The idea for this record began back in 2019. We had been curating parties in Bristol featuring jazz acts from around the UK for several years and had just hosted “The Wormhole” at Glastonbury Festival, featuring an all-star line-up from the scene.

                                                                                                                                                                                                                                                  Having always felt that Bristol’s exciting jazz scene deserved to be heard, the idea for a label was born. We wanted to showcase some
                                                                                                                                                                                                                                                  individual creativity and open up a space to try something different.” From the cinematic, post-rock infused intensity of Waldo’s Gift’s
                                                                                                                                                                                                                                                  “Bergson” to the zen-like, floating melodies of Ishamel Ensemble’s rework of Snazzback’s “Flump” and the angular textures of Run Logan Run’s epic “A Sea Of Apathy And Indifference” - this record is true odyssey from start to finish, for those who really want take a trip down the Wormhole.



                                                                                                                                                                                                                                                  ‘Shapes: Sideways’ is the latest in Tru Thoughts’ series of essential label compilations, compiled and curated by A&R, label co-founder, and renowned DJ Robert Luis. After 21 years of independently releasing music, the ‘Shapes’ series continues to encompass the best of the Brighton-based imprint’s wide-ranging, eclectic, and international roster. ‘Shapes: Sideways’ features the finest Tru Thoughts classic cuts, recent releases from the new generation of the roster, stirring remixes and world exclusive tracks.

                                                                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                                                                  says: Tru Thoughts' iconic imprint continues to dazzle after 21 years; providing a vital insight to this Brighton-based label's outernational approach. Encompassing bass, breaks, downbeat, new jazz and electronic sounds... nodding your head never felt so good!

                                                                                                                                                                                                                                                  Kelly Lee Owens' masterful second album "Inner Song" finds the convention-blurring techno producer and singer/songwriter diving deep into her own psyche—excoriating the struggles she's faced over the last several years and exploring personal pain while embracing the beauty of the natural world. It's a leap in artistry from a musician who burst forth on the scene with a confident, rich sound, and "Inner Song" is endlessly enticing when it comes to what Owens is capable of.

                                                                                                                                                                                                                                                  "Inner Song" follows the star-making debut of her 2017 self-titled album, a quixotic blend of body-moving beats and introspective songwriting that garnered numerous accolades from the music press. Owens has indeed come a long way from her background as a nurse, since then she has remixed Bjørk & St Vincent, released an indelibly clubby two-tracker, 2019's "Let It Go" b/w "Omen," and teamed up with likeminded auteur Jon Hopkins on the one-off "Luminous Spaces."

                                                                                                                                                                                                                                                  Her latest album also comes off of what Owens describes as "the hardest three years of my life," an emotionally fraught time that, in her words, "Definitely impacted my creative life and everything I'd worked for up to that point. I wasn't sure if I could make anything anymore, and it took quite a lot of courage to get to a point where I could make something again." So while the lovely cover of Radiohead's "Arpeggi" might strike some as an unconventional way to open a sophomore effort, to Owens the winding take on the classic tune—recorded a year before work on "Inner Song" properly kicked off—represents the sort of sonic rebirth that's so essential to Inner Song's aura.

                                                                                                                                                                                                                                                  "Inner Song" was largely written and recorded over a month last winter. As with her debut, Owens holed up in the studio with co-producer and collaborator James Greenwood —and letting loose in the studio and being open to whatever sonic whims emerge was essential to Owens' craftwork. The evocative title of the album is borrowed from free-jazz maestro Alan Silva's 1972 opus, which was gifted to Owens by Smalltown Supersound's Joakim Haugland for her 30th birthday: "I'm so grateful for him and his perspectives—he's always thinking outside of the box. Those two words really reflect what it felt like to make this record. I did a lot of inner work in the past few years, and this is a true reflection of that." The hair-raising bass and tickling textures of "Inner Song" drive home that, more so than ever, Owens is locked in to delivering maximal sonic pleasure—as evidenced by the decision to make the album's vinyl release a sesqui album, or triple-sided album: "I'm still obsessed with frequencies that don't do well on vinyl if they don't have the space."

                                                                                                                                                                                                                                                  "The power of conceptualizing who you are has really informed this album," Owens states about Inner Song's essence, and her second album is truly a discovery of self— the latest statement from a fascinating artist who continues to surprise, gesturing towards a rich and varied career to come.


                                                                                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                                                                                  says: Previous Piccadilly End Of Year champ and queen of emotional electronics returns with her sophomore offering, 'Inner Song', smashing her own celestial ceiling and truly excelling herself. From the intricate Radiohead cover which opens proceedings, through concentric club cuts, slinky R&B and somnambulant synth pop to the heartaching ballad which drops the curtain, the production is sharper, beats more dynamic and and songwriting somehow stronger than ever before. Sublime.

                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                  2xColoured LP Info: White vinyl edition.

                                                                                                                                                                                                                                                  Floodlights

                                                                                                                                                                                                                                                  From A View

                                                                                                                                                                                                                                                    ‘From a View’ is the debut album from Melbourne’s Floodlights.

                                                                                                                                                                                                                                                    'From a View' explores themes of identity, personal cross-roads and the misuse of power.

                                                                                                                                                                                                                                                    The bands first exploration into proper studio recording with a well regarded sound engineer. It was recorded over two days onto a 24 track tape machine at Head Gap studios in Preston in November.

                                                                                                                                                                                                                                                    Floodlights are made up of members Louis Parsons, Ashlee Kehoe, Joe Draffen and Archie Shannon. They present a distinctly Australian perspective, with a shambolic, catchy sound that melds 80s Indie-Rock rock with 90s New Zealand jangle-pop.

                                                                                                                                                                                                                                                    Following a tour of Australia’s East Coast in October last year the band began working on “From a View”. The songs were arranged and performed as a band, but often began from Louis or Ash presenting ideas to the group and building on them from there. The songs themselves were written over various points in the bands short career, yet come together very fittingly to show their distinct sound.

                                                                                                                                                                                                                                                    Lead single Thanks For Understanding is about two lives going in different directions. It describes the complicated process of growing apart from someone, even though you still care for them.


                                                                                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                                                                                    says: Great debut album from this Melbourne four piece. They have a distinctly Antipodean sound, that draws on 80s and 90s indie rock with a nod to Flying Nun records in it's prime.

                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                    Coloured LP Info: Indies only yellow ochre coloured vinyl.
                                                                                                                                                                                                                                                    Limited to 400 copies.

                                                                                                                                                                                                                                                    International Teachers Of Pop

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