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Chastity Belt

Chastity Belt

    Chastity Belt talks a lot about intention these days—how to be more present with each other. The four piece—Julia Shapiro (vocals, guitar, drums), Lydia Lund (vocals, guitar), Gretchen Grimm (drums, vocals, guitar) and Annie Truscott (bass)—is nine years deep in this, after all. It seems now, more than ever, that circuit is a movement of intentionality, one that creates a space inside which they can be themselves, among themselves. It’s a space where the euphoria of making music with your best friends is protected from the outside world’s churning expectations. It’s a kind of safe zone for the band to occupy as their best selves: a group of friends who love each other.

    Their fourth record, Chastity Belt, comes out of that safe space. After a restorative few months on hiatus in 2018, each member worked on solo material or toured with other bands. “So much of the break was reminding ourselves to stay present, and giving ourselves permission to stop without saying when were gonna meet up again,” says guitarist Lydia Lund. “It was so important to have that—not saying, ‘we’re gonna get back together at this point,’ but really just open it up so we could get back to our present connection.”

    Their experience navigating adult life within the strange seasons of the music industry has Chastity Belt orienting themselves towards whatever gets them to feel the most present with each other, in any part of the band grind. With the luxury of spending several weeks in the studio with Jay Som’s Melina Duterte, Chastity Belt was able to experiment. The new self-titled album is the work of the band playing “old songs, and trying new things on top of it,” like adding more dynamic harmonies and violin, says bassist Annie Truscott. Lydia, Gretchen, and Julia all share lead vocals on different tracks on the album. The result is their most sonically developed and nuanced record yet; one that’s not only a product of, but a series of reflections on what it means to take what you need and to understand yourself better.

    Many of Chastity Belt’s signature dynamics, from the silly to the sincere, have read as feminist gestures: the Cool Slut DGAF-iness, the shrugging off of the “women in rock” press gargle, the fundamentally punk act of creating music on your own as a woman, and being lyrically forthright. What the making of Chastity Belt reveals is that the band has tapped into a deeper tradition of women making art on their terms: the act of self-preservation in favor of the long game. In favor of each other. In this cultural moment, taking space like this to prioritize the love over the product seems progressive. Chastity Belt’s intentions have resulted in an album deeply expressive of four people’s commitment to what they love most: making music with each other.

    STAFF COMMENTS

    Barry says: We were big fans of 2017's 'I Used To Spend So Much Time Alone' here in the shop, and this newest outing is sure to generate even more of a buzz. Slightly less driven, and a little more meditative, this LP retains all of the thoughtful beauty of their previous work but with a more mature and weathered outlook. Gorgeous stuff.

    FORMAT INFORMATION

    Coloured LP Info: 400 copies on UK Light Green Transparent vinyl.

    Liam Gallagher

    Why Me? Why Not.

      This month has seen Liam Gallagher make a typically full-throttle return. Super intimate sold-out show at Hackney Round Chapel? Biblical. Premiere and release of the long-awaited ‘As It Was’ documentary? Completed. Featured on the cover of Q, who described him as “rock’s finest frontman”? Naturally.

      Liam wrote lead single ‘Shockwave’ with two of the key collaborators behind the all-conquering ‘As You Were’ album: Andrew Wyatt, who won the Academy Award for Best Original Song as co-writer of ‘Shallow’ from the film ‘A Star Is Born’, and the multiple Grammy-winner Greg Kurstin who also produced the track. It was recorded in Los Angeles.

      Liam Gallagher’s debut solo album ‘As You Were’ was a critical and commercial smash. It debuted at #1, out-selling the rest of the Top 10 in the process, and was soon certified Platinum. Liam was back where he belonged, selling out huge outdoor shows and earning major awards from Q, NME and GQ.

      More details regarding ‘Why Me? Why Not.’ will be revealed imminently. “It’s a better record than As You Were,” promises Liam. “Which is saying something, as that was epic, wasn’t it?”


      STAFF COMMENTS

      Barry says: He's back! Liam's newest album sees him co-writing with a duo of talented musician pals, and retains all the charm and momentum of his previous outing, but with more OOMPH. Why not indeed.

      FORMAT INFORMATION

      Coloured LP Info: Indies exclusive bottle green coloured vinyl housed in a gatefold sleeve.

      2xDeluxe LP Info: Collectors edition.
      Etched 12-inch vinyl with 3 tracks + an exclusive demo not available anywhere else.
      12-inch vinyl album - 140g yellow pressing.
      Deluxe CD album housed within the book 20-page hardcover book.
      2 removeable high quality art prints.
      Fold out wall poster, 720 X 450 mm.

      LP Info: 140 gram black vinyl housed in a gatefold sleeve.

      Deluxe CD Info: Deluxe CD with 3 bonus tracks (14 in total).

      Bass-heavy dub and contemporary club culture are the foundations for Joe Armon-Jones’ phenomenal second album. “Turn to Clear View” builds on the celebrated keys player’s singular vision, exhibiting a sound with flourishes of R&B, hip-hop and p-funk, and featuring regular bandmates Oscar Jerome, Moses Boyd and Nubya Garcia. He builds on his close-knit core personnel with guest spots from artists he’s long admired, including Georgia Anne Muldrow (Brainfeeder, Stones Throw), Obongjayar (XL) and Jehst.

      From character-fuelled raps to Afrobeat-influenced jams, Armon-Jones channels the diversity of the ascendant scene that surrounds him. Co-produced with longtime collaborator Maxwell Owin, the record has a carefully plotted feel that reflects their meticulous approach. The duo carefully perfected every touch, with Armon-Jones ever-present throughout the mixing and mastering processes.

      Between his highly acclaimed solo career and his work with the influential Ezra Collective, Armon-Jones is building on a rush of acclaim – winning Session of the Year at Gilles Peterson’s Worldwide Awards and being nominated for UK Act of the Year at the Jazz FM Awards. His electric, open-ended live shows have brought him to Glastonbury, SXSW, Boiler Room and a sold-out headline show at London’s Village Underground.

      STAFF COMMENTS

      Millie says: Joe Armon-Jones’ outstanding second album ‘Turn To Clear View’ is every bit as good as you’d expect, mellow R&B vibes, rich Jazz and Afrobeat rhythms woven into this incredible album. Armon-Jones is joined by the legendary names Nubya Garcia, Jehst & Georgia Anne Muldrow, all together leading the rise and creating platforms for talented jazz artists.

      FORMAT INFORMATION

      Coloured LP Info: Indies exclusive clear vinyl.

      Nils Frahm announces the third and final instalment of his Encores series. 

      Whilst Encores 1 focused on an acoustic pallet of sounds with solo piano and harmonium at the core, and Encores 2 explored more ambient landscapes, now Encores 3 sees Nils expand on the percussive and electronic elements in his work.

      “The idea behind All Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of All Encores is like musical islands that compliment All Melody.”

      Moulded during All Melody but refined by his live performances, All Encores is testament to Nils’ exceptional ability to craft his art on stage. Artificially Intelligent which showcases his ‘mad professor’ organ, and All Armed which has been a live favourite for some time, appearing on set lists since 2015, are now available to hear on record for the very first time. The final track of Encores 3, as well as the whole series, Amirador, perhaps aptly nods to the Spanish word for ‘lookout’ and hints at what’s to come.

      STAFF COMMENTS

      Barry says: if you enjoyed Nils Frahm's collab with Olafur Arnalds a few years ago (was it really THAT long ago?!) then this is the Encores for you! Percussive, more 'dancefloor' focused (as much as can be), and absolutely hypnotic, this is probably my favourite of the lot, and I have excellent taste. Lovely stuff.

      Efterklang

      Altid Sammen

        Altid Sammen (meaning “always together”) is deep and sonorous, steeped in the sonic experimentation that has long been their trademark since Tripper, the Danes’ 2004 debut. As bold and ambitious in scope as their last collection of songs, Piramida, Casper Clausen (vocals), Mads Brauer (synths, electronics) and Rasmus Stolberg (bass) have taken another creative U-turn, this time fusing baroque instrumentation with their signature expansive sound.

        Efterklang’s last release, Piramida, centred around a ghost town in the Arctic, was a grand and all-encompassing project that spawned a movie, live album and a series of unforgettable shows (including a live debut at the Sydney Opera House). Their final performance in Sønderborg – the southern Danish town where the band grew up – marked a closing of a chapter, for Piramida and for Efterklang.

        “We needed a break from the album and touring routine, and we needed a break from Efterklang,” says Clausen. “After the Sønderborg show, things felt very exciting – and a bit scary too. We could think freely, and move in new directions again, just focusing on the things that excited the 3 of us.”

        That break saw the trio explore projects outside of the group’s confines. Together they co-wrote and performed an opera with friend and composer Karsten Fundal (LEAVES, The Colour Of Falling) as part of the Copenhagen Opera Festival. Meanwhile, Clausen, Brauer and Stolberg reunited with Efterklang’s touring drummer Tatu Rönkkö for a new band, Liima. In sharp contrast to Efterklang, they scaled down the music process, creating songs in a day, and released two records of icy, grand electronic pop, ii (2016) and 1982 (2017).

        What lured them back as Efterklang was another off-kilter collaboration, this time with B.O.X, a Belgian ensemble founded by lute player Pieter Theuns that performs new music with baroque orchestration. Initially invited by Theuns to compose music for a joint performance, the experience inspired and invigorated the trio to return to the studio for a new Efterklang album proper. For perhaps the first time in the band’s history, they took a less-is-more approach to Altid Sammen, engaging on a more primal and emotional level. The album also sees the trio break from tradition with Clausen singing in his mother tongue some of his most personal lyrics thus far.

        “Altid Sammen’s songs are about belief and togetherness,” Clausen says. “Not in a religious way – none of us are believers of a defined religion. The words are searching for meaning in intimate relationships, in nature, in death and eternity. The bonds we create; to gather, hold hands, sing or share a moment together. We’re all connected, across nations, age, sex and gender. We come together with all of our backgrounds, and we move apart in all sorts of directions, always together.”

        STAFF COMMENTS

        Barry says: I've loved Efterklang for some time now, and it really has been fascinating to see the trajectory of the core band and their former members (Peter Broderick being one of them!). Their newest outing takes the morose poppy melodies of Piramida with some of the electronic scree of their earlier work, and it's a perfectly measured and completely brilliant electronic pop LP. Superb as ever from Clausen & co.

        Hiss Golden Messenger

        Terms Of Surrender

          Describing the Durham based Hiss Golden Messenger is like trying to grasp a forgotten word: It’s always on the tip of your tongue, but hard to speak. Songwriter and bandleader M.C. Taylor’s music is at once familiar, yet impossible to categorize: Elements from the American songbook the steady, churning acoustic guitar and mandolin, the gospel emotion, the eerie steel guitar tracings, the bobbing and weaving organ and electric piano provide the bedrock for Taylor’s existential ruminations about parenthood, joy, hope, and loneliness. And then there’s an indescribable spirit and movement: Hiss Golden Messenger’s music grooves. There’s nothing else quite like it. For over ten years, Taylor has spearheaded this prolific, perpetually evolving group. He’s toured and recorded relentlessly, earning devotees along the roads, deep in festival pits, and across the seas.

          “The work that I do requires me to be in a certain emotional place,” says Taylor. “My music depends first and foremost on being in a heightened emotional state and putting my vulnerability on display.” This vulnerability is also central to Taylor’s steadily growing fanbase, which continues to discover universal themes in his deeply personal work. The critical acclaim and attention for Hiss Golden Messenger and barn-burning performances on Late Show with David Letterman and Late Night with Seth Meyers affirm the emotional power of Taylor’s work.

          This raw emotion is especially apparent on Hiss Golden Messenger’s new album, Terms of Surrender. Terms follows Taylor’s journey through a tumultuous year of trauma and psychological darkness, hoping and working towards redemption and healing, and the conflicting draw of home and movement. “Another year older,” Taylor sings on album opener “I Need a Teacher.” “Debt slightly deeper. Paycheck smaller. Goddamn, I need a teacher.”

          Later, Taylor tracks the complex dynamic between father and grown son on “Cat’s Eye Blue,” singing, “Is this wicked word too bad to be spoken? You let the heart attack in. One taste and it’s broken.” He later pivots towards his relationship with his own daughter on “Happy Birthday, Baby.”

          Taylor says that he wanted to make Terms of Surrender “a wandering record. I wanted where we recorded it to mirror the searching spirit of the music.” Having written upwards of 40 songs in motel rooms, his studio in Durham, and a secluded cottage outside of Charlottesville, Virginia, 10 songs were chosen. Includes regular collaborators Phil and Brad Cook, Josh Kaufman, and Matt McCaughan and new friends like Jenny Lewis and Aaron Dessner (of The National).

          Hiss Golden Messenger songs create feelings to which devoted listeners attach their own meanings and memories with each repeated spin. Throughout Terms of Surrender, those feelings range from fearful to celebratory. But perhaps the title track with its refrain of “I’m gonna give it/ but don’t make me say it/ It’s one thing to bend it, my love, but another to break it” best summarizes the nature of Taylor’s work as a musician, father and spouse, and cultural communicator on this album.

          STAFF COMMENTS

          Barry says: I was just having a discussion with Dave about how i'm obviously getting a little bit older, and my tastes are changing, veering more towards slightly miserable Americana ballads, but my appreciation for HGM has remained throughout regardless of my advancing years. It's a testament to his skill as a songwriter that he can continue to smash out such beautiful LP's without veering too far from the formula, but keeping things as transportive and dreamy as they are on 'Terms Of Surrender'.

          FORMAT INFORMATION

          Coloured LP Info: Pressed on coke-bottle clear vinyl & includes a 22.75" x 33" foldout poster insert.

          Neal Francis

          Changes

            "I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living - consumed by drugs, alcohol, and addiction - such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n' roll. There is a deep connection between Francis's childhood - his obsession with boogie woogie piano, his father's gift of a dusty Dr. John LP - and the songs he's created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene.

            The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock 'n' roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: "It's the life I've lived so far." After playing his first live show in November 2018, Francis was signed by veteran agents Joshua Knight and Phil Egenthal of Paradigm Talent Agency. 2019 brought a North American tour supporting Australian band The Cat Empire as well as radio play on KEXP, KCRW's The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band performed at festivals such as Summer Camp and the New Orleans Jazz & Heritage Festival and shared the stage with The Meters and Lee Fields & The Expressions. Francis continues to tour relentlessly to promote his own music. "I'm doing this to fulfill a drive within myself, but also to pay tribute to the gifts I've been given. And it comes from a place of immense gratitude. I've been given so much in my life, especially in the last two years, that this feels like a bonus

            FORMAT INFORMATION

            Coloured LP Info: Limited gold vinyl.

            M83 mastermind Anthony Gonzalez released Digital Shades Vol. 1 in 2007 as a compendium of unused ambient tracks for diehard fans to enjoy rather than letting these works disappear into the void. It was a way to breathe life into songs that normally would not see the light of day as well as a vehicle for Gonzalez to explore areas of musical creativity separated from the pop-leaning M83 studio albums. Gonzalez credits Brian Eno’s ambient collections as a primary inspiration for the creation of the Digital Shades series. Now, more than a decade later, M83 has returned with the latest installment of Digital Shades - one that adopts a grander nature and seeks to transport listeners to another time and place entirely. DSVII is influenced heavily by early video game soundtracks, ‘80s sci-fi/fantasy films and analog synth pioneers such as the aforementioned Brian Eno in addition to Suzanne Ciani, Mort Garson and John Carpenter.

            STAFF COMMENTS

            Barry says: I have to admit to being mildly (not mildly) confused when I saw the video for 'Temple Of Sorrow' but then remembered, this is pretty much what Gonzalez does. Massive, operatic instrumental music, euphoric dream-state rock and absolute ego dissolving lysergic 'tron. Mental, but thoroughly brilliant.

            FORMAT INFORMATION

            2xColoured LP Info: 180g pink vinyl with a galaxy/candy floss effect in gatefold sleeve.

            Kyle Dixon & Michael Stein

            Stranger Things 3 - Original Score From The Netflix Original Series

            S U R V I V E members Kyle Dixon & Michael Stein's score to Stranger Things 3.

            GRAMMY Nominated and EMMY Winning composers Kyle Dixon & Michael Stein's score to 'Stranger Things' is perhaps the show’s secret ingredient. A mixture of icy new-wave hooks, spooky ambient textures and menacing drones which bring a spine-tingling ambience and a hauntingly beautiful nostalgia all at once.

            It’s 1985 in Hawkins, Indiana, and summer’s heating up. School’s out, there’s a brand new mall in town, and the Hawkins crew are on the cusp of adulthood. Romance blossoms and complicates the group’s dynamic, and they’ll have to figure out how to grow up without growing apart. Meanwhile, danger looms. When the town’s threatened by enemies old and new, Eleven and her friends are reminded that evil never ends; it evolves. Now they’ll have to band together to survive, and remember that friendship is always stronger than fear.


            STAFF COMMENTS

            Barry says: Dixon! Stein! Bad-ass kids with super and / or not super powers! Winona! The neverending story! A Mancunian graphic design god! all GREAT things, and all involved in Stranger Things. Bonus points for the hot pink 80's vinyl. Amazing stuff.

            FORMAT INFORMATION

            2xColoured LP Info: Neon pink vinyl housed in deluxe heavyweight gatefold sleeve.
            The package features stunning artwork throughout designed by Kyle Lambert.

            In 1986, Uruguayan vocalist and musician Mariana Ingold took the advice of a storied Uruguayan composer and musicologist and recorded her first album (Todo Depende) for the now legendary label Ayuí/Tacuabé. In the early ’80s, the introduction of the synthesizer fostered an experimental new approach to traditional Candombe rhythms. Ingold’s influence on the scene looms large. Pairing elegant vocals and majestic harmonies with complex arrangements, she pushed the Montevideo-specific sound — loosely termed Candombe fusion — in new directions and thrived working collaboratively with artists including Eduardo Mateo, Jaime Roos, and Hugo Fattoruso.

            With the assistance of Chris J. Morris, Left Ear Records has extracted a collection of tracks that encapsulate this period between 1986-1991, lifting from her albums Todo Depende, Cambio de Clima, and Haace Calor. Full liner notes translated in English and Spanish with archival photos included.

            Osàre is the new label from Elena Colombi, the much-respected and always intriguing DJ and NTS resident. Known for her unique ability to connect the spirit of records from her wide-ranging collection, Osàre translates in her native Italian to “daring” or “bold”, setting a precedent for what to expect from Colombi’s curation; future facing music culled from a legacy of forward-thinking experimentation and abandon, imbued with a sense of complete freedom, transcending expectations of time or genre.
            Uniting under the moniker of Free Range, prolific US underground producer Matt Weiner (2MR, Night People) and Lithuanian experimentalist Ernestas Sadau (Pinkman, Digital Tsunami), provide Osàre’s first release with ‘King of Snakes’. A lovingly sludgy collaboration, the record mixes DIY electronics, droning atmospheric and space-inflected new wave influences, underscored by a surrealist edge glimpsed in track titles such as ‘Relax, It’s Just Eggs’ and ‘Washing Machine Speaking"


            STAFF COMMENTS

            Patrick says: Uber cool DJ and selector Elena Colombi launches her Osare imprint with a six tracker from intercontinental duo Free Range. If you're on board with the Zaliva D, Identified Patients or Tolouse Low Trax, then this combination of cosmic and industrial should tick all sorts of boxes for you.

            The Juan Maclean return to DFA with a compilation LP of 12-inch singles they’ve amassed over the past six years – re-edited, re-mastered, and ready for fans who may have missed the tracks the first time around. From the dub house sway of 2013’s “You Are My Destiny” to the high-energy stomp of this May’s “Zone Non Linear,” and featuring two never-before-released tracks, “Quiet Magician” and “Pressure Danger,” The Juan Maclean once again justify their longevity as a musical force that is more than capable of repurposing club tracks for every setting.

            The Brighter The Light is put together in a way that lends itself to appreciating the sheer banging quality of the songs while simultaneously being able to dance to them in your living room. For example, take “Feel Like Movin,’” which Pitchfork called “gloriously beatific” and “pure DFA gold.” In the new remastered version, the fullness of the keys and the kicks takes over, unfurling across the listener. Deep house rhythms, sparkling synths and a certain spaciousness are what’s emphasized across the record. Gone is the slow-motion melancholy disco from their recent full-lengths – The Brighter The Light is all fierce enthusiasm and dance floor missives, perfect for those who aren’t quite ready to let go of summer.

            Juan Maclean is a DJ and producer who has been a mainstay of the New York club scene, as well as maintaining a rigorous international touring schedule, since the release of his first records on DFA in 2002. Vocalist Nancy Whang is his longtime collaborator, best known as a founding member of LCD Soundsystem and a busy touring DJ. Together, the two artists have released an extensive catalogue of 12” singles and full-length albums for DFA, including 2014’s seminal In A Dream LP. The proper follow-up studio album will follow in 2020.

            FORMAT INFORMATION

            2xLP includes MP3 Download Code.

            Debut album from Complete Walkthru aka US producer Max McFerren, released via the Numbers imprint. 

            "Scolls" plays around with themes of privacy, disillusionment and personal development over eleven tracks, representing a transitional time in McFerren’s life. Through "Scrolls"’ early stages he moved from New York, where he was holding down a residency at Brooklyn’s Bossa Nova Civic Club and playing regularly in downtown Manhattan at the iconic China Chalet and the now much missed Santos Party House, to the open, rural setting of South Carolina.

            The albums personality, and the thematic preoccupations underlying it, reflect the impact of this contrast. It’s sound textures cast widely into what McFerren describes as 'the ephemera of the saturated digital realm' while moving through arcane rhythms, chiming melodies and expansive, metallically tinged ambient passages. First single "Lean In", streaming in full now, is a dusty breaks-tight miasma of fragmented cyber-consciousness. There are playful, hyperactive refrains on "Getting Ridiculous" while "Leavin’ Church Early" is an expansive beat-free meditation. "NYC"’s dynamic momentum is a cityscape of bad-faith corporate aspiration.

            McFerren refers to his motivations with "Scrolls" as being 'anti-nihilism', as reacting against a dark emptiness he perceives in certain forms of techno. Ultimately with the record, he is seeking the potential of centring joy in the present moment, in a conscious awareness of now.

            STAFF COMMENTS

            Matt says: Breezy, optimistic, RBG-hued house and techno here from the newly drafted in Max McFerren who ditches team 1080p for Numbers and dons a new shirt: Complete Walkthru. Tip!

            Electric Capablanca

            Puzzles & Studies

            'A mechanical ghost in the corner of our room, The Electric Capablanca spins spectres, shades and sonics while nobody looks. Lifestyle product for a Dolce Vita dreamer, the device - abandoned by one careless owner - now dreams up probable chaos.'

            Released September 2019, enjoy these new hallucinations from no known author; a machined mega-puzzle of miscalculated patterns, automatic failures and lost coffee house betas.

            Turn the dials to creak splinters of 70s Italian midi classical (Venosta, Musci), imagined mitteleuropa ambient (Froese, Popol Vuh) and spiritual mathematics from the old new world (Spiegel, Hassell, Riley).'

            Cold Blow’s new imprint SWIMS partners up with Kit Records for the second time in 2019 following the essential vinyl edition of Roméo Poirier’s "Plage Arriere" - simply stunning! 

            STAFF COMMENTS

            Matt says: Oh my this is great. Electro-acoustic, pastoral soundscapes dreamed up by an anonymous creator. Soft-focused and cinematic in parts it exists as a one-off piece, up their with Quiet Village's "Silent Movie". Don't let this one pass you by folks...

            Afrodeutsche (Henrietta Smith-Rolla), is a British born Ghanaian / Russian / German artist, composer, producer, and DJ based in Manchester.

            Afrodeutsche’s DJ style is a synthesis of Drexciyan and Underground Resistance - inspired selections, intercut with a variety of forward thinking UK techno such as Bola and Lego Feet.

            "Break Before Make" seeks to re-align the disposia of global electronic community into a united universal consciousness. You won't find standard chord progressions and linear arrangements here; instead, an almost cinematic journey through mainframes, drum machines and synthesizes voiced and transferred through a modern, mystic muse.

            Certain to take the listener on a journey when enjoyed start to finish, whether in a crowd or solo; but there's plenty of nuggets can be mined from the album for the adventurous DJ too. In particular, Afrodeutsche's attention to new and evolved displays of rhythm, texture and mood elevate the album into a so-far unchartered realm. Top marks. 


            STAFF COMMENTS

            Matt says: A long time cometh for this local lass destined for big things. If you don't know by now... get to know! Big ups Hen !

            FORMAT INFORMATION

            2xColoured LP Info: Limited 180 gram transparent red vinyl. Includes braille sticker.

            Ltd CD Info: Limited CD in transparent red jewel case. Includes braille sticker.

            Mudhoney

            Morning In America

              Morning in America consists of 7 songs that were recorded during the sessions for Mudhoney’s 2018 album, Digital Garbage (“…an astute, politically relevant and commendably fired-up garage punk belter of an LP,” – The Quietus). The tracks include "Let's Kill Yourself Live Again" (an alternate version of the Digital Garbage stand-out “Kill Yourself Live,” and the bonus track for the Japanese CD version of that album), "One Bad Actor" (a new version of Mudhoney’s track on the limited-edition, and now very sold-out, SPF30 split 7” single w Hot Snakes), album outtakes “Snake Oil Charmer,” “Morning in America” and “Creeps Are Everywhere,” plus "Ensam I Natt" (“So Lonely Tonight,” a Leather Nun cover) and "Vortex of Lies" from a very limited EU tour 7". The songs were mixed at Johnny Sangster’s studio Crackle & Pop!


              FORMAT INFORMATION

              Coloured LP Info: Limited, indies exclusive loser edition, silver vinyl.

              Life

              A Picture Of Good Health

                Whereas the band’s debut album ‘Popular Music’ was broadly political, the new album takes a more personal approach with beguilingly honest and brave lyrics that are bold in both sound and feeling, whilst also retaining the core DNA of their previous material.

                Going on to speak about the album Mez says “A Picture of Good Health is not a collage of work but rather a snapshot of time; our time and the time of those around us. It’s political, but in a personal way. It’s a body of work that explores and examines the bands inner-selves through a precise period; a period that has brought pain, loneliness, blood, guts, single parenthood, depression and the need for survival and love. It is the sense and need for belonging that is the resounding endnote!”

                FORMAT INFORMATION

                Coloured LP Info: Indies exclusive orange vinyl.

                Brittany Howard

                Jaime

                  Eagerly anticipated debut solo album on Columbia Records, from lead vocalist/guitarist of Grammy Award winning ALABAMA SHAKES. ‘History Repeats’ is as much a personal song as it is a song about us as a human species,” says Howard. “Our times of success may propel us forward, but our repeating failures hold us back from evolving into harmony.”

                  Howard’s band on Jaime includes Alabama Shakes bassist Zac Cockrell, jazz keyboard player Robert Glasper and drummer Nate Smith. It was recorded at engineer Shawn Everett’s LA studio.

                  Jaime is named after Howard’s sister, who taught her to play the piano and write poetry, and who died of cancer when they were still teenagers. “The title is in memoriam, and she definitely did shape me as a human being,” Howard says. “But, the record is not about her. It’s about me. I’m pretty candid about myself and who I am and what I believe. Which is why I needed to do it on my own.”

                  FORMAT INFORMATION

                  Coloured LP Info: Sandstone coloured heavyweight vinyl, RSD indie store exclusive with 7".

                  Fly Pan Am

                  C’est Ça

                    C'est ça marks the reunion of Montreal avant-rock quartet Fly Pan Am, who released an acclaimed series of albums in Constellation's early years, from 1999-2004. The band's heady collision of motorik repetition, shoegaze maximalism, punk skronk, tape- and electronic-based interventions and audio sabotage, garnered them a cult following among fans of audaciously deconstructed post-rock. Fly Pan Am quietly reunited in late 2017 for purely artistic reasons (needless to say), to explore making new music together after more than a decade spent in pursuit of separate sonic adventures. Within weeks, it was clear the band was firing on all cylinders again, brimming with electricity and eager to pick up where they’d left off with their last album N’écoutez pas back in 2004: pushing further into full-spectrum intersections of noise pop, post-punk, power electronics and musique concrète, while continuing to incorporate shrouded, textural vocals as alternately melodic and visceral components.

                    C'est ça is a welcome return to form - an album of undeniably renewed vitality and experimentation where rock structures underpinned by J.S. Truchy's trademark rapid-fire bass and Felix Morel's disciplined, ascetic drumming are submerged beneath waves of processed guitar by Roger Tellier-Craig and Jonathan Parant, with fluorescent noise treatments and sonic vandalisms wrought by all four. Songs variously nod to key influences like MBV and Husker Du, the intrepid proto-Kosmiche of This Heat and Can, and later style-adjacent torchbearers like Boredoms, Flying Saucer Attack and Trans Am - all the while collapsing into/out of themselves in various ways. But Fly Pan Am have always and reliably been much more than the sum of their influences: C'est ca is terrific new collection of restless, conceptual, viscerally ethereal noise rock that could come from no other band, sparkling with the creative buzz of lifelong artistic intensity, dialogue and friendship

                    STAFF COMMENTS

                    Barry says: I've been listening to C’est Ça for a couple months now and can tell you it is without a doubt the most Fly Pan Am of all of the Fly Pan Am releases. Clashing, punky art-rock, huge cavernous lurches of percussion, distorted guitars and post-punk grooves breaking through when you least expect it. A legendary band, and a truly triumphant return after FIFTEEN YEARS!

                    FORMAT INFORMATION

                    LP Info: 180 gram vinyl, plus 12" x 19" poster.

                    LP includes MP3 Download Code.

                    Fresh from triggering bedroom DJs the world over with a brilliant internet-breaking Boiler Room performance, the conceptual, contrary and controversial Chris Korda arrives at Perlon with her first musical work in fifteen years. Ditching the DAW and recoding her MIDI sequencer to accommodate multiple time signatures, the Church Of Euthanasia founder experiments with polymeter and shifting phrasing at the fertile overlap between techno and jazz. The result is a ten track set of glistening, trance-inducing repetition which retains the DIY naivety of her earlier work while achieving an organic sound rare for an entirely electronic composition. Reminiscent of UR's "Hi Tech Jazz" phase, but injected with the airy spiritualism of Yoruba, this is currently a big hit for the Piccadilly crew.

                    STAFF COMMENTS

                    Patrick says: I first encountered Chris Korda through some provocative, arch and DIY techno 12"s on Gigolo about fifteen years ago, and worked backwards from there, digging into the mythology of the Church Of Euthanasia and Chris' earlier releases. To have a new release after all that time was blessing enough, but the quality here is astounding. End of Year chart contender for me.

                    Floating Spectrum

                    A Point Between

                      Floating Spectrum is the moniker for Taiwan-born, Berlin-based composer and audio technologist, Mei-Fang Liau. Her debut album as Floating Spectrum, A Point Between - crafted from a combination of synthesizers, everyday household objects, and unique software synthesizers made by Liau herself - is truly a sound and vision unlike any other. To complete the album, Liau relied heavily on a self-made, fractal-inspired software synthesizer called Polyphylla, which simulates the way in which nature creates very complex and organic forms just by repeating slight variations of a simple form.

                      It allowed Liau to create slowly evolving textures and sounds with complex dynamics, and thus the driving influence for the whole of A Point Between. The lone outlier is "Eruption," for which Liau built a generative sound system that turns visual data into sound. In this hybrid system, sensitively fluctuating analog signals, fine-tuned data analysis, and human intuition perform together as one coherent living being. The technological marvels of Floating Spectrum are, of course, uniquely impressive. But the more astonishing and intangible triumph of A Point Between is its singular ability to collect and shape such abstract sonic organisms into richly textured, immersive works of art. It's that profound resonance that makes A Point Between such an uncanny work of emotional and structural depth

                      FORMAT INFORMATION

                      Coloured LP Info: Limited Crystal Clear with Dark Red Streaks Vinyl.

                      The new album from Joel Wästberg a.k.a sir Was, “Holding on To a Dream”, is a mesmerising twisting of genres - from classic soul and old-school hip-hop, to beautifully fresh pop structures. The new record is dense with ideas and adventurous, a sonic-leap forth. “I was interested in having a lusher sound, more rich,” Wästberg says. “With the first record I had this idea that I wanted it to sound like an old vinyl record. I wanted this lo-fi, old-school sound. When I realized that I was actually making another album, I felt a bit scared of the whole thing, but it didn’t take me that long to realise that the only thing I could do was to make something that felt really right in my body and soul. I’ve realised that there’s nothing to be afraid of. I’m ready to explore so much more.”

                      The sense of exploration resonates throughout the record and can be defined by its start and end points. Opening track ‘Fly Away’ begins the expedition, a gleaming reflection of past insecurities as a jump-off point for the next chapter, all subtle beats and stark bursts of guitars that leap out of the mix. Elsewhere, ‘No Giving Up’ is a tender recollection of a past relationship, set to an equally affectionate composition, a glowing example of Wästberg’s growing songwriting skills, while ‘The Sun Will Shine’ showcases another side of Joel’s skillset, a playful production full of inspired ideas and nuances; a Les Fleurseque mellow breeze in the heat of the summer.

                      The record’s boldest moment is reserved for ‘Deployed’, a collaboration with Little Dragon’s Yukimi Nagano. “Me and Little Dragon go way back. I’ve been hanging out with them for many years, and they were very supportive with my first album,” Wästberg explains. “I remember that Yukimi was always asking me if I was making my own music. One day I was working in my small studio room, and Little Dragon were one floor up. Yukimi knocked on the door and asked if she could listen. I played her some of my songs and she said, “This is great, go out and talk to the world!”. That was before my first album. So having Little Dragon as a feature here makes so much sense.” Beautifully bright and sincere, ’Deployed’ is a perhaps the most vivid pop song that sir Was has released to-date. A heartfelt accounting of relationships, of knowing when to let go and when to fight for them, ‘Holding On To A Dream’, is a dreamy, groovy, lustrous treat of a record. 

                      FORMAT INFORMATION

                      Coloured LP Info: Indies exclusive limited edition 180g transparent orange vinyl.

                      Coloured LP includes MP3 Download Code.

                      One True Pairing

                      One True Pairing

                        The musical touchstones of Tom Fleming, former Wild Beasts songwriter, vocalist and multi-instrumentalis, were Bruce Springsteen, Don Henley, Tom Petty alongside Depeche Mode and Swans. He wrote and played everything himself and then brought in Ben Hillier (Nadine Shah, Graham Coxon) on mixing and production duties.

                        One True Pairing is an album shaped by class frustration and self-despair and there is a continuation of the exploration of masculinity that made Wild Beasts so unique. As well as being deeply personal, OTP has a wider political resonance. "This country is going through a terrible moment and if you listen to the art nobody seems to give a shit,” Fleming says emphatically. He believes that class is entirely discounted from the current conversation about inclusivity and privilege. In its 11 songs of discordant guitar and aggressive synth Fleming channels his discontent with Britain in 2019 and a “feeling of directionless rage and cheatedness which hasn't gone away."

                        FORMAT INFORMATION

                        Coloured LP Info: Indies exclusive deluxe edition on heavyweight crystal clear vinyl.

                        Coloured LP includes MP3 Download Code.

                        David Kilgour And The Heavy Eights

                        Bobbie's A Girl

                          "It's moody - as in low, subdued," says David Kilgour of his new album, Bobbie's a girl. David Kilgour’s 11th solo album, Bobbie’s a girl is a quieter affair than fans may associate with the pioneer of New Zealand indie rock. “I tended to shy away from too much guitar playing for a point of difference and to mix things up for myself a little,” Kilgour continues. The style set in at the beginning of sessions, as he and the Heavy Eights (i.e., longtime collaborators Thomas Bell, Tony de Raad, and Taane Tokona) headed to Port Chalmers Recording Services with producer Tex Houston. “We have worked on these songs for a number of years now, so that’s different because I usually can’t wait to get them out,” Kilgour says. Why the delay? Like with the themes of the album, Kilgour doesn’t want to elaborate too much.

                          “Everything’s related to the music and mood,” he says, “but I’d rather not say how. I like a little mystery.” Largely missing the jangly distortion of Kilgour’s other work, the album’s ten songs exude a hazy warmth, with a light psychedelia that recalls the ’60s outfits like The Byrds and The Velvet Underground. Opener “Entrance” floats wordlessly on acoustic guitar, whose ringing chords slightly mask the deft fingerpicking beneath it. “Smoke you right out of here” picks up the pace, but “Crawler” rolls in like a storm, its organ and fingerpicked guitars creating an ominous sound until a chorus of “aaaahs” lightens the mood. Only four songs have lyrics. “I kind of wanted a rest from verbalizing everything, like listening to yourself going, ‘Blah blah blah blah…,” Kilgour says. The guitar quietly shimmering between channels, the music seems to speak more than the words. “Ngapara,” the closing track of Bobbie’s a girl, is his favorite song on the album. It’s a loping instrumental carried by thickly distorted guitars and heavy reverb. Like the rest of Bobbie’s a girl, it feels both a part of Kilgour’s previous work, and just outside of it

                          FORMAT INFORMATION

                          Coloured LP Info: Clear with opaque yellow & red swirl vinyl.

                          Giant Sand

                          Recounting The Ballads Of Thin Line Men

                            It’s 33 and a third years since the seminal Giant Sand and its country cousin The Band Of… Blacky Ranchette entered the studio to lay down their second albums. Yes. Both bands had recorded their second albums each. Two sides of the multi-faceted hyper-productive Howe Gelb. “I was turning 28,” he recalls, “and had been wanting to make and release albums since my early 20s, but only recently had figured out how. It was time to make up for lost time.”

                            Time was of the essence. That thin line between then and now has seen journeymen Giant Sand release 27-ish albums, their latest, ‘Recounting The Ballad Of The Thin Line Men’ turning the clock back to 1986’s ‘Ballad Of A Thin Line Man’, picking over the bones and making a whole new soup. All these years on, the latest incarnation of Giant Sand: Howe Gelb (guitars, piano) Tommy Larkins (drums) and Thøger Lund (bass), have dusted off the old vinyl and re-imagined those heady days – they’ve polished these buried gems, reignited some truculent tirades and rekindled an ageless angst. The revamp re-orders the tracks, drops a couple and adds ‘Reptillian’, a previously lost song hailing from their album’s 25th anniversary re-issue, a tune that opens proceedings and basks in all its crinkly glory. There’s also two takes of ‘Tantamount’. The unique thing about Giant Sand’ is they make it all their own, they sound like no-one else. The songs remain the same, but somehow completely different. Howe: “We were a fine storm. The greatest storm in terms of tumultuous velocity and pelting bluster. It proved unstoppable... for a minute”.

                            FORMAT INFORMATION

                            Coloured LP Info: Pink vinyl.

                            Indies Exclusive LP Info: Indies exclusive purple vinyl edition.

                            Free Love, the artists formerly known as Happy Meals return to Optimo Music with "Extreme Dance Anthems" a phantasmic mini album from their hearts to yours.

                            'We recorded "Extreme Dance Anthems" in our recently moved studio, Full Ashram Celestial Garden which is now situated in a building that holds both a church below us and a sex club next door. Most of the tracks were formed from late-night sessions that we started to kind of ritualistically hold inspired from a particular thought or idea that we later cut down and did a live mixdown of. The music is about physicality and the metaphysical – it is about a recontextualisation of the ineffable as a centre point of existence which in turn influences how we engage with everything around us. A celebration of the unquantifiable, unspeakable, indivisible experience as the throne from which all ideas are derived. Even though the world is fucked- we are here.

                            On the face of it – I realise that this description might just seem like apolitical hippy bullshit but fuck that – as a deliberate result of the modern political landscape, our societies’ individual and collective disengagement with the metaphysical has led us to treat other humans, animals and our environment like resourceful statistics rather than something that actually holds any inherent value. An Inner Revolution of the foundations of our reality in a way that reintroduces the essence of existence, and not merely its describable derivatives, into the conversation of how we should live our lives informs our perception of the world in a way that demands us to act. The record is about a kind of gradual awakening between the two of us – a reconnection with the magic around us.'


                            STAFF COMMENTS

                            Matt says: Another alumni from the now infamous Green Door Studios, Glasgow's art-punk-dance underground is possibly the global market leader at present, pipping Dusseldorf, Rome and even our own Mancunia to the electro-anarchist post. Highly recommended!

                            Various Artists

                            Ryley Walker Presents Imaginational Anthem Vol. Nine

                              Tompkins Square label's very first release in 2005 was the acoustic guitar compilation, Imaginational Anthem Volume One. The concept was to showcase new talents alongside first-gen American Primitive guitar legends, a formula that stuck across the first three volumes. Volume Four, released in 2010, featured all contemporary players, giving many folks their first taste of William Tyler, C Joynes, Chris Forsyth and Tyler Ramsey. The label then started farming out curation duties to others : Sam Moss for Volume 5, Chris King for Volume 6 (Origins of American Primitive Guitar), Hayden Pedigo for Volume 7, and Michael Klausman & Brooks Rice for Volume 8 (The Private Press). Tompkins Square recruited label alum Ryley Walker to compile Volume Nine. Given his deep Rolodex and exquisite taste, it's no surprise that this comp is probably the most diverse of the series. Nine of the eleven artists were previously unknown to us, so we get to discover new artists just like our label fans do. 

                              In support of their forthcoming Bob Moog documentary 'Electronic Voyager', Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, "Electronic Voyages: Early Moog recordings 1964-1969" contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

                              Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, "Electronic Voyages..." aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an audio letter ("The Abominatron") from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, "Electronic Voyages" veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

                              The musicians and composers behind these "Electronic Voyages" may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy. A triumph!


                              Jazzy Couscous founder Alixkun comes back with a 2nd volume of "Kumo No Muko", 12 Japanese music gems from the 80s exploring Ambient & Synth-Pop atmospheres. It opens with Miwako Saito's "12 No Garnet", a soft, slow paced and dreamy piece of synth-pop. Following are Yoshio Suzuki's "Touch Of Rain" and Ayuo Takahashi's "Mizu Iro No Kagami", both flirting with Jazz, Ambient & New Age influences. Traces of YMO members can be found with Hosono produced Tomoko Yasuno's "Sur La Terra" & Flat Face's "Hibi No Awa", released on Sakamoto's related label. While going through more exotic vibes with Shi-Shonen's "Harvest (Long Size)", Alixkun doesn't forget more chill out ambiances: Toru Hatano's "Kanki" is a singular mind trip led by a guitar solo a la Pink Floyd. The project closes with Mio Fou's "Picasso No Ao", a moody track illustrated by a combination of acoustic guitar and solo piano.

                              Various Artists

                              Soul Jazz Records Presents: Studio One DJ Party

                              Soul Jazz Records’ new "Studio One DJ Party" is the latest installation from the mighty Studio One Records catalogue. A wicked new collection of the finest DJs and toasters ever to inhabit the world of reggae - seminal Jamaican artists including Prince Jazzbo, Dillinger, Dennis Alcapone, Michigan & Smiley and Lone Ranger, as well as a host of lesser known artists and rare cuts from Studio One.

                              From the earliest days when Clement ‘Sir Coxsone’ Dodd ran his Downbeat soundsystem up and down the length of Jamaica, DJs and toasters such as King Stitt and Count Machukie were always a part of the sound of Studio One, introducing new records and exciting audiences with catchphrase lines such as: 'No matter what the people say these sounds lead the way / It’s the order of the day from your boss deejay' (King Stitt).

                              So when DJ emerged as a distinct reggae style at the start of the 1970s, Studio One were, as always, way ahead of their competitors. Legendary artists of the calibre of Dillinger, Dennis Alcapone and Prince Jazzbo all queued up to record for the equally legendary label.

                              At the end of the 1970s, as dancehall exploded onto the island, Clement Dodd was once again able to maintain Studio One’s position on the throne as the number one sound in the Jamaica, fighting off upstart competitors such as Channel One and Joe Gibbs who tried to replicate Studio One’s unique sound. During this period Clement Dodd released a series of stunning dancehall releases from young DJ/dancehall artists at the label including Lone Ranger and Michigan & Smiley.

                              This selection spans the early 70s up until the mid-1980s, from the earliest days of deejay toasting right up until digital dancehall, ground-breaking tracks over the finest selection of the ultimate Studio One rhythms and tracks.

                              "Studio One DJ Party" includes specially commissioned sleevenotes by Chris Lane, founder of the legendary British reggae label Fashion Records, as well as fantastic original artwork commissioned by the illustrator Ski Williams.


                              Gruff Rhys

                              Pang!

                                The new album from Gruff Rhys, ‘Pang!’ is a Welsh Language pop album with a couple of verses of Zulu and an English title. ‘Pang!’ developed unexpectedly over about 18 months. A solo album of songs by Gruff Rhys, produced & mixed by the South African electronic artist Mmusi, and will be released by Rough Trade Records.

                                Recorded in Cardiff, Wales. It was mixed by the producer Muzi in Johannesburg, South Africa. Drums by Welsh-American psychedelic warlord Kliph Scurlock, brass by Gavin Fitzjohn and flute and percussion by the engineer Kris Jenkins. Beats, bass & ah’s by Muzi with Gruff on vocals and guitar.

                                Gruff explains “Pang! Is a Welsh language song with an English title. It started life as a folk reel and soon expanded into a ‘list’ song, listing various reasons for pangs; hunger, regret, twitter, pain, bad design etc. Using the English word pang in a Welsh language track may appear weird but I suppose it’s like using the French word ‘Magazine’ in an English song. In that it’s slightly pretentious but completely acceptable.”

                                STAFF COMMENTS

                                Barry says: There is no more distinctive a voice in modern indie than Gruff, with his impeccable grasp of melody and seamless integration of welsh vocals, dynamic percussion and classic songwriting. Another absolute classic, and an absolutely lovely chap to boot. Perfect.

                                FORMAT INFORMATION

                                Coloured LP Info: Green coloured vinyl.

                                Deluxe LP Info: Limited edition indies only deluxe LP (blue & white splatter vinyl, deluxe heavyweight hand-finished sleeve with poster).

                                Metronomy

                                Metronomy Forever

                                  The follow-up to 2016’s ‘Summer 08’, ‘Metronomy Forever’ features 17 tracks. Its length is born from a desire for breathing room, from not wanting to stuff the hits together like a bouquet of petrol station roses – a modern way of listening to music. Metronomy’s innate skill for blending off-kilter funk, energising club vibes and esoteric pop is interspersed with some mood-setting, glistening and melodic electronic tracks.

                                  The band’s leader Joseph Mount called upon a variety of inspirations for this album. Most notably, he wanted to replicate the feeling of listening to the radio, with an infinite quality, sumptuous songs of different styles, ever rolling, helping to lighten your mood. Moving away from the bustle of his former Parisian home to take up residence atop a hill in the garden of England had an impact, infusing the album with a sense of tranquillity and a calm joy that reflects the relative happiness of his existence.

                                  Also influential was time spent working on Robyn’s critically adored ‘Honey’ album, with a similar feeling of emotional, intense, carnal mania informing songs such as ‘Sex Emoji’ and ‘Salted Caramel Ice Cream’.

                                  ‘Metronomy Forever’ in name represents something looking backwards and forwards simultaneously, like Janus, something fated and eternal. You were made from dust and to dust you will return, that sort of thing.
                                  “What happens is when you’re making music and you enter a world where you have achieved some sort of celebrity no matter how large or small you start to think about yourself in terms of legacy and what you’re going to leave behind,” says Mount. “And then you realise that’s limited to the interest people have in you. In the end I feel completely comfortable with it. The less importance you place in any art the more interesting it can become in a way… I’m making music, I’m going to do some concerts, I need to feed my children”.


                                  STAFF COMMENTS

                                  Barry says: From tender, lightly accentuated ballads and brittle melodic synth lines to huge, bombastic pop heft within the space of a couple minutes, and without batting an eyelid. It's classic Metronomy, brimming with confidence and skill, but tastefully underplayed. Metronomy forever!

                                  FORMAT INFORMATION

                                  3xColoured LP Info: Deluxe Edition.
                                  Limited Edition Triple Vinyl.
                                  3 x Coloured Vinyl (2 x Transparent Orange for the album / 1 x Transparent Green for the bonus vinyl).
                                  8 page special gatefold sleeve.

                                  3xColoured LP includes MP3 Download Code.

                                  2xLtd LP Info: Collector Double Vinyl.
                                  8 page gatefold sleeve.
                                  Double 140 gram black vinyl.

                                  2xLtd LP includes MP3 Download Code.

                                  Sampa The Great creates a sense of home on her debut album - “The Return”. A characterful record, its reference points range from classic hip-hop to ancient Southern African sounds. Built on four years of personal and musical soul-searching, it’s an assured statement, the product of meaningful musical connections and of Sampa having to redefine her self-identity away from the comforts of family and old friends.

                                  Building on her formative works, “The Return” sees Sampa tackle bigger questions, exploring what it means to feel at home, to feel excluded, and to see someone as an outsider. It stems from the rift Sampa has experienced in the rise of her career, where she’s celebrated as part of a new generation of Australian musicians while at the same time still being seen as an other. The album artwork features Sampa alongside a Nyau dancer - traditional dancers and figures that are found in villages across parts of Africa. For Sampa, the dancer represents the fear of the unknown which is often projected by the West when it comes to African traditions. She also wanted to rediscover her ancestors’ spirituality: her mother’s side of the family are of the Bantu ethnicity from which the Nyau tradition originates.

                                  The themes behind the album are addressed head on in title track ‘The Return’. At the close of the track, Whosane’s lyrics refer to “returning to the self of my self”. This, for Sampa, is what she’s been trying to do for the past six years: to find new ways of feeling at home and rediscover an emboldened idea of herself. "Home is described in a lot of ways and means a lot of different things to different people,” she says. “I had to redefine in my mind and in my spirit what home means.” The album is both a re-telling of that journey, and the realisation of her aim; the album walks us through that return to home, while the accomplished sound and lyricism underscores the steps she’s made as a person and artist.

                                  Her African heritage is an important aspect of her exploration of home. On ‘OMG’, for instance, she talks about celebrating the cultures and traditions of Africa:

                                  “Daddy adolescent said he’d get out from the streets
                                  Give him kid a feed
                                  Let em grow they feet
                                  Fly em out of Africa
                                  Give them kids a beat
                                  Show them how the other half
                                  How the world lives”

                                  Explaining the meaning behind the lyrics, she says, “I personally feel that people on the continent have a duty to our family in the diaspora, to re-teach our culture, language, spirituality, ways and return our peeps to ourselves. To me ‘OMG’ sounds like the songs we heard in our childhood. It’s broadly about flexing your culture! Loving where you’re from and even being shocked at the realisation of not knowing how dope it is to be ‘who you are’.” The video was shot between South Africa and Botswana, where she was raised, and gave Sampa the chance to involve her parents in her world. “I got to do something that I’ve never done before,” she says. “Which is to have my parents in one of my music videos. This is the first time they have been involved in my music at this level and it was important for me to express accepting and flexing my culture with the two people who know me most!”

                                  On album opener, ‘Mwana’, she employs the language of the Bemba tribe which her mother is a descendent of. “Mwana” means “child” in Bemba, and the song samples her mother and features her sister singing, making connections between her immediate family and their wider history. However, “The Return” is a reference to a physical journey, as well as a spiritual one; Sampa returned to Zambia and Botswana, where she was born and raised, respectively. There, she recorded the videos for both ‘Final Form’ - the triumphant single which sees her embrace the struggle of growing as an artist, and ‘OMG’. She is also set to release a short film titled ‘Homecoming’ about her experiences returning home to play her first shows on African soil. Across every aspect of “The Return”, from the music and the lyrics, to the visuals and the artwork, Sampa The Great returns to the foundations propping up her sense of self and in doing so makes a bold statement about who she is as an artist.


                                  STAFF COMMENTS

                                  Millie says: Sampa The Greats’ ‘The Return’ is a four-year long masterpiece of finding herself, which runs throughout the entire album. Incorporating the perfect balance of Hip Hop and celebrating Southern African rhythm, this album is pure and dynamic. Featuring some badass artists like Whosane and Krown, this is the gift that just keeps on giving.

                                  FORMAT INFORMATION

                                  2xColoured LP Info: Indies exclusive on 140g red and 140g green double vinyl inspired by the colours of the Zambian flag.

                                  Pixies

                                  Beneath The Eyrie

                                    For album number three post-2004 reformation, Pixies have gone concept. Black Francis, meet Black Magic. Beneath the Eyrie is a haunted kind of album. Recorded in four weeks at Dreamland Studio (a former church in New York state), the album is filled with gothic imagery and thoughts of death – and whatever it is that comes after that. Grunge folk tales abound, like on ‘Catfish Kate’, an infectious epic sprung from a family legend about a woman caught in a fight to the death with (ready for this?) a catfish, emerging victorious in the track’s final minute wearing its still-bloodied skin like a robe. Pixies have said the album is their Blair Witch, and it’s true that there is darkness in every corner. Thematically speaking, Beneath the Eyrie revolves around two Ds; death, and divorce. Still, it’s hardly a miserable listen – this is Pixies, after all. Even the bitter Nick Cave growl of ‘Bird of Prey’ is offset by light backing vocals and a practically sunny guitar intro, turning it into something more longing than savage. This is one of those ‘Divorce’ songs, even if the band didn’t quite know it at the time of writing. The idea of love’s labours lost seep through.

                                    Beneath the Eyrie marks the closure of all kinds of chapters, real and imagined alike. Campfire sing-along closer ‘Death Horizon’ brings endings like falling dominoes – dead relationships, dead human race, dead earth. The twanging, Western atmosphere also comes through on prowling ‘Head Carrier’ holdover ‘Silver Bullet’ (which may or may not be Pixies’ first werewolf anthem), while ‘Long Rider’ takes that same swagger on the road and throws its lot in with surf-rock. The latter is one of the record’s high points, catchy and rollicking enough to warrant consecutive plays. It’s a particular gift, this merging of genres. A careful balance of reinvention and heritage makes the album both fresh and familiar. ‘Los Surfers Muertos’ especially slips into the musical path the band laid long ago, while also paying fitting tribute to a friend who died while they were recording. It’s celebration of life, rather than a Danse macabre.

                                    So sure there’s heartbreak and loss on Beneath the Eyrie, but also buoyancy and love. The one is the trade-off for the other. For all it’s lurking sprites and werewolves, the album is a salve. Feeling cursed? The witch doctor will see you now. - Loud And Quiet

                                    STAFF COMMENTS

                                    Barry says: It's only the bloody PIXIES again isn't it! In possibly their most on-brand release since their reformation in 2004, 'Beneath The Eyrie' has the gothic appeal of their early works, the production elements we expect from modern rock and / or roll and Black's voice on top form. It's a triumph in every way, and hopefully the trajectory they'll continue upon is clear. Stunner!

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited gatefold coloured vinyl.

                                    Coloured LP includes MP3 Download Code.

                                    Belle And Sebastian

                                    Days Of The Bagnold Summer

                                      Days of the Bagnold Summer began life as a 2012 award-winning graphic novel by Joff Winterhart, was turned into a feature film and the directorial debut of Simon Bird (The Inbetweeners, Friday Night Dinner), and is now a wonderful, rich, bittersweet, and warmly welcoming original soundtrack album by Belle and Sebastian on Matador Records.

                                      The album features eleven brand new Belle and Sebastian songs, as well as re-recorded versions of classics 'Get Me Away From Here I'm Dying', originally appearing on 1996's If You’re Feeling Sinister, and ‘I Know Where The Summer Goes’, from 1998's This Is Just a Modern Rock Song EP.

                                      STAFF COMMENTS

                                      Barry says: Whether they're writing stand-alone albums, performing live or soundtracking, Belle And Sebastian have a pedigree that can't be denied. 'Days Of The Bagnold Summer' is in the latter camp, but works perfectly as a standalone album too, showcasing exactly why they're one of the most beloved bands on the indie circuit and have been for a great many years.

                                      Chelsea Wolfe

                                      Birth Of Violence

                                        Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence.

                                        There is a core element to Chelsea Wolfe’s music—a kind of urgent spin on America’s desolation blues—that’s existed throughout the entirety of her career. At the center, there has always been Wolfe’s woeful longing and beguiling gravity, though the framework for compositions has continuously evolved based on whatever resources were available. Her austere beginnings were gradually bolstered by electronics and filled out with full-band arrangements. The music became increasingly dense and more centered around live performances. Her latest album, Birth of Violence, is a return to the reclusive nature of her earlier recordings

                                        “I’ve been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people—an incredible time of learning and growing as a musician and performer,” Wolfe says of the era leading up to Birth of Violence. “But after awhile, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have ‘Mercury in my hands,’ as a wise friend put it.“ Birth of Violence is the result of this step out of the limelight. The songs stem from humble beginnings—little more than Wolfe’s voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs on a makeshift studio and helped fill them out with his modern production treatments and the occasional auxiliary flourish from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola).

                                        The album opens with “The Mother Road,” a harrowing ode to Route 66 that immediately addresses Wolfe’s metaphoric white line fever. It explains the nature of the record—the impact of countless miles and perpetual exhaustion—and the desire to find the road back home, back to one’s roots. Songs like “Deranged for Rock & Roll” and “Highway” offers parallel examinations on the trials and tribulations of her journeys while the ghostly “When Anger Turns to Honey” serves as a rebuttal to self-appointed judges.

                                        While the record touches upon tradition, it also exists in the present, addressing modern tragedies such as school shootings in the minor-key lullaby “Little Grave” and the poisoning of the planet on the dark wind-swept ballad “Erde.” But the record is at its most poignant when Wolfe withdraws into her own world of enigmatic and elusive autobiography. Much like Alan Ginsberg’s hallucinatory long-form poem Howl, the tracks “Dirt Universe” and “Birth of Violence” weave together specific references from her past into an esoteric overview of the state of mankind. Though the lyrical minutiae remain secret, the overall power of the language and delivery is bound to haunt the listener with both its grace and tension.

                                        “These songs came to me in a whirlwind and I knew I needed to record them soon, and also really needed a break from the road,” Wolfe says. “I’ve spent the past few years looking for the feeling of home; looking for places that felt like home. The result of that humble approach yields Wolfe’s most devastating work to date.

                                        STAFF COMMENTS

                                        Barry says: I've been a big fan of Chelsea Wolfe for a while now, and it's absolutely true that the beauty of these compositions really shines when stripped back to Wolfe's haunting vox and an acoustic guitar. Pieces like 'American Darkness' certainly harbour more than a nod to classic folk psychedelia of the late 60's but imbued with a gothic gloom and echoic spookiness that is uniquely hers.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Indie exclusive Red vinyl in Gatefold jacket with 12-page book available is for Cargo Collective Stores Only (Limited to 300 copies in the UK).

                                        Coloured LP includes MP3 Download Code.

                                        CD Info: Digipak CD.

                                        (Sandy) Alex G

                                        House Of Sugar

                                          (Sandy) Alex G, aka singer, songwriter and musician Alex Giannascoli, announces new album ‘House of Sugar’. The album is the Philadelphian’s ninth overall and third for Domino.

                                          Giannascoli worked closely with Jacob Portrait, who mixed both ‘Rocket’ and 2015’s ‘Beach Music’ and helped to balance each of ‘House of Sugar’s dense, multi-faceted tracks. As the product of extended focus and planning, ‘House of Sugar’ emerges as Giannascoli’s most meticulous, cohesive album yet: a statement of artistic purpose, showing off his ear for both persistent earworms and shifting textures and the out-there sonic adventurism that’s made previous (Sandy) Alex G records so singular.

                                          STAFF COMMENTS

                                          Barry says: From twisted, Beck-y ballads to euphoric synth-led stormers, Alex G has always had an uncanny knack for writing a tune and these richly orchestrated, beautifully constructed off-piste tunes show more and more ability in every passing album. This stuff is properly gorgeous ; heartfelt, soaring and emotive works of genius. Spellbinding from the outset.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Indies exclusive on purple heavyweight vinyl.
                                          Housed in a glitter embossed sleeve.

                                          Coloured LP includes MP3 Download Code.

                                          Alasdair Roberts

                                          The Fiery Margin

                                            “Every song that’s nevermore sung/will sound again upon the Evernew Tongue”. Whether we understand the reference in the line, it sums up Alasdair Roberts’ approach as a singer and songwriter, now halfway through its third decade. Down the years, he has devoted himself to the history of traditional songs, playing them forward into our ever-evolving world as their meanings continue to evolve within him. Whether singing the auld songs, using inspiration from a line of text, or taking a time-honoured air as a starting point to a new song, he has pushed the tradition ahead in ways that few other singers and writers have approached.

                                            Since his first two solo releases, a collection of traditional songs followed by one of original material, Alasdair has followed this pattern more or less over the course of a dozen albums. The Fiery Margin follows 2018’s What News, a collaboration with David McGuinness and Amble Skuse that took eight Scots ballads and focused them through the use of vintage keyboards and modern electronic techniques to make something new that was also in the tradition. Thus, The Fiery Margin is a new collection of originals, some of which draw elements from the songs, singing and thought of the last couple millennia. With that scope in mind, it’s safe to say there’s something for everyone here!

                                            Alasdair’s impulse to communicate nuanced historical arcana in his music is matched with an ability to do so compactly in song, turning, say, a 1000-year-old Irish text on the mysteries of creation and apocalypse, or the peregrinatory journal of a mediaeval English mystic, into something with which we can all sing along. He’s been doing it long enough and with enough other fine players and singers to intuit what a set of songs might benefit from. On The Fiery Margin, he taps the percussive elan of Alex Neilson and the expansive bass playing of Stevie Jones, who have paired together with him on a couple of previous albums. On their previous encounter, Pangs, Alasdair focused on electric guitar, which gave the music a lean and wild quality that drew comparisons to the British folk scene of the classic rock era. The Fiery Margin has a diverse sound design, moving fluidly from acoustic to electric guitars while adding the nimble playing of Irish violist Ailbhe nic Oireachtaigh to embody and expand the parameters of the material. Additional players bring touches of accordion, pedal steel guitar, saxophone and barbershop vocals (!), aiding Alasdair’s process of excavating the enduringly mysterious roots of our shared music at a consonant, yet still enigmatic depth.

                                            Recorded by Luigi Pasquini at Anchor Lane Studios in Glasgow, The Fiery Margin has the distinction of being an exceptional recital whose origins could be ascribed to traditional Scottish, Irish and English music, not to mention the sounds of the world beyond. Alasdair Roberts is an underrated talent – one that we imagine will sound even better in the gifted ears of generations to come. As for you, dear citizen of today’s world – don’t wait!

                                            STAFF COMMENTS

                                            Barry says: Rich and enchanting acoustic pieces here, boldened by Roberts' acrobatic vocals and ability for sketching a scene. Obviously influenced by the psych-folk movement, but unafraid to branch into other areas, 'The Fiery Margin' is a wonderfully emotive and fascinating narrative treasure.

                                            The Utopia Strong

                                            The Utopia Strong

                                              The combined forces of Steve Davis, Kavus Torabi (Gong/ Cardiacs/ Knifeworld/ Guapo) and Michael J. York (Coil/Teleplasmiste/Guapo) have arrived at no less than a modular driven kosmische colossus of transcendent power enough to drive all talk of green baize firmly into the blue yonder.

                                              With Davis’ modular geometry and ambient structures weaving with Torabi’s keen and skewed sense of melody and York’s various gifts for pipes, drones and fevered abstract – the result is a beguiling tapestry as likely to remind listeners of the countercultural benchmarks of Terry Riley, Cluster and Fripp/Eno as the latervortex-voyages of Emeralds and Seefeel. “The overall sound was pretty accidental” reckons Kavus. “I certainly didn’t expect the music to sound so ecstatic and positive, Without wanting to puncture the mystery, there really felt like an element of magic at play in making this album. For the most part it was incredibly effortless” It was never any secret that Davis - even at the peak of his household name status in the 1980s - was as happy putting a needle on a vinyl record as anything else involving a cue. What’s more - his music obsession took on new bounds after his retirement from sport in 2016, with his DJ partnership with Torabi taking him to festivals and clubs for many a head-spinning rampage, in which the wide-eyed assembled would be as likely to hear Autechre as Black Sabbath.

                                              “In twenty years of making records it’s certainly been the easiest and most enjoyable to make” reflects Kavus. “Now, this may have been partly due to us having no preconceptions or expectations but it wasn’t just that. There was absolutely no conflict, and we spent a lot of time together working on it - in my experience that’s a total f**king miracle” “The personal journey I’ve been on since January 2nd 2018 with Kavus and Mike has been surreal” says Steve. “Probably more so than even the path that unfolded for me in snooker. That was pretty far out but this seems otherworldly!” 

                                              STAFF COMMENTS

                                              Barry says: I've never particularly cared about snooker, nor any sports really, so to me Steve Davis has always been a guy who I recognised and thought was dead friendly. It turns out we have a major shared interest and a shared modular dealer to boot. The Utopia Strong, in which he's joined by some of the most legendary names in psych music history is a wonderful LP, rife with growling modular, flickering arps and Kosmische glory.

                                              FORMAT INFORMATION

                                              Coloured LP Info: Holographic Sleeve - Dark Matter Transparent Blue.

                                              Indies Exclusive LP Info: Indies Only - Holographic Sleeve - Fireball Orange Vinyl.

                                              Jenny Hval

                                              The Practice Of Love

                                                At first listen, The Practice of Love, Jenny Hval’s seventh full-length album, unspools with an almost deceptive ease. Across eight tracks, filled with arpeggiated synth washes and the kind of lilting beats that might have drifted, loose and unmoored, from some forgotten mid-’90s trance single, The Practice of Love feels, first and foremost, compellingly humane. Given the horror and viscera of her previous album, 2016’s Blood Bitch, The Practice of Love is almost subversive in its gentleness—a deep dive into what it means to grow older, to question one’s relationship to the earth and one’s self, and to hold a magnifying glass over the notion of what intimacy can mean. As Hval describes it, the album charts its own particular geography, a landscape in which multiple voices engage and disperse, and the question of connectedness—or lack thereof—hangs suspended in the architecture of every song. It is,an album about “seeing things from above—almost like looking straight down into the ground, all of these vibrant forest landscapes, the type of nature where you might find a porn magazine at a certain place in the woods and everyone would know where it was, but even that would just become rotting paper, eventually melting into the ground.”

                                                Prompted by an urge to find a different kind of language to express what she was feeling, the songs on Love unfurl like an interior dialogue involving several voices. Friends and collaborators Vivian Wang, Laura Jean Englert, and Felicia Atkinson surface on various tracks, via contributed vocals or through bits of recorded conversation, which further posits the record itself as a kind of ongoing discourse. “The last thing I wrote, which was my new book, had quite an angry voice,” says Hval, “The voice of an angry teenager, furious at the hierarchies. Perhaps this album rediscovers that same voice 20 years later. Not so angry anymore, but still feeling apart from the mainstream, trying to find their place and their community. With that voice, I wanted to push my writing practice further, writing something that was multilayered, a community of voices, stories about both myself and others simultaneously, or about someone’s place in the world and within art history at the same time. I wanted to develop this new multi-tracked writing voice and take it to a positive, beautiful pop song place... A place which also sounds like a huge pile of earth that I’m about to bury my coffin in.”

                                                STAFF COMMENTS

                                                Barry says: 'The Practice Of Love' is a huge, synthy behemoth of an album, percussive and momentous, but wonderfully balanced with Hval's spellbinding vocals echoing over the top. Shining with influences from all over the dance spectrum, with Italo basses and trancy stacked waves fading into jazzy wind instruments and hypnotic soaring harmonies.

                                                FORMAT INFORMATION

                                                Coloured LP Info: Limited sand coloured vinyl.
                                                Includes eight tarot cards, each corresponding to a song on the record.

                                                Coloured LP includes MP3 Download Code.

                                                The Souljazz Orchestra

                                                Chaos Theories

                                                Always known for their uncompromising social and political messages, the Canadian collective hit harder than ever on 9 new tracks, outing the hypocrisy of modern day politics, police brutality and the everyday struggle of the working man. Led by chief songwriter and arranger Pierre Chrètien, the band continue to evolve their sound, drawing on a broad palette from their trademark Latin, Afro and Caribbean styles to some of the UK’s political sounds of the early ‘80s, the era of The Clash, The Police, 2-Tone and frontline reggae. “We were basically messing around with the idea of creating our own brand of ‘Afro-punk’”, remembers Chrétien, “something with the aggressive, in-your-face energy of punk rock or free jazz, but still backed by the hypnotic, pulsating grooves of tropical music.”

                                                The album takes the listener from carefully targeted sonic missiles to more reflective thought-provoking moments. ‘Police The Police’ starts the offensive: “I wrote this after my neighbour was beaten to death by Ottawa police during an arrest,” explains Chrétien. “The authorities downplayed the incident and the officers were working the next day like nothing had happened.” ‘House Of Cards’ takes a thinly veiled swipe at the current US administration on an infectious disco groove: “lies within lies within lies… like so many Russian dolls”; ‘Boat Rockers’ challenges us all to look beyond accepted norms and ‘General Strike’ documents the frustrations of the working class as the pay gap gets increasingly wider; ‘Slumlord’ shines the spotlight on dodgy landlords while the brilliant closer ‘Well Runs Dry’ laments modern day living, with its confused pace and mundane obsessions, remembering simpler days gone by.


                                                FORMAT INFORMATION

                                                Coloured LP Info: Dark blue vinyl.

                                                Sillyboy’s Ghost Relatives

                                                In A Small Place

                                                Earlier this year, Claremont 56 served up something rather special: the atmospheric, claustrophobic debut single from Greek band Sillyboy’s Ghost Relatives, “In A Small Place”. A warm, drowsy and evocative commentary on smalltown paranoia, the single showcased a band not afraid to embrace heir love of blue-eyed soul, soft rock, West Coast jazz-rock and hazy AOR.
                                                These influences shine through on the band’s eponymous debut album, which will be released worldwide (with the exception of Greece and Cyprus) by Claremont 56 this September. It’s a slight diversion from an imprint renowned for its sun-kissed Balearic grooves, pastoral soundscapes and dubbed-out dancefloor moves, but one fully in keeping with the imprint’s love of warm, beautiful and atmospheric music.
                                                It’s certainly a confident debut from Sillyboy’s Ghost Relatives, an Athenian fourpiece founded by titular hero Sillyboy (AKA experienced musician, producer and vocalist Charalambos Kourtaras, who has previously released a string of solo albums to wide acclaim in his home country). The band is modeled in his image, with a warm and hazy sound marked out by bold, toasty basslines, effects-laden guitars and a mixture of retro synths and thickset electric piano motifs.
                                                Sillyboy naturally takes centre stage throughout, delivering his loved-up and lovelorn lyrics like a latter-day Michael McDonald. His vocal performances, and that of his similarly experienced colleagues, lend the album a dreamy, visceral quality fully in-keeping with the languid richness of the music. Highlights are plentiful throughout. Check, for example, the dewy-eyed, stringladen bliss of opener “Secret”, the 1960s style dream pop cheeriness of “High Life” and the drowsy, late night drift of “Daylight”, an impassioned plea for reconciliation rich in close harmony backing vocals and soft focus saxophone solos. Or, for that matter, the chunky blue-eyed soul grooves of “Muscle Cars”, the slow and seductive “Favourite One”, the tropical wooziness of “Better Than Words”, the vintage Steely Dan shuffle of “Learn To Forget” and the breezy Americana of closing cut “Wasted”, which delivers a stunning conclusion to an album of rare cohesion.


                                                FORMAT INFORMATION

                                                2xLP Info: 300 hand numbered gatefold double LP

                                                The melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl by Be With Records.  Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017.

                                                Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

                                                “Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

                                                Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

                                                The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.
                                                Leon worked on "Rainbow Deux" with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

                                                The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

                                                Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

                                                “Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

                                                “Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

                                                “Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

                                                The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

                                                Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

                                                During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.
                                                Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.
                                                Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

                                                Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

                                                Leon always said “they will get it when I'm gone.”
                                                He also said that “the spirit never dies”…

                                                FORMAT INFORMATION

                                                2xLtd LP Info: 140g vinyl, double LP, gatefold sleeve, printed inner sleeves.

                                                Inner space centurion and local star command operative Tommy Walker III returns with a new mission directive this September. Hardwiring to the Red Laser network and initiating an advanced, beta-tested programme of futuro-manctalo cybernetics, TWIII's meta-level hybridisation of Italian synth disco & northern English rave styles, combined with an expert deciphering of modernised club dynamics has resulted in a faultless system capable of withstanding the most extreme sonic test environments.
                                                RL30's eight tracks are RL Corp. operation-certified to work alongside Human2.0's electrostatic discharge profile. Universally approved usage for sentient earth dwellers offering portals into dancefloor ecstasy and inter-dimensional transcendence. This programme begins with 'Pocsy', and sees euphoric holograms burst through galloping Italo mechanics, fusing retro-tinged optimism with a nu-age release. 'Shoiab' (named after a fellow starship captain tasked to MCR and in alliance with RL Corp...) unleashes red shifted synths and carnal cowbells for the cyberotic lap-dancers to get jizzy too. 'Autopilot' allows the on-board crew to reassemble, a well automated array of arpeggios guiding the shuttle during the first phase, until reconsolidating in the latter stages for full-on interdimensional 5-D funk jam. 'Lightwork' is pure RL endorsed synth-jizz, erupting out of Tommy's arsenal like a mis-timed giant alien cumshot; minus any Manga references. 'Astral Projectile Vomit' address a common problem endemic to protectors of our star cluster; then channels a shiny, serpentine chrome sequence and thrusts it down the rainbow road for maximum belly aches.
                                                More hydraulic collisions between electronic disc-boogie and newly mined atomic particles from passing asteroids ensures Srg. Walker has enough mainroom material to keep the Sharons and Traceys of the main hub dancing in between injections of dimethyltryptamine. Closing with a trio of humanoid hits that'll have Jonny5 ordering kryptonite margaritas for the entire ship, Tommy Walker celebrates with the cosmic conge, 'Gary Blast'. RL Corp is confident RL30's internal algorithm is a future-proofed, cross-species platform for auditory excitement, and will continue to stimulate listeners across a multitude of environments.

                                                BBE Music unearth ‘Palaver’, a long-lost, previously unreleased 1980 album from Ghanaian guitarist and songwriter Ebo Taylor. If Fela Kuti was the king of Nigerian Afrobeat, then Ebo Taylor, 83 and still playing hard, is the king of Ghana Funky-Highlife. No doubt whatsoever. Much of Ebo’s beautiful 70s and 80s output has been reissued, as more and more Afro music lovers are being converted to his unique pan-West African sound. In 1980 while on a club tour of Nigeria with his regular touring band, Ebo bumped into Chief Tabansi of Tabansi Records. They agreed that Taylor would record a one-album session to be released exclusively on Tabansi. Within a few days the deal was signed, the session completed, the tapes signed off, and Ebo and his band went on their way to complete their Nigerian tour. But for reasons that no-one (including Ebo) can now fully recall, the master tapes got shelved in a dusty backroom in Tabansi’s Onitsha HQ. Where they remained, undisturbed, unreleased, unplayed, for almost forty years. Last year, Peter Adarkwah of BBE Music signed off on a major multi-album reissue deal with Tabansi and its affiliated labels. ‘What about unissued material, if we find any?’ Joe Tabansi, Chief’s son and current administrator of the label, casually asked. Yes, replied Peter- but WHAT unissued material? Upon which, Joe produces these masters. The tapes are rushed to the redoubtable Carvery vinyl remastering and pressing plant in East London, and all at BBE soon realised that they had a masterpiece on their hands. All-new material, all Ebo’s own compositions, all recorded with Ebo’s crème-de-la-crème touring and recording players, including George Amissah. Mat Hammond, George Kennedy and George Abunuah among others. Here it is, for the first time, anywhere. Ebo Taylor’s Lost Nigeria Sessions.

                                                The Nat Birchall Quartet

                                                The Storyteller - A Musical Tribute To Yusef Lateef

                                                With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns with his most ambitious project yet – a tribute to the legend that is Yusef Lateef.


                                                "When Jazzman Gerald first mentioned to me the idea of doing an album as a tribute to the jazz giant Dr Yusef A. Lateef, my first thought was "Where on earth do I start?" Lateef was such a colossus of music, and his scope so broad, that I couldn't hope to begin to cover his musical universe. He was a master of the tenor saxophone, a master of the flute, a master ballad player, a master blues player. Not to mention his skills as a composer and arranger and of course his exploration and use of musical methodology and instruments from all over the world."

                                                "I've always been a great admirer of Lateef, and the challenge was intriguing, so I decided to give it go. We interpreted some of his own compositions (Brother John, Morning & Ching Miau) as well as some compositions by others that he made his own by careful arrangement and interpretation (Love Theme from Spartacus, Ringo Oiwake). I also wrote some original songs that, while certainly not written in his style, might be said to fall into his very broad approach to music making."

                                                "I also wanted to utilise as many different instruments as possible, something I hadn't explored too much until this album. So it was a nice opportunity to finally get around to playing some of the many small instruments I've collected over the years; the Turkish zurna, the mbira from Zimbabwe, the balaphon from Mali and the arghul from Egypt. We have also tried to use varied time signatures in the music, so we have songs in 3/4, 5/4 and 7/4 time, as well as the standard 4/4."

                                                "Ultimately the best music tells a story to the listener and takes them to places they might not have imagined themselves. Yusef Lateef certainly did that, and as such was a master storyteller." - Nat Birchall

                                                STAFF COMMENTS

                                                Millie says: Absolutely livinggg for this jazz! A tribute the incredible Yusef Lateef, which you think would be a daunting thing but Nat Birchall makes it look like a breeze. A must for any jazz collection!

                                                Alex Cameron

                                                Miami Memory

                                                  Alex Cameron’s newest and most musically expansive LP, the glistening Miami Memory, takes a surprising turn. Cameron’s flair for narrative and character are still on full display; yet Miami Memory’s most frequent narrator is, for the first time, Cameron himself—singing with stunning candor of his three-year relationship with his girlfriend.

                                                  “When you listen to these songs, and you’re waiting for the twist, or the joke, or any kind of discomfort, I can assure you none of those things were there when I wrote them,” says Cameron. “These are true stories, of actual events. Specific but never esoteric. And graphic but never offensive. Miami Memory is the story of a couple balancing sex with contemporary family values...It’s my gift to my girlfriend, a symbol to hoist on the totem of love.”

                                                  Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of Miami Memory, produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Björk, Kelela), revels in the emotional overdrive of classic dad rock, its warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ.

                                                  Cameron’s dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for its regular adrenaline injection, and morphs them into a singular “stepdad” rock that largely turns its lens away from the dads, celebrating the demise of old norms of gender and power. In his depiction of his relationship, Cameron reveals a striking honesty about love and sex in a time where a palpable fleetingness hangs over everything from relationships to human life on this planet—but also where constricting mores have deteriorated enough to let “family life,” in all its morphing forms, exist outside of social obligation. With arresting straightforwardness, Cameron now sings as himself, paying tribute

                                                  STAFF COMMENTS

                                                  Barry says: Huge stadium-rock choruses and growling synths provide a glitzy and sturdy backdrop for Cameron's soaring vocals and robust 80's-tinged pomp. Huge, overblown, and great fun all round.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Limited sky blue vinyl.

                                                  Coloured LP includes MP3 Download Code.

                                                  Surf Curse

                                                  Heaven Surrounds You

                                                    Surf Curse is the indie rock recording project of Los Angeles based songwriters Nick Rattigan and Jacob Rubeck. Seeing Surf Curse live has become a right of passage for disaffected adolescence in the South-West while Rattigan and Rubeck have spent their formatives years between Las Vegas, Reno, and Los Angeles. Their new record, Heaven Surrounds You, is a coming of age epic, inspired by the many cult films they’ve cherished through out their young adulthood that are referenced across the album’s tracklist. Surf Curse’s songwriting and instrumental orchestration has matured on their third full length LP, adding layers of polish to their traditionally rough and visceral sound.

                                                    Rattigan and Rubeck worked with veteran indie producer Jarvis Taveniere, carefully crafting a their most lush and vulnerable record to date, during the fall of 2018. Heaven Surrounds You, satisfies the energy and passion that old fans would expect from a Surf Curse record, but expands the band’s songwriting to envelope new audiences into their cinematic sound. 

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Limited green coloured vinyl.

                                                    Joseph

                                                    Good Luck, Kid

                                                      In the making of ‘Good Luck, Kid’ Joseph pushed beyond the dreamy folk of their debut album with ATO Records, embracing a grittier, more dynamic sound.

                                                      The 13-song collection was produced by Christian ‘Leggy’ Langdon (Meg Myers, Charlotte OC) and the result brims with thick drums and lustrous guitars, heavy grooves and radiant melodies.

                                                      Despite the bolder sonic palette, ‘Good Luck, Kid’ remains centred on the band’s crystalline vocal work, including the otherworldly harmonies that suggest a near-telepathic connection among sisters.

                                                      “The through-line of the album is this idea of moving into the driver’s seat of your own life - recognizing that you’re an adult now, and everything’s up to you from this moment on,” Natalie said. “You’re not completely sure of how to get where you need to go, and you don’t have any kind of a map to help you. It’s just the universe looking down on you like, ‘Good luck, kid.’”

                                                      “[The] blend their voices in the eerily close way that only siblings seem able to accomplish” - NPR Music. 

                                                      “a rallying cry and a celebration of the determination and angst that has pulled us all through these toxic times” - Nylon. 

                                                      “Upbeat, anthemic” - Brooklyn Vegan. 

                                                      “Dark folk-pop that will make you cry (in the best, most cathartic way possible)” - Paper. 

                                                      “an uplifting stronghold” - Paste.

                                                      FORMAT INFORMATION

                                                      LP Info: LP format includes digital download code.

                                                      Jerkcurb

                                                      Air Con Eden

                                                        South east London songwriter and visual artist Jerkcurb's hotly-anticipated debut album Air Con Eden is set for release via Handsome Dad Records. The culmination of several years of intense creative focus, Air Con Eden reflects on Jerkcurb instigator Jacob Read’s recent real life events, losses and tragedies as well as more cryptic, fictitious perspectives and surreal adopted personalities. The record’s euphoric lead single ‘Timelapse Tulip’ arrives alongside today’s news - accompanied by a stunning, intricate 3D animated video courtesy of a collaboration between Read, director Gilbert Bannerman and production designer Theo Boswell. Read will tour the U.K. in October to celebrate the album's release with a hometown headline at Chat's Palace included on the run.

                                                        Having fully emerged in 2016 with the flourishing ‘Night On Earth’ - a streaming hit with 2,700,000 spins to date - and subsequent tracks ‘Voodoo Saloon’ and ‘Little Boring Thing’, there’s been a growing sense of an artist climbing into maturity with each succeeding release, video and gig laying the foundations for Jerkcurb’s burgeoning cult status. Radio and press took to Jerkcurb instantly with BBC Radio 6 Music inviting him in for a live session on Tom Ravenscroft’s show, also making an appearance as a guest on Steve Lamacq’s Thursday Round Table, while esteemed publications like Dazed, Vice, Noisey and Wonderland have all thrown their weight behind his music and art. Indeed, Read has been heavily immersed in his art and animation all the while, exhibiting at the Tate Britain and also being commissioned by them to create a promo for their installation Aftermath: Art in the Wake of World War One and drawing praise from It’s Nice That along the way.

                                                        There’s a near impossible richness to Read’s songwriting form on Air Con Eden, with its as-yet-unheard title track offering perhaps the clearest distillation of the record’s predominant theme: time at its malleable and fraught. Inspired by Victor Gruen - the pioneering designer of shopping malls in the United States - Read unpacks the idea of being trapped in an eternity that feels like an endless present tense, the passing of the seasons reduced to a standstill in a pristine shopping mall; a symbol of both stasis and comfort; an Eden without the possibility of an ending.


                                                        STAFF COMMENTS

                                                        Barry says: it's clear that there's something special brewing in Jerkcurb, with swaying melodies and reverbed loungey keys shimmering quietly beneath the emotive and affecting vocal style of Jacob Read. It's a beguiling and enchanting journey, and a sign of what there is to come. Lovely stuff.

                                                        The Myrrors

                                                        Black Sand : Live In London

                                                          Back in 2015 Arizona-based desert drone outfit The Myrrors were invited to perform at the Fuzz Club Festivala London festival hosted by Fuzz Club Records and local promoters Bad Vibrations. Taking their otherworldly 'Sonoran trance music' to the stage of London Fields Brewhouse, The Myrrors unleashed a breathtakingly transcendental and all-consuming performance that across its three 'parts' – rarely deviating from the solitary note held throughout the set – spectacularly joined the dots between everything from classical minimalism and drone music, through to psychedelic rock, desert blues, Eastern folk and free jazz; perhaps the sort of music La Monte Young might have made if he tuned his mystical drone meditations towards rockier territory and swapped the artsy NYC avant-garde scene for the Sonoran desert that The Myrrors call home. Some four years on from that now-mythologised show and Fuzz Club, having sat impatiently on the live audio for years, will finally be releasing the performance on vinyl and digital for all to immerse themselves in. 'Black Sand: Live In London' is due for release August 30th and comprises three pieces – "Part I: Arena Negra // International Front", "Part II: El Aleph // Danza Perdida // Warpainting" and "Part III: The Forward Path" – which, not that you'll be able to discern where each begins or ends, loosely comprises songs from their 2008 debut LP Burning Circles In the Sky and 2015s Arena Negra. 

                                                          FORMAT INFORMATION

                                                          2xIndies Exclusive LP Info: Available on 180g double vinyl with etched D-side. Heavy tip-on gatefold sleeve.

                                                          Kazu

                                                          Adult Baby

                                                            Adult Baby Records is the new label by iconic vocalist, songwriter and multi-instrumentalist Kazu Makino.  Driven by a search for experimentation and freedom of expression, Kazu is a rebellious spirit, nourished by a rare sensibility and astonishing creativity. Adult Baby Records will be releasing and promoting projects that embrace her unique philosophy and style.

                                                            Kazu Makino, founder & lead singer of Blonde Redhead celebrates the release of her-long anticipated first solo album Adult Baby. The album features Ryuichi Sakamoto, Ian Chang (Son Lux) and Greg Saunier (Deerhoof).


                                                            FORMAT INFORMATION

                                                            LP includes MP3 Download Code.

                                                            Devendra Banhart

                                                            Ma

                                                              Devendra Banhart's new album, Ma, is due September 13, 2019, on Nonesuch Records. This is Banhart's first album since 2016's Ape in Pink Marble. Ma, bursting with tender, autobiographical vignettes, displays a shift from the sonic experimentation of his previous albums to an intricate, captivating story-telling and emotional intimacy. Banhart favors organic sounds to accompany his voice and guitar, the arrangements bolstered by strings, woodwinds, brass, and keyboards. 

                                                              "Kantori Ongaku" translates from Japanese to "country music" and is a nod to experimental pop legend Haruomi Hosono, a founding member of the influential electronic band Yellow Magic Orchestra. The song's video features a full circle journey of vignettes that play on the dream-like quality of intimate activities. The video, colorfully directed by Giraffe Studios, also features guest cameos and a brief infomercial pleading for donations to the I Love Venezuela Foundation.

                                                              Twin Peaks

                                                              Lookout Low

                                                                Twin Peaks are elated to announce their new album, Lookout Low,  via Communion Records. Where their last LP, 2016’s Down In Heaven, and 2017’s Sweet ‘17 Singles compilation were adventurous and compelling updates on their youthfully raucous formula, their fourth album, Lookout Low feels like a total revolution. Their most deliberate and seamless record yet, the album is a collaborative triumph, propelled forward by Twin Peak’s near-decade-long bond.

                                                                For Lookout Low, the five of them - guitarists Cadien Lake James and Clay Frankel, bassist Jack Dolan, multi-instrumentalist Colin Croom, and drummer Connor Brodner - committed to work countless hours in their studio and practice space. Meeting daily, they demoed 27 songs and relentlessly rehearsed them, eventually whittling down to a select ten tracks.

                                                                The album was recorded at Monnow Valley with legendary producer Ethan Johns ((Paul McCartney, Kings of Leon, Laura Marling, White Denim), who lauds Twin Peaks as “the best Rock and Roll band I’ve heard for a very long time.” Already a well-oiled live unit, the band’s mission was to capture the exhilarating vibe of their shows. Often, they thrived on the thrill of live recording, going with the magic of the original first take. This life-affirming burst of adrenaline seeps into every facet of the LP. 


                                                                STAFF COMMENTS

                                                                Barry says: You may have heard the standout single 'Dance Through It', but if not, it's a feel-good slice of rich feel-good instrumentals perfectly balanced with smooth vocals and sleazy wurlitzer. The rest of 'Lookout Low' is just as superb, ranging from more relaxed soul-led pieces to giant party anthems.

                                                                The Time For Peace Is Now compiles fourteen songs that, while recorded over four decades ago, speak now more than ever.

                                                                The tracks are a subset of 1970s-era gospel, not directly talking about Jesus or God, but instead tackling how we live with ourselves and each other.

                                                                These are undeniably soulful, passionate, and urgent songs from obscure 45s, dug up from a long dormancy in attics, sheds and rated across the American south. Compiled by Gospel guru Greg Belson.

                                                                “The Gospel bands heard on The Time For Peace Is Now were comprised of musicians who played both church and secular music. The church borrowed—or rather commandeered—the guitar, bass, drums, and other instruments used to backup Motown, Stax, and other popular labels—to give power to the songs they supported. Musicians who sang at ‘the club’ on Saturday night were often leading solos or singing in the choir on Sunday mornings. Saturday night and Sunday morning music began to interweave, which was especially felt when the church choirs sang Gospel. It was Gospel’s influence that made Aretha Franklin, Sam Cooke, and many others the voice of the 1960s and 1970s. Gospel was the soul of America. This album is reflective of the dichotomy of the sacred and the secular. The music here is in some sense the same as the music of the club. “Keep Your Faith To The Sky” could have you singing “Keep Your Head To The Sky” by Earth, Wind and Fire. Listening to “It’s Hard To Live In This Old World” and “That’s A Sign Of The Times” imbues the pessimistic/realistic sense of what was happening. Like many Blues songs, the problem must first be named before it can be solved. At the end of The Time For Peace Is Now, hope is still present. The problem is named in the beginning and a possible solution is presented. -Pastor Keith L. Whitney

                                                                FORMAT INFORMATION

                                                                CD Info: Featuring a 36-page booklet in the CD with extensive notes by Jonathan Lethem (“Fortress of Solitude) and Robert Darden.

                                                                "Kindness returns with their third full length album titled “Something Like A War”. The album is a culmination of years spent collaborating with the likes of Robyn, Jazmine Sullivan, Seinabo Sey and Cosima among many others. Produced entirely by Bainbridge, the record is a collection of works representing a period of reflection and transformation over the course of 4 years following their second record “Otherness.” Now based in London, the album was recorded in several locations, while Kindness was primarily based in New York during the writing and recording of the album. "

                                                                Kindness, who uses they/them pronouns, has remained busy since Otherness, working across several projects: they co-produced five tracks on Solange’s album A Seat at the Table, and contributed production, writing, and vocals to Blood Orange’s Freetown Sound and Negro Swan albums in addition to production on Robyn's latest album Honey. A sought-after DJ, radio host, writer, collaborator, and lecturer on everything from musical craft and heritage to queerness and history, they’ve spent the last several years performing as a DJ at venues across the world, from Palais de Tokyo to the Guggenheim Museum, hosted their own radio show on Red Bull Radio in 2016 and 2017, lectured at the Boiler Room in New Delhi and moderated Robyn’s Red Bull Music Academy lecture at MOMA in New York. They were recently featured in Solange’s Calvin Klein advertisement, shot by Willy Vanderperre, alongside friends Dev Hynes, Kelela and Caroline Polachek.


                                                                STAFF COMMENTS

                                                                Patrick says: Adam Bainbridge continues to hone their sensitive, sensual and subtle blend of synth, soul, house and disco-not-disco on this ace third LP, which features collaborations with the likes of Sampha and Robyn. Post modern pop with plenty of heart.

                                                                FORMAT INFORMATION

                                                                2xDinked Edition LP Info: Exclusive Dinked Edition opaque lemon yellow double vinyl.
                                                                3 exclusive prints (1 signed & hand-numbered)
                                                                Hand numbered edition of 400 only.

                                                                2xColoured LP Info: Indies only opaque pink coloured vinyl.

                                                                Bat For Lashes

                                                                Lost Girls

                                                                  Bat For Lashes - aka Natasha Khan - releases her fifth studio album, entitled Lost Girls, via AWAL Recordings.

                                                                  Lost Girls is another brilliant full-length in Khan's incredible, acclaimed discography, mixing sounds she's always loved -- heavy bass lines, synth arpeggios, Iranian pop beats, cascading choruses -- with some of her finest songwriting to date. It's an album full of romance, an homage to Los Angeles, to being a kid in the 80's, to films that touched and changed her life.

                                                                  Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, creating an off-kilter coming of age film in which gangs of marauding female bikers roam our streets, teenagers make out on car hoods and a powerful female energy casts spells and leave clues for us to follow.

                                                                  STAFF COMMENTS

                                                                  Barry says: Khan releases her most synthy outing yet, with the saturated vibe of 80's synth-pop perfectly complimenting her airy, enchanting vocals. Brilliantly produced and brilliantly written throughout, this is sure to go down as her best LP to this point, a dreamy triumph.

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Indies exclusive "Sunrise" coloured vinyl.

                                                                  Coloured LP includes MP3 Download Code.

                                                                  L'épée

                                                                  Diabolique

                                                                    A stellar combination of the talents of The Brian Jonestown Massacre’s Anton Newcombe, cinematic femme fatale Emmanuelle Seigner and ice-cool pop provocateurs The Limiñanas (Lionel and Marie Liminana), L’Epee transcend artistic and traditional borders.

                                                                    “We are living in very culturally insular times, so it feels really good to be swimming against the tide,” says Anton of the band’s bi-lingual, cross-continental approach.“There’s something really positive about branching out, collaborating and taking risks.”

                                                                    Far from being defeated by a world seemingly regressing into turmoil, L’ Epee’s strength comes from a long history of challenging the status quo. From Anton’s legendary battles with ‘The Man’ with The Brian Jonestown Massacre to Emmanuelle’s eclectic screen career to The Liminana’s community-minded ethos- setting up their own record shop, L.G.D.C, and promoting gigs by the cream of the world’s garage rock scene ( New Bomb Turks, Oblivians, Fleshtones, Revelators) - they share a fierce intelligence and an outsider aesthetic which, over the decades, has been sharpened to a razor’s edge. Fitting, then, that their name translates as The Sword.
                                                                    “It came to me in a dream,” explains Anton. “I woke up and there it was, ‘The Sword’. Someone told me there had already been a band with that name so I flipped it into French. It suits the band because we’re united in a common cause.”

                                                                    This pent-up creative energy has been channelled into their extraordinary debut album, Diabolique. Named in tribute to Mario Bava’s 1968 cult classic ‘Danger: Diabolik’, it’s a musical masterclass where elements of garage, ye-ye, sleaze rock, cult soundtracks, sci-fi, spaghetti westerns and girl-group pop noir are combined with the cut-and-thrust zeal of a band bursting with ideas and energy. All delivered by Emmanuelle in a sultry Gallic drawl which will send a frisson of recognition through anyone familiar with her iconic roles in, among many others, Frantic, Venus In Fur and Bitter Moon (all directed by her husband, Roman Polanski). “I’ve loved rock music since I was a kid,” she says, namechecking Lou Reed, The Velvet Underground and The Stooges as key influences. “I always wanted to be a musician, but it wasn’t so easy in France as I couldn’t meet the right people. Then I became a model and then very quickly after that I did Frantic and became an actress. It worked for me, but in my heart I always wanted to do music.”

                                                                    Having asked close friend Bertrand Belin to provide lyrics for three further tracks (‘Grande', ‘On Dansait Avec Elle’ and ‘Lou’), the trio set to work at The Limiñanas’ studio in Cabestany, Southern France, in November 2017 -with Emmanuelle, ever the perfectionist, fine-tuning them the following February. Satisfied with the results, the trio flew to Berlin to hook up with Anton and (Liverpudlian engineer) Andrea Wright at his Cobra Studio in Berlin Utilising a treasure trove of vintage equipment (“I’ve got way more ‘60’s gear than The Beatles and The Stones had, I’m mad for that stuff”, explains the BJM man), Anton set to work, re-recording the drums with Marie and adding -and deleting- tracks so that the shifting layers of sound suited the mood of each individual track. “I’ve got plenty of other ways to express myself, so I really enjoyed taking a backseat, creatively,” he explains. “Lionel is such a great composer. There’s a very visual sense to his songs and I was very conscious of not stepping on his intentions too much. There were some really interesting sonic things I would add, like a track of the craziest feedback, to give a song a weird ambient quality. It’s the role that Brian Jones had in the Stones, or Warren (Ellis) has in Nick Cave’s band. Musically, they’re all over the map, but they make things happen.” “It was so inspiring to see Anton work,” says Emmanuelle of seeing him in action. “When we sent the songs to him they were good, but they were nothing like how it ended up. He’s so talented, like a genius. He made the whole thing darker, more interesting and more psychedelic.”

                                                                    STAFF COMMENTS

                                                                    Barry says: With some of the greatest and most unique voices in modern psychedelia coming together to record, the results were never going to be anything short of brilliant, and this heady lsyergic collection has exceeded that already. Hazy, all-encompassing and beautifully balanced, with drones and jams being brilliantly balanced with undeniable grooves and feel. A brilliant outing.

                                                                    FORMAT INFORMATION

                                                                    Vinyl comes with CD version of the album enclosed.

                                                                    Various Artists

                                                                    Strain Crack & Break: Music From The Nurse With Wound List Volume One (France)

                                                                    Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick)

                                                                    Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punkprog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list.

                                                                    Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles. Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and break.

                                                                    STAFF COMMENTS

                                                                    Patrick says: Saving the younger generation (I think I still count) a lot of hard work and even more pennies, Finders Keepers begin the mammoth task of distilling the famed NWW list into a series of compilations. Volume 1 focuses on all things français, be it musique concrète, space rock, prog or free jazz.

                                                                    Following the sell-out success of our landmark compilation, J-Jazz: deep modern jazz from Japan 1969-1984, BBE Music is thrilled to present another exploration into the very finest Japanese modern jazz. J-Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections.

                                                                    They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru-Teru Bozo by Teru Sakamoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra).

                                                                    J-Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA. The specially chosen tracks on J-Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special.

                                                                    STAFF COMMENTS

                                                                    Patrick says: After scoring a sell out success with the first volume, BBE revisit the treasure trove of Japanese jazz for another killer compilation of wild cuts and diverse rarities. This is a set so deep that the listener is a cat, whiskey and coffee away from turning into a Murakami protagonist...

                                                                    The first new Iggy Pop album since 2016’s Post Pop Depression.

                                                                    While it follows the highest charting album of Iggy’s career, Free has virtually nothing in common sonically with its predecessor—or with any other Iggy Pop album. On the process that led Iggy and principal players Leron Thomas and Noveller to create this uniquely somber and contemplative entry in the Iggy Pop canon, Iggy says:
                                                                    "This is an album in which other artists speak for me, but I lend my voice...By the end of the tours following Post Pop Depression, I felt sure that I had rid myself of the problem of chronic insecurity that had dogged my life and career for too long. But I also felt drained. And I felt like I wanted to put on shades, turn my back, and walk away. I wanted to be free. I know that’s an illusion, and that freedom is only something you feel, but I have lived my life thus far in the belief that that feeling is all that is worth pursuing; all that you need – not happiness or love necessarily, but the feeling of being free. So this album just kind of happened to me, and I let it happen."


                                                                    STAFF COMMENTS

                                                                    Barry says: Iggy's back! One of the most recognisable figures in the punk community returns with his latest solo effort, shining with contemplative melodies and loungey percussive pieces, clearly showing a move towards a more freeform approach than his previous outings, with smooth jazzy horns and slow-burning developmental shifts. Lovely stuff, and perfectly illustrative of his mastery of a wide variety of disciplines.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Gatefold Sleeve, 180 gram limited heavyweight sea-blue coloured vinyl.

                                                                    Coloured LP includes MP3 Download Code.

                                                                    LP Info: 180 gram black vinyl.

                                                                    LP includes MP3 Download Code.

                                                                    The best Tinariwen album hasn’t been recorded yet. Perhaps it never will be. Because the best Tinariwen music isn’t the music they perform in front of microphones. It’s the music they play at night around the fire, back in their own country, amongst themselves and at their own pace. Having eaten, and drunk their tea, the men bring out their guitars, chat, remember old songs and let the music come. In those moments, the music can become like the fire, free, magical and impossible to stuff into a box. It rises up like a shower of sparks or a state of grace, without premeditation; the momentary manifestation of a friendship, a community, an environment, a history; the revelatory connection with something that belongs only to them, and goes beyond them. Their discography stretching out over the last 17 years, all the tours and the international recognition have changed nothing: Tinariwen are still a desert band, only certain aspects of which the western music industry can ever hope to capture and present. Tinariwen existed long before any of their albums were recorded, and they still exist quite distinct from their discographic dimension. So, the best Tinariwen album doesn’t exist. But it’s still worth trying to go and find it.

                                                                    The story of Amadjar, the ninth Tinariwen album, begins at the end of October 2018, at the Taragalte Festival of nomadic cultures in the Moroccan Sahara. After a concert and a sandstorm, Tinariwen hit the road and head for Mauritania, via southern Morocco, Western Sahara and the Atlantic coast. The destination is important (the band have to set up and record their album there, and hook up with the singer Noura Mint Seymali), but no more so than the journey itself. Tinariwen are joined by their French production team, who arrive in old camper van that’s been converted into a makeshift studio. The journey to Nouakchott, capital of Mauritania, takes a dozen days or so. Every evening, the caravan stops to set up camp and the members of Tinariwen get to work under the stars – a whole lot better than being in a studio after all – to prepare for the recording, talking things through, letting their guitar motifs, thoughts and long buried songs come. Then, during a final camp in the desert around Nouakchott that lasts about fifteen days, to an audience of scorpions, the band record their songs under large tent. In a few live takes, without headphones or effects. The Mauritanian griotte Noura Mint Seymali and her guitarist husband, Jeiche Ould Chigaly, come to throw their musical tradition on the embers lit by Tinariwen – the curling vocals of Noura Mint Seymali on the song ‘Amalouna’ will become a highlight.

                                                                    This nomadic album, recorded in a natural setting, is as close as you can get to Tinariwen. And also, therefore, to the idea that things can evolve: bassist Eyadou plays a lot of acoustic guitar; percussionist Said tries his hand at new instruments; Abdallah exhumes songs that he’s never played on stage with Tinariwen. And that violin that appears on several songs and reminds you of the traditional imzad? It’s actually played by Warren Ellis. The violinist in Nick Cave’s band is one of several western guests on the album. We also hear the mandolin and charango of Micah Nelson (son of the country music giant Willie Nelson, and Neil Young’s guitarist), and the guitars of Stephen O’Malley (Sunn O)))), Cass McCombs and Rodolphe Burger. The album is mixed by Jack White’s buddy Joshua Vance Smith.

                                                                    In the end, Amadjar tells the story of several journeys: the one undertaken to prepare the album, and the one that Tinariwen take between two worlds, theirs and ours, with that constant need to pass from one to the other before coming back to the roots. “I’m in a complete solitude, where thoughts frighten me, and lost in their midst I arose and noticed that I was thirsty and wanted water,” sings Ibrahim on ‘Ténéré Maloulat’, the first song on the album. A return to the source of Tamashek poetry. In the middle of other more political songs, through always desolate, these words express deep distress and survival, but also movement. Amadjar means ‘the unknown visitor’ in Tamashek, the one who seeks hospitality and who’s condemned to an inner exile, within a territory or within himself; just like the members of Tinariwen, who feel at home on the journey, around the fire with a few immutable songs. The best Tinariwen album will never be. But Amadjar is more essential than all the others. 


                                                                    STAFF COMMENTS

                                                                    Patrick says: Desert rock superstars Tinariwen's ninth LP is the closest the tuareg troop have come to capturing their live sound in the studio, largely because "Amadjar" was conceived, composed and recorded across a trail of temporary studios during a North African road trip.

                                                                    FORMAT INFORMATION

                                                                    2xLtd LP Info: Limited first pressing with 28-page road trip booklet.

                                                                    CD Info: Comes with 16-page road trip booklet.

                                                                    Echo & The Bunnymen

                                                                    The John Peel Sessions 1979-1983

                                                                      Echo & The Bunnymen - ‘The John Peel Sessions 1979-1983’ is a collection of all the Radio 1 John Peel sessions that they performed in the formative years of the band, and in celebration of these early recordings, a double black LP and a 1CD of this set will be released.

                                                                      Significantly, this collection of 21 tracks are from the very beginning of the bands existence. With little money, the band used them to demo new material. Many of the songs were written due to the fact a Peel session had been booked, not because the show loved the new songs - demonstrating the level of trust, confidence and love they had for the band.According to Echo & The Bunnymen guitarist Will Sergeant, these recordings could quite simply be some of the most significant in the bands career - “Without John Peel sessions, Echo And The Bunnymen in my opinion, would not exist! It’s that simple. The band got so much support from him and John Walters (Peel’s producer). Recording a Peel session was essential to the development of our songwriting skills while at the same time giving us amazing exposure and self-belief.”


                                                                      Lower Dens

                                                                      The Competition

                                                                        Four years since their critically acclaimed album, ‘Escape From Evil’, Lower Dens announce their newest creation - ‘The Competition’ - released on Domino’s Ribbon Music imprint.

                                                                        ‘The Competition’ is a pop album with a concept both emotionally and politically urgent. By design, competition is the driving force of modern capitalism and the title is lead singer and songwriter Jana Hunter’s (pronouns: they/them, him/his) term for a socio-psychological phenomenon this generates, a kind of psychosis that accelerates our insecurities and anxieties to the point of total overload, corroding our intimacies, our communities and our senses of self.

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: Indies exclusive clear heavyweight vinyl.

                                                                        Frankie Cosmos

                                                                        Close It Quietly

                                                                          Close It Quietly is a continual reframing of the known. It’s like giving yourself a haircut or rearranging your room. You know your hair. You know your room. Here’s the same hair, the same room, seen again as something new. Close It Quietly takes the trademark Frankie Cosmos micro-universe and upends it, spilling outwards into a swirl of referentiality that’s a marked departure from earlier releases, imagining and reimagining motifs and sounds throughout the album. The band’s fourth studio release is a manifestation of their collaborative spirit: Greta Kline and longtime bandmates Lauren Martin (synth), Luke Pyenson (drums), and Alex Bailey (bass) luxuriated in studio time with Gabe Wax, who engineered and co-produced the record with the band. Recording close to home— at Brooklyn’s Figure 8 Studios— grounded the band, and their process was enriched by working closely with Wax, whose intuition and attention to detail made the familiar unfamiliar and allowed the band to reshape their own contexts. On opener “Moonsea,” an unaccompanied Greta begins, “The world is crumbling and I don’t have much to say.” Take that as a wink and a metonym for the whole album, as her signature vocals are joined by Alex’s ascending bassline and Lauren’s eddying synths, invoking a loungey take on Broadcast or Stereolab’s space-disco experimental pop. There’s much more than “not much” to say here, and it's augmented and expanded by experimentation with synth patches, textures, and other recording nuances courtesy of Wax. As the lineup has solidified into the most permanent expression of full-band Frankie Cosmos, the bandmates have felt more comfortable deviating from their default instruments and contributing bigger-picture ideas to continue pushing the sound forward.

                                                                          The band’s closeness and aesthetic consistency freed its members to take more risks, notes Luke: "Everything will sound like Frankie Cosmos because Greta has such a distinct voice (literally and figuratively). We have so much latitude to experiment with the instrumental music, and this time around we really took advantage of that." Without losing any intimacy of prior albums, Close it Quietly is different, is outer. The album functions as a benign doppelganger, a shadow self of past releases; where other Frankie Cosmos records shine brightest looking inward, Close it Quietly refracts the self into the world, and vice versa, miraculously echoing Thoreau’s assertion that “when I reflect, I find that there is other than me.” Reflection--and refraction--isn’t tidy. “Flowers don’t grow/in an organized way/why should I?” Greta sings on “A Joke.” Growth isn’t linear. Change happens in circles. While recording the album, Alex says, “I closed my eyes a lot.” Stand in the sun, listen to Close it Quietly, and do the same.


                                                                          STAFF COMMENTS

                                                                          Barry says: Frankie Cosmos deliver a whimsical but meaningful journey through indie-pop, jangling and melodic but with a beating heart of seriously solid songwriting and a stunning musicality. Encompassing aspects of late-90's grunge and shimmering pop-punk, 'Close It Quietly' will be on the player for some time to come. Lovely stuff.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Opaque yellow vinyl.

                                                                          Ebo Taylor Jr With Wuta Wazutu

                                                                          Gotta Take It Cool

                                                                          Tough, mid-tempo Ghanaian funk & Highlife grooves from Ebo Taylor Junior, son of the mighty Ebo Taylor. Originally released in 1978, this sunkissed set with Wuta Wazutu is now extremely difficult and expensive to find in its original form. Soulful and skanking with the classic Accra sound, the nine track set is infectious from head to toe, though never better than the mighty back-beat attack of the killer “Mondo Soul Funky”.

                                                                          STAFF COMMENTS

                                                                          Patrick says: Autumn might have hit hard this year, but this groove heavy LP from Ebo Taylor Jnr and Wuta Wazutu is simply sunshine in vinyl from. Funky, soulful and skanking, this has had everyone smiling in the shop this afternoon.

                                                                          The new album from Daymé Arocena is a vivid return to her Havana roots. Backed once again by a killer band of fellow Cuban musicians, the visionary singer, composer and songwriter has stripped everything back to the core. Holding sessions in a simple, repurposed artist’s studio in Havana, Daymé produced the record herself, taking the reins to make “Sonocardiogram” her most raw and arresting outing yet.

                                                                          A jazz-tipped record rooted in the rhythms of rumba, she draws on the island’s intertwined rituals of family, music and religion. Ringing with echoes of the greats, songs nod to the likes of Tito Puente and La Lupe, inspirations which carry the sound of Cuba’s sun-baked, vibrant daily existence. Odes to Santería deities are underscored by the sacred frequencies of the batá drum, translated to be played on a Western drum kit. It’s an intoxicating window into a singular artist’s worldview.


                                                                          STAFF COMMENTS

                                                                          Millie says: Exploring her Havana roots Daymé Arocena’s jazz infused LP with traditional upbeat rhythms and soaring strong vocals. Fitting into the Brownswood family circle perfectly! Absolutely stunning stuff.

                                                                          Albert’s Favourites co-founder Adam Scrimshire is set to release his fourth album 'Listeners'. Musically, 'Listeners' draws from Scrimshire's passion for jazz, soul and electronic music of all styles; from an energetic combination of Afrobeat and garage on 'Won't Get Better', to the lushly orchestrated neo-soul of 'Thru You', and the harmonious jazz experimentations of 'I Never'. The album features a host of esteemed guest vocalists and musicians telling their own personal stories, including Georgia Anne Muldrow, Emma-Jean Thackray, Joshua Idehen, Madison McFerrin, Chip Wickham, and James Alexander Bright.

                                                                          "With this album I wanted to get a more focused sound after six years of relearning and development in the studio. But I also struggled to find my own words, to speak about where I/we are now. So I allowed my collaborators total freedom to tell their own story and as they came back to me, they were telling the same stories I wanted to. It's resulted in some deeply personal confessional pieces: mourning family, collapsing relationships, extremes of self doubt and analysis, trying to balance public and inner persona, and a reminder that life in all forms is important.

                                                                          It’s called 'Listeners' as I am a listener here, I feel like I've been given these very personal experiences to care for. Listeners because, the travesty of the last few years is that we stopped listening to each other, everyone is shouting at each other and no one is learning. And Listeners because I hope I've made something that is for other people more than I have before. I've tried to craft something warmer and more enjoyable, made for those who give me their time in listening to my music."
                                                                          - Adam Scrimshire

                                                                          Since joining the Wah Wah 45s label in 2007, Scrimshire has released three albums of experimental cinematic jazz, and electronic sounds. Following his 2009 debut ‘Along Came The Devil One Night’, his second album ‘The Hollow’ (2011) was a BBC 6 Music Album of the Week, with Gilles Peterson calling it “A late contender for album of the year”.

                                                                          In the time since the release of his last album ‘Bight’ (“An eclectic range of influences ranging from disco to fusion to more contemporary electronic styles” XLR8R) in 2013, Adam has worked with long-time musical accomplice Dave Koor on new project Modified Man, and launched Albert’s Favourites releasing projects by The Expansions, Hector Plimmer and Jonny Drop. He has continued to gain radio and DJ support for his successful “Scrimshire Edits” series and has produced and mixed records for artist including Stac, Daudi Matsiko, Bastien Keb, Ronin Arkestra, Jonny Drop. He has also continued to develop the Wah Wah 45s label, where he is now a co-owner and director.

                                                                          Preceded by singles 'Thru You' featuring Georgia Anne Muldrow and 'Life Is Valuable' featuring James Alexander Bright; 'Listeners' is set for release on LP and digital formats via Albert’s Favourites on 19th July 2019. 

                                                                          STAFF COMMENTS

                                                                          Millie says: Upbeat Nu-Jazz unlike anything you’ve heard before, mixing with broken beat and hip hop to create this wild and incredible album!! ‘Listeners’ has one of the most killer list of collaborators I’ve seen in a long time from jazz aficionado Emma-Jean Thackray to Queen of Soul Georgia Anne Muldrow. This one is definitely for fans of Fatima, J.Lamotta and Yazmin Lacey.

                                                                          Debut album by NAFF co-founder Priori. "On a Nimbus" brings you to the heart of the network. It's frenetic and weightless, bleepy and essentially NAFF at its very core.

                                                                          Ghosts of Detroit techno collide with subs and breakbeats of UK jungle across two discs of incredibly detailed and sympathetic dance music. All the classic instruments, sounds and patches are present and correct but Prior adds fresh new spin and patina on these well established dancefloor building blocks, resulting in an LP which though accessible and warming to the ear, pushes things forward enough to keep those with a penchant for future technologies more than happy. Recommended! 


                                                                          STAFF COMMENTS

                                                                          Sil says: Very very gentle and soothing deep house and ambient tracks in this resoundingly good EP. My choice of the week. Make it yours!

                                                                          Strut continues its essential compilation series of Indian Ocean sounds with ‘Alefa Madagascar’, the first compilation to document the unique culture of salegy, soukous and soul on the island during the ‘70s and ‘80s.

                                                                          Originating as far back as the 15th Century through folkloric ceremonial music and an a cappella chanting style called antsa, salegy emerged as a fast-tempoed local dance style based on 6/8 and 12/8 rhythms. By the ‘60s, radio was bringing in new sounds from the Congo, Mozambique, South Africa and Kenya and Jean Francois de Comarmond’s Discomad label championed a new generation of artists breaking the mould with their own new fusions of styles as electric instruments replaced the traditional. The strong call-and-response dialogues, rich vocal choruses and rolling triplet feel in the rhythm sections all boasted a unique Malagasy sensibility and singles started selling tens of thousands of copies, rivalling any foreign music at the time. Local pop was sometimes referred to as tapany maintso (half-green) a reference to the stickers on singles from the other key label in Madagascar, Kaïamba, many of them produced by Charles Maurin Poty whose work was crucial in shaping the emerging genre.

                                                                          ‘Alefa Madagascar’ showcases the rich variety of sounds during this heyday of Malagasy music: Roger Georges’ ‘Mama’ and Jean Kely et Basth’s ‘Andosy Mora’ bring the raw energy of salegy, influential band Los Matadores drop military drums and Hammond soul in the classic ‘Andeha Hanarato’; Mahaleo’s ‘Izahay Mpamita’ showcases the band’s powerful folk sound, a crucial voice emerging from the Rotaka farmer and student protests of 1972, while Terak’Anosy Group work around a stomping Congolese guitar groove. The era paved the way for many of the household names of Malagasy music today including Jaojoby, D’Gary and Lego. Mastered by The Carvery and featuring cover artwork by top illustrator Lewis Heriz, ‘Alefa Madagascar’ is released on 16th August 2019 and is compiled by Réunionese DJs La Basse Tropicale and Percy Yip Tong (Mauritius). Physical formats feature sleeve notes by influential producer Charles Maurin Poty and Banning Eyre of Afropop Worldwide.

                                                                          First ever compilation documenting the heyday of Malagasy music during the 1970s and 1980s. All tracks officially licensed in conjunction with the Discomad and Kaïamba labels. Includes sleeve notes by legendary producer Charles Maurin Poty and writer Banning Eyre. Latest instalment in Strut’s ongoing series documenting some of the best original music from the Indian Ocean region.

                                                                          STAFF COMMENTS

                                                                          Sil says: Heart warming and with plenty of exotic soul and funk to fill your cold nights ahead. These are rarities for us westerners and sound as fresh as when they were created. Recommended to those who like 'world music' - like me!

                                                                          Crypt Witch

                                                                          Bad Trip Exorcism

                                                                            After a busy 2019 with Polytechnic Youth, it’s sister label has been somewhat neglected of late. So, it is with great pleasure that Deep Distance returns to the fray for what could just be it’s only release this calendar year. And man, what a curveball this one is… Better known for it’s kosmische / kraut grooves from the likes of Cosmic Ground, ZOFFF, Cavern of Anti-Matter and Eat Lights Become Lights; Deep Distance takes an unexpected venture by turning to German based CRYPT WITCH for the vinyl version of their debut full length “Bad Trip Exorcism”.

                                                                            Unexpected in so much as Crypt Witch offer up heavy instrumental stoner / doom jams. Super heavy hypnotic riffs that tip their hat at one moment to some of the drawn out, riffier Spacemen 3 live bootleg jams whilst maintaining an equal footing in prime Sabbath territory. These are whacked out stoner jams of the highest order. The CD sold out instantly and this vinyl version (complete with numbered poster insert) is keenly anticipated and will sell out pretty swiftly upon release….

                                                                            “In a dark crypt, at the bloody altar, with the shimmering candles, one priest performs an exorcism rite. With the help of a magic spell book written in the blood of a young virgin, supported by a large portion of marijuana and a huge guitar in his hands, he expels the spirits tormenting the people. Hypnotizing drums are put into trance, reveal the darkest corners of the subconscious. At their call, evil spirits are led and climb out of their holes. They cannot resist the weight of the guitar and disappear in its slow and heavy sound. And if you are harassed by evil spirits, it is time to listen to the album "Bad Trip Exorcism" and to conduct your own exorcism”

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: 300 copy green vinyl LP w/numbered poster inserts.

                                                                            Gauche

                                                                            People’s History Of Gauche

                                                                              A People's History of Gauche, a collective catharsis of anger, frustration, and trauma through creativity. Jason P Barnett, Adrienne CN Berry, Mary Jane Regalado, Pearie Sol, and Daniele Yandel find their agency and joy through creating and performing music together in 36 minutes of groove-filled power punk. When asked about the genesis of the title of their Merge debut, Daniele cited this definition: A people's history, or history from below, is an account of events from the perspective of common people rather than leaders, the story of mass movements and of outsiders. It's a fitting title for an album that tackles such heavy topics as anxiety, capitalism and colonialization, and healing ancestral traumas, as well as dismantling and dissecting patriarchy, creating beauty in the face of oppressive forces, and resisting exploitation. These are vital songs manifested in a celebratory manner, created quickly through the group's self-proclaimed "Gauche magic." Recorded with Austin Brown (Parquet Courts) and Robert Szmurlo in Brooklyn, NY, and with Jonah Takagi (Ex Hex) in DC, A People’s History of Gauche marks the first time the band worked with people outside of their ranks, resulting in a fuller sound that boasts more intricate instrumentation.

                                                                              From the very first line of album opener “Flash”—“Light’s supposed to show the way, not over-expose it”—Gauche are here to compel us to dance while singing along about society’s universal struggles. Gauche undoubtedly make art, but their guiding tenet is craft. "When I say that, I mean in the sense that Art with a capital A is thought of as something rarefied, something outside the context of everyday life, outside of everyone's grasp or potential," expounds Daniele. "That sense of craft, of something you return to every day and is valuable because it is something you share in common with all people, is how I think of music. Well, good music at least." Gauche bring us music and movement and struggle and light, and now it is our job to dance! 

                                                                              FORMAT INFORMATION

                                                                              Deluxe LP Info: Limited opaque pink & white marbled vinyl LP plus exclusive 7" clear flexi disc.

                                                                              Deluxe LP includes MP3 Download Code.

                                                                              Esa Williams is not only a musical polymath but also passionate about connecting people through music - be it as a skilled DJ, an educator in production, a band leader reigniting the legendary Ata Kak band from Ghana, or a collaborator with the likes of Mim Suleiman or Auntie Flo. A firm favourite on the DJ circuit, he held a monthly residency at Phonox London for over 6 months - bringing guests such as Nu Guinea to Brixton audiences - as well as delivering memorable sets at Dekmantel, Atlas Festival, Boiler Room and more.

                                                                              The last few years have seen a recent surge in interest in South African music from the 80s and 90s, including bubblegum, which was recently showcased on Soundway’s critically acclaimed 2018 compilation Gumba Fire: Bubblegum Soul & Synth Boogie in 1980s South Africa, put together by DJ Okapi. It was only natural that the label looked to delve deeper into the country’s rich musical legacy and tap another of its esteemed ambassadors for the role of compiler.

                                                                              The result is a rainbow of complementary electronic styles hailing from not only South Africa but further afield, including zouk from Brazil and the French Antilles, as well as Afro-futurism. Together, they form a comprehensive picture that connects the dots of Esa’s musical journey - from growing up in South Africa, to artists he has encountered in his worldwide travels who have helped develop his identity as a musician.

                                                                              One such artist is South African icon Penny Penny, whose kwaito house anthem “Shilungu” has been made available for the first time on vinyl since its original 2001 release - both on Amandla, as well as on the compilation’s 12” teaser released by Soundway in May 2019. Penny Penny’s first album “Shaka Bundu”, while a hit in South Africa on its initial cassette release in 1994, it was reissued by Awesome Tapes From Africa in 2013, propelling him and the sound of Tsongah disco into the global spotlight. 


                                                                              STAFF COMMENTS

                                                                              Patrick says: Big up yourself Esa! Not only is this man a thoroughly nice chap, talented producer and globetrotting collaborator, he also has ALL THE TUNES. If you're after the finest diasporic dance floor bangers old and new, this is the comp for you. Special mention goes to the essential instrumental version of Alaska's "Accuse", Matt Ward's favourite Kwaito banger 2014...

                                                                              Various Artists

                                                                              Return To The Mothers' Garden (More Funky Sounds Of Female Africa 1971 - 1982)

                                                                              "For you will find, as women have found through the ages, that changing the world requires a lot of free time. Requires a lot of mobility. Requires money, and, as Virginia Woolf put it so well, 'a room of one's own,' preferably one with a key and a lock. Which means that women must be prepared to think for themselves, which means, undoubtedly, trouble with boyfriends, lovers, and husbands, which means all kinds of heartache and misery, and times when you will wonder if independence, freedom of thought, or your own work is worth it all. We must believe that it is. For the world is not good enough; we must make it better."

                                                                              (cite. Alice Walker: In Search Of Our Mother's Garden, 1983)

                                                                              In 2018 we introduced our first Mothers' Garden compilation on International Womens' Day. This compilation looked to shine a light on the often under-acknowledged musical contribution from female African artists. In 2019 we are back with Volume 2 presenting yet again some of Africa's most recognised female artists alongside some lesser known artists. Whilst the roster might have changed slightly, the quality of music is as funky as before and the message stays the same.

                                                                              First up is the wonderful Theodora Ifudu. Another Nigerian star who made it both in music and TV, Theodora produced two studio albums with all the glitz and glamour you would expect from a New York film school graduate. "This Time Around" is the title track from her 1983 album and provides a dose of irresistible disco vocals over the top an effortless groove. Next up is fellow Nigerian Oby Onyioha with her offering "Enjoy Your Life". This laidback disco number sees Oby repeat her infectious mantra, "Enjoy Your Life" with a backing provided by well-arranged strings and horns. Nana Love comes steaming in next with her fast-paced number "Talking About Music". Love is an accomplished singer, songwriter and bandleader and was produced by her husband Reindorf Oppong. The lesser known Joy Nwosu follows with an afrobeat number from the Afrodisia records vault. Finishing the A-side is none other than Mother Africa, Miriam Makeba. Whilst on the first Mothers' Garden we showcased her song "Xica Da Silva", this time round we present one her most well known numbers "Malaika".

                                                                              On the flip, the delightful Ivorian singer Nayanka Bell steps up with her 1981 song "Just A Boogie", which as the name suggests is nearly 4 minutes of pure boogie goodness. Another female-Afro legend next with Christy Essien and her second outing on Mothers' Garden. "Nobody Can Stop You" is off her 1980 album, "Give Me A Chance". Nigeria's "Lady Of Songs" always sought to fight for the women of Africa and especially artists. Her songs such as this one sought to deliver strength and help build a more tolerant and peaceful Nigeria. Another Ivorian follows the might Christy with a fast paced, synth infused throwdown "N'Ziketio". Next is Cameroonian makossa singer, Bebe Manga presenting her 1980 "Lokognolo" which demonstrates why she is considered one of the most popular makossa singers of the 1980s. Finishing of Mothers' Garden 2 is the little known Togolese singer Sissi Massila. This deep and haunting song draws the record to a close with an air of reflection amidst a beautiful lingering melancholy.





                                                                              STAFF COMMENTS

                                                                              Patrick says: Africa Seven are back with another all female set of pan African heat, lining up ten of the best Afro-disco and boogie bombs you could ever wish to hear. Dig in for classics from Oby Onyioha, Nana Love and Christy Essien plus a whole lot more!

                                                                              February in West Texas. The light low and the days still warm and sweet. The air bright with red-tailed hawk and blue bunting, with the shink and rattle of the green jay. On a pecan ranch east of El Paso, its orchards running down to the Mexican border and the waters of the Rio Grande, a thrum of activity - song, saxophone, dancers, drums, guitar, synths; the sound of something taking shape. Here, 1500 miles from Wisconsin, from where this all began, a new season.

                                                                              When Bon Iver released For Emma, Forever Ago in early 2008 it introduced Justin Vernon as one of the most gifted songwriters of his generation and revealed a sound that was distinct - tethered to time and to place, to a season of contemplation and the crisp, heart-strung isolation of a northern Winter. Its successor, the self-titled Bon Iver, Bon Iver, brought something more frenetic, the rise and whirr of burgeoning Spring, of hope and sap and movement. In 2016's 22, A Million, Vernon came to see something different again: "It was," he says, "our crazy energy Summer record." The band's fourth album, i,i, completes this cycle: a Fall record, Vernon says, autumn-coloured, ruminative, steeped.

                                                                              "It feels very much like the most adult record, the most complete," says Bon Iver's Justin Vernon. "It feels like when you get through all this life, when the sun starts to set, and what happens is you start gaining perspective. And then you can put that perspective into more honest, generous work."

                                                                              The core band for the i,i sessions included Sean Carey, Andrew Fitzpatrick, Mike Lewis, Matt McCaughan, and Justin Vernon with Rob Moose and Jenn Wasner, plus contributions from James Blake, BJ Burton, Brad andPhil Cook, Aaron and Bryce Dessner, Trever Hagen, Zach Hanson, Bruce Hornsby, Channy Leaneagh, Rob Moose, Naeem, Velvet Negroni, Buddy Ross, Marta Salogni, Francis Starlite, Moses Sumney, and the members of TU Dance.

                                                                              When sessions for i,i moved from April Base to Sonic Ranch, Bon Iver took full advantage of the facility, sometimes utilizing all five of the studio's live rooms simultaneously. "It allowed us to feel confident and comfortable, to be completely free of distraction," says Vernon of the move. "I don't think I left the property in six weeks. And in many ways the story of the album is the story of those six weeks rather than the almost six years of some of the songs."

                                                                              The tenure at Sonic Ranch brought Vernon to a calmed creative state that he channeled into the heart of each song. Freed from the vocal distortion that once mirrored a period of fear and panic, he sings about the balance between the individual and the community, inspiration and creation. Vernon adds, "The title of the record can mean whatever it means to you or me. It can mean deciphering and bolstering one's identity. It can be how important the self is and how unimportant the self is, how we're all connected."

                                                                              STAFF COMMENTS

                                                                              Barry says: Is there no end to JV's talents? He was the poster boy for brittle, morose hilltop acoutictronica for a good few years, and has seamlessly morphed into a modern take on the progressive chord structures and vocal layering of 70's rock or the percussive immediacy of 80's synthpop.

                                                                              FORMAT INFORMATION

                                                                              LP Info: A beautiful package, the black vinyl is housed inside a matte finished gatefold jacket with spot gloss inks, wrapped in a clear plastic printed sleeve, and contains a full-colour 28 page booklet.

                                                                              LP includes MP3 Download Code.

                                                                              After immersive and emotive contributions from Jan Schulte and Moonboots, Music For Dreams' collectors series continues to delight with this playful and profound selection from Growing Bin curator Basso.

                                                                              A longtime friend of the legendary Copenhagen label, Basso is a 5th dan black belt in the ancient art of digging, a fearless selector and adroit editor who knows more about records than anyone you know. On its journey from blog to shop to label, the Growing Bin has become the perfect embodiment of its creator - smarter than the average bear, eagle-eared and very very funny - the kind of cat who's just as comfortable serving cocktails by the pool as taking an esoteric road-trip. So sit back, let the falanghina chill and load up on sonic sunscreen.

                                                                              Armed with birdsong, backbeat and Spanish guitar, Hans Hasse says hello via the sumptuous Austrian Balea-rock of 'Welche Farbe Hat Der Wind', an AOR albatross which soars high above the cliff tops, chills on the jet-stream then dives deep into scat silliness. This impactful opener gives way to cucumber cool 'The Dawn', a forgotten jazz break from stoner heroes DJ Food built entirely from tender tabla, horizontal synthlines and positive energy - strictly high grade folks...

                                                                              How do you follow such a downbeat delight? With something from Golden Pudel resident and acid-techno warlock RVDS of course! But before you raid your medicine cabinet, remember that beauty can be found everywhere, and nestled away in Richard von der Schulenburg's 2016 outing "Shadows" was ketamine bossa lullaby 'Minuet de Vampire'. As the clean bass tones and simple rhythm stroll through the shadows, a haunting harp line tugs at your heartstrings, pulling you into the light and holding you tight. The harp-healing continues on Horizont's 'Light Of Darkness', an esoteric odyssey with the greatest key change you'll ever hear, and a dreamy segue into Xiame's sedate jazz-pop pearl 'Nosso Destino'.

                                                                              Basso brings the first disc to a close with an all time Growing Bin favourite, Mico Layczak. Here the NDW queen is in more restrained mode, conjuring an avant pop paradise with the atmospheric 'Im Garten' - a dead cert for any fans of MFD alumni 55 Canri E.

                                                                              At the top of the C-side, Massimo Stella's 'C'è Una Donna Sola' explores another Growing Bin speciality - acceptable fusion. This sweet Mediterranean shuffler makes a delightful defence of jazz's most maligned sub-genre before the esoteric, organic and new age flavours intensify on Trimolo's 'Tempo 100', a subtle groover topped by breezy flute and clipped guitar licks. Moving from woodland to wave, Basso introduces a man who definitely wore his sunglasses at night, unsung synth popper Diedel. Eerie and emotional, 'Wo Seid Ihr' is the sound of Don Johnson driving that white Spyder down the autobahn at night.

                                                                              Taking a turn towards the dance floor, Basso serves up Mikey D's 'I Need You', an exceptionally rare German streetsoul bomb in dubform, complete with sampled vox and high school prom vocals before flexing his scalpel skills via an expert extension of German rockers' Wolfsmond's groovy 'Fühl Dich Frei', a serious secret weapon for any Balearic DJ.

                                                                              The tempo drops to a cinematic stroll with Ghia's 'You Won't Sleep On My Pillow', a sweet synth pop serenade which cuts straight to the heart of the break up, keeps its cool and soundtracks your slow dance at the end of the night. And to finish, how about the most moving electronic jam ever, Jean-Philippe Rykiel's "Fair Light", a shimmering, shining jazz-rock opus played entirely on synth.

                                                                              So there you have it, a selection of rare cuts, Plattenrille discoveries, organic excursions and electric lullabies, all perfectly at home in the Growing Bin. Whether you're coping some rays, watering the plants or tackling the tax return, 'Proper Sunburn' will ensure you keep your cool and stay smiling. Copenhagen's Music For Dreams has done it again with this release for the proper connoisseurs.


                                                                              STAFF COMMENTS

                                                                              Patrick says: Deep digger, super selector and Growing Bin man Basso follows Jan Schulte and Moonboots with the latest Music For Dreams selection. As you'd expect from the Hamburg man, we get German AOR, woodland ambience, summery synth pop and jazz funk delight - all of which sound deeply Balearic to me. We've hammered our promo copy on the shop stereo for months, and you can finally join the club!

                                                                              Lana Del Rey

                                                                              Norman Fucking Rockwell!

                                                                                The highly anticipated album was mainly produced and co-written with Jack Antonoff and will include ‘Venice Bitch,’ ‘Mariners Apartment Complex,’ ‘hope is a dangerous thing for a woman like me to have - but I have it,’ and the current release, a cover of Sublime’s ‘Doin’ Time’.

                                                                                STAFF COMMENTS

                                                                                Barry says: After hearing the beautiful acoustic balladry of 'Mariners Apartment Complex', it would be easy to assume that though Del Rey's songwriting has bloomed into a complex and beautiful marriage of tender folk and indie her influences have remained similar until you hear her lovely take on 90's skate-ska slackers Sublime's 'Doin' Time'.

                                                                                FORMAT INFORMATION

                                                                                2xColoured LP Info: Limited edition translucent blue vinyl.

                                                                                2xLP Info: Standard black vinyl edition.

                                                                                "Wallop", the band’s eighth LP, is another stellar addition to the wildly impressive catalog they’ve built over the course of nearly two decades and stands as a testament to their hardworking approach and ceaseless desire to push things further. Recorded over the past year in lead singer Nic Offer’s Brooklyn apartment, the band picks up where 2017’s "Shake The Shudder" left off, further exploring the fringes of dance music with a focused edge and a care-free spirit.

                                                                                "Wallop" sees friends from across the spectrum appearing on a number of tracks, including Liars frontman Angus Andrew, Maria Uzor of British dance aesthetes Sink Ya Teeth, and Glasser's synth-pop wizard Cameron Mesirow, who all join Offer and !!! co-vocalist Meah Pace on this barn-burning party of a record. With an array of producers lending a hand - including Cole M.G.N. (Ariel Pink’s Haunted Graffiti, Julia Holter), Graham Walsh (Holy Fuck), and longtime collaborator Patrick Ford - "Wallop" was eventually stitched together to reflect the colorful, body-moving tapestry that its end result represents.


                                                                                STAFF COMMENTS

                                                                                Barry says: It's not a party until !!! show up, and they've arrived just in time to soundtrack this new release week. Surprising twists and turns abound (exactly as you'd expect), lots of day-glo melodies and huge effervescent melodies bolstered with huge 80's 'verb. Textbook !!!.

                                                                                FORMAT INFORMATION

                                                                                2xColoured LP Info: Indies exclusive green and pink vinyl.

                                                                                2xColoured LP includes MP3 Download Code.

                                                                                Forever Turned Around came together over several sessions across the country. Though Julien Ehrlich is Whitney’s lead singing drummer while Max Kakacek is the lead guitarist, when writing, both transcend their roles to piece together each offering lyrically and compositionally. “The way it ends up working is one of us comes up with a basic idea for a song and the other person serves as the foil to complicate that idea. We ask, ‘What can we change to make it more interesting?’” says Kakacek. Challenging each other is the core of their songwriting partnership.

                                                                                It’s these risks and experiments that make Forever Turned Around a triumph. Take opener “Giving Up,” which started from a stream-ofconscious revelation when Ehrlich improvised the chorus while Kakacek played Wurlitzer. What began as a nod to Neil Young’s Live at Massey Hall 1971 in an afternoon turned into a heart-rending and relatable song about the ups and downs of long-term relationships. Over twinkling piano, Ehrlich sings, “Though we started losing touch / I’ve been hanging on because / You’re the only one I love.” He explains, “In a relationship, you don’t stay at the same level at all times. You go through weeks where you’re closed off.”

                                                                                After a session with producers Bradley Cook (Hand Habits, Hiss Golden Messenger) and Jonathan Rado (Weyes Blood, Father John Misty) helped color in the arrangements, the album truly revealed itself when they reunited with original rhythm guitarist Ziyad Asrar in his basement Chicago studio—the same place where they hashed out much of their critically acclaimed 2016 debut, Light Upon The Lake. “Getting down there was so important because we’ve always used that basement for music. The comfort and familiarity mattered but having Ziyad be a buffer between us was so helpful,” says Ehrlich. With Asrar, songs like “Song For Ty” and “Forever Turned Around” effortlessly came together.

                                                                                Restlessness is at the heart of Whitney’s resonant and stunning sophomore album Forever Turned Around. As Ehrlich and Kakacek realized life can change almost instantly. Priorities shift, relationships evolve, home can become far away, and even when luck momentarily works out, there’s still that underlying search for something better. Happiness can be fleeting but this album proves that even when it feels like time is turning on its head and there’s either a moment of clarity or crippling doubt, there’s still beauty in figuring it all out.

                                                                                STAFF COMMENTS

                                                                                Barry says: Whitney are absolutely unmistakable. After their 2016 outing 'Light Upon The Lake', i'm pretty sure i'd recognise those vocals anywhere. Stunning upbeat jangles, soulful progressions and smooth-as-silk percussion throughout.

                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Indies exclusive 'forest brown' coloured vinyl.

                                                                                “This is our punk record,” says Ezra Furman, introducing his new album Twelve Nudes, yet another incendiary and inspiring classic from the singer/ songwriter/ guitarist/bandleader. “We made it in Oakland, quickly. We drank and smoked. Then we made the loud parts louder. I hurt my voice screaming. This was back in 2018, when things were bad in the world. The songs are naked with nothing to hide.”

                                                                                Immediate proof is offered by ‘Calm Down’ (aka ‘I Should Not Be Alone’), the album’s insanely catchy opening track and lead single, bound up in a compact two minutes and 22 seconds. “’Calm Down’ is so desperate, and not what I want to say about the world,” says Furman. “I think we curate our reactions to current news because we’re overwhelmed by how bad it is, and I noticed I was suppressing how bad I truly felt. I wanted music that gave me permission to feel how it felt to live in a broken world, which punk rock does.”

                                                                                Furman’s preceding album, 2018’s Transangelic Exodus, was “an angry and fearful and pent-up reaction to events too,” he recalls. “But it was a carefully written and recorded version; we took a lot of time with edits and overdubs. I knew I wanted I make this album quickly and not spend time thinking how to play the songs. Twelve Nudes is a ‘body’ more than a ‘mind’ record - more animal than intellectual., And by affirming negativity, it gives you energy, to reject stuff. There’s more space for positivity.”

                                                                                Far from being defeated by a world in turmoil, Furman’s productivity has only increased the worse things have got - and he’s taken up different disciplines to boot. Between Transangelic Exodus and Twelve Nudes, the 33⅓ imprint published his deeply personal, thoughtful and incisive book on Lou Reed’s legendary 1972 album Transformer, before Furman scored the soundtrack to Netflix’s acclaimed comedy Sex Education (it aired in January 2019), which showcased the tender side of his songwriting.

                                                                                But all his pent-up energy had to be channelled somewhere: hence Twelve Nudes, which Furman and band recorded in October and November 2019 before the album was mixed by the venerated producer John Congleton (Sharon van Etten, St Vincent, John Grant). Furman says the album has two spiritual heroes – the late great punk rock rocker Jay Reatard, and Canadian poet, philosopher and essayist Anne Carson. “She’s one of my top three living writers,” he says. “Anne had these visions, or meditations, to deal with the intense pain in her life, which she calls ‘nudes’, and similarly these songs are meditations on pain and recognising what’s there if you go digging around in your anger and fear and anxiety. So, my album is called Twelve Nudes.”

                                                                                The positivity of negativity flows throughout the album, distinguished by sharp, lacerating observations, confessions and proclamations, with Furman the indefatigable cheerleader. “And if you’re really at the end of your rope / No you don’t take the night off/ Too many demons to fight off” he wails in ‘Transition From Nowhere To Nowhere’. The song’s slower pace and becalmed verses underlines Twelve Nudes’ musical remit - less stereotypical punk than raw, raucous rock’n’roll (as Furman points out, The Ramones’ punk classicism included songs influenced by Phil Spector ballads). Check also ‘I Wanna Be Your Girlfriend’ and ‘In America’, shaped respectively by Furman’s love of ‘50s doo-wop and Springsteen, while ‘Trauma’ is molten and leaden like Black Sabbath.

                                                                                But in ‘Rated R Crusaders’, ‘Thermometer’, My Teeth Hurt’ (surely the first lyrical reference to “dental insurance”) and the 58-second ‘Blown’, punk rock’s flailing energy is alive and kicking. As the pell-mell finale memorably puts it, given our increasingly moribund and morally bankrupt society, ‘What Can You Do But Rock N Roll’?

                                                                                Furman has long sought out rock’n’roll as a panacea for his ills (from ‘Thermometer’: “I got the fever at a tender young age / I joined society and drank the Kool-Aid”). He now lives in Oakland but he grew up in Evanston, a northern suburb of Chicago: at school, “I’d beat myself up for not being a successful, popular kid. I’d lose my homework, get bad grades: they’d call me a space cadet.” But Green Day’s Dookie album woke him up (“the songs were all about being maladjusted, which I began wearing as a badge of honour”), and Green Day led to The Sex Pistols, “and I was never the same again.”

                                                                                Fearing for her son’s well-being, his mother bought Furman a book of Dylan songs: “I then thought, I’m going to be a good songwriter.” Lou Reed was another, “devastating” discovery, and from all these influences, Furman’s frayed, emotional brew of garage-rock took shape, backed by bands variously known as the Harpoons, the Boy-Friends and, most recently, the Visions - though for Twelve Nudes, there is no band name. “Right now, I just don’t care,” he declares. “The same as I feel about what gender pronouns people use for me.”

                                                                                The issue of gender arose after Furman made a splash with his 2013 album Day Of The Dog (the last album he made this quickly, he says). Finally vindicated and verified, he started to publicly dress on the outside what he had been increasing feeling on the inside, with more frankness in his lyrics about sexuality and gender (he calls Twelve Nudes, like Transangelic Exodus, “a spiritually queer record”).

                                                                                The teen angst he’d experienced, from identity crisis to buried feelings, made Furman the ideal candidate to soundtrack Sex Education, mixing older tracks with new (‘Coming Clean’, ‘Every Feeling’ and a cover of ‘Origin Of Love’ from the musical Hedwig & The Angry Inch. Ezra and band also appeared in one episode, at a school dance).

                                                                                “This record is political,” says Furman, “but it offers an emotional reaction rather than being specific or partisan.” Furman’s Jewish identity shapes ‘Rated R Crusaders,’ triggered by the Israel/Palestine conflict and its complex web of refugee trauma. ‘Trauma’, meanwhile, seethes with the spiritual malaise brought on by watching wealthy bullies accused of sexual assault rise to power. America, Furman well knows, is balanced on a knife-edge between white male supremacy and the dream of universal opportunity; hence the references to Mexico, slave-owners and US ‘founding father’ Ben Franklin in ‘In America’. As Furman sings, reiterating the spirit of punk rock, and positivity, “Put it all in a two-minute pop song / A really-mean-it-a-lot song for America.”

                                                                                “One of my goals in making music is to make the world seem bigger, and life seem larger,” he concludes. “I want to be a force that tries to revive the human spirit rather than crush it, to open possibilities rather than close them down. Sometimes a passionate negativity is the best way to do that.”

                                                                                Or, in the words of the fantastic, rousing ‘Evening Prayer’ (aka ‘Justice’): “If you’ve got the taste for transcendence / Then translate your love into action / And participate in the fight now / For a creed you can truly believe.”


                                                                                STAFF COMMENTS

                                                                                Barry says: He's proper on one here is Ezra, smashing through this snarling, fuzzed out swathe of punky thrashers like he's never done anything else. Thoroughly unexpected, but accomplished with the sort of expertise we've seen from him in a variety of musical subjects. Another instant classic.

                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Yellow vinyl.

                                                                                Coloured LP includes MP3 Download Code.

                                                                                Carter Tutti Void

                                                                                Triumvirate

                                                                                CARTER TUTTI VOID (Chris Carter, Cosey Fanni Tutti and Nik Void) have announced their third and final studio album containing all new studio recordings, Triumvirate brings Chris Carter, Cosey Fanni Tutti and Nik Void’s collaborative partnership as Carter Tutti Void to a conclusion.

                                                                                The trio first came together as a collective for a live performance, in-vited by Mute for the Short Circuit Festival in 2011 and released their acclaimed debut, the live album Transverse the following year. Carter Tutti Void went on to release f(x) (Industrial Records, 2015), their first stu-dio recording and performed a handful of selected shows, culminating in their final live performance in Hull, part of a series of events for Hull City of Culture 2017 centred around the COUM Transmissions retrospective at Humber Street Gallery.
                                                                                For some time Carter, Tutti and Void have been awaiting an opportunity when all three artists were able to gather at Carter and Tutti’s Studio47 in Norfolk, where the album was recorded, produced and mastered. Triumvirate was ap-proached with the improvisational spirit of previous Carter Tutti Void albums. The rhythms, created by Chris Carter, formed the foundation and starting point from which the process began of melding the live instrumentation of Cosey Fanni Tutti and Nik Void’s searing guitars, vocals, effects and the arsenal of sounds each had amassed from a variety of sources, some sounds manipulated to extremes, all fed into the mix. Tying the album together is the power of three, and a free open approach to sound shared by the trio.

                                                                                Carter Tutti Void are Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Void (Factory Floor / NVPR). Chris Carter recently released his first solo album in 17 years, Chris Carter’s Chemistry Lessons Vol. 1 (Mute, 2018) and Cosey Fanni Tutti’s TUTTI, her first album since 1982, came out ear-lier this year on Conspiracy International (home of Chris and Cosey since 1982). Nik Void is currently working on her debut solo album.

                                                                                STAFF COMMENTS

                                                                                Barry says: I love Chris Carter, Cosey Fanni Tutti and Nik Void (inc. the superb Factory Floor, obviously), but there's some sort of unfathomable symbiosis when the three of them get together. It's a perfect marriage of intention and spread of influence over the whole record, and it couldn't be any more fitting a cessation of their project. Superb.

                                                                                FORMAT INFORMATION

                                                                                LP includes MP3 Download Code.

                                                                                Olivia Jean

                                                                                Night Owl

                                                                                  Olivia Jean is back on the beat with her second full-length (and first self-produced) album, Night Owl, due out August 30, 2019 on Third Man Records. The album mines the shared spaces between bubblegum, beach pop undercurrents and fuzzed out garage a la B-52s and Dick Dale, lyrically diving headfirst into the frustrations of perfectionism, mental barriers, obsession and modern heartache. Unlike Bathtub Love Killings on which we found Olivia playing every instrument on the vast majority of the album, Night Owl is decidedly more collaborative, with a studio band of buddies backing up her up. Night Owl is exactly what it sounds like: the wee-hour workings of an artist engrossed in a project, pushing against omnipresent forces of fear and judgment to do exactly what you’ve always wanted to do and be exactly what you’ve known you are. It’s candy-coated and also bittersweet, fully aware and also full-hearted.

                                                                                  Joan Shelley

                                                                                  Like The River Loves The Sea

                                                                                    Much of this album was recorded in Iceland. Breath warm from singing rises into frozen air. Atomized. A million bright blue crystals — the fractal branching of the lungs — drift back to earth. Radiant, refracting. Clear notes melt like perfect soft snow. Straight lines curve and curve again.

                                                                                    Much of this album was recorded in Iceland, but Joan Shelley wrote these songs in Kentucky. That’s the dirt clinging to their roots. The wind blowing through Osage orange and pine trees is the joy and ache and urgency of these songs. It’s the silence and the music. It’s the space between time and words and the stillness in Joan’s voice. The world spins more slowly. Moss overtakes a fallen tree.

                                                                                    Kentucky is where we plant seeds of regret and stay to watch them flower.

                                                                                    Maybe Mark Twain said that Kentucky (always five years behind the times) was the perfect place to ride out the apocalypse. Maybe it’s twenty years. Maybe it’s apocryphal. That doesn’t mean it isn’t true.

                                                                                    “And oh, Kentucky
                                                                                    Stays in my mind it’s sweet to be five years behind
                                                                                    That’s where I’ll be
                                                                                    When the seas rise
                                                                                    Holding my dear friends and drinking wine...”

                                                                                    Maybe the world outside has already vaporized. Maybe we’re already living on borrowed time. Nathan Salsburg’s guitar pours out clean as water through his fingers, turning over every smooth stone. Bonnie “Prince” Billy’s harmonies stretch time tight enough to break without breaking. Joan’s voice calls us back. Birds are singing outside. Insistent. Don’t miss what’s right in front of you.

                                                                                    STAFF COMMENTS

                                                                                    Barry says: We've had a few great country albums in in the past few weeks (either that or my country appreciation is inexplicably growing), with Lillie Mae's 'Other Girls' on Third Man last week, and now this tender beauty possibly trumping it, all shimmering guitars and soaring vocals over the balmy shimmering Americana-isms working their way underneath.

                                                                                    Bonnie 'Prince' Billy, Bryce Dessner & Eighth Blackbird

                                                                                    When We Are Inhuman

                                                                                      Julius Eastman and Will Oldham are kindred spirits. Self-styled provocateurs, they have positioned themselves on the outskirts of distinct traditions, pulling all manners of musical influence towards their outré stance. Eastman, who passed away in 1990 and whose work is experiencing a necessary revival, harnessed the vocabulary of minimalism for joyfully insurgent ends; Oldham’s songwriting regularly conjures a pantheon that Greil Marcus called “the old, weird America.”

                                                                                      Last spring, these two visionaries collided at Cincinnati’s MusicNOW Festival, and any distance between them was mediated by curator Bryce Dessner and ensemble Eighth Blackbird. On this album, woven between new arrangements of Oldham’s cryptic songs and Eastman’s iconic “Stay on It” are several of Dessner’s “Murder Ballades,” works that tease out the homicidal strain of old folk tunes. In “Down in the Willow Garden,” a classic Appalachian tune, Oldham sings bleary-eyed atop harshly twanging timbres; “Underneath the Floorboards” takes inspiration from a recent murderous classic by Sufjan Stevens.

                                                                                      These explorations of violence are natural fits for Oldham, who has always examined the interstices between intimacy and cruelty. Four of his songs appear here in new, sumptuous arrangements by pianist Lisa Kaplan. In Cincinnati, Oldham compared working with Eighth Blackbird to becoming acquainted with a “haunted house,” continually returning to the same spot and observing how his fear was interlaced with a charged energy. The arrangements push Oldham’s voice to new heights, as in the ecstatic refrain of “New Partner” or the lithe polyrhythms of “Beast for Thee.” On “One with the Birds” and “When Thy Song,” shimmering introductions deploy avant-garde effects as a window into Oldham’s bleak, poignant sound world.

                                                                                      Musicologist Matthew Mendez has identified the web of influences on Eastman’s “Stay on It”: a post-Stonewall queer subjectivity, which the composer-performer flaunted; disco hits by Diana Ross, to which Eastman regularly danced at a Buffalo gay bar; and 1970s minimalism, via Eastman’s emphasis on what he called not “the pulse” but “the beat.” “Stay on It” was worked out in performance in the ‘70s, and no complete score exists. This live rendition, based on archival recordings, sharpens the edges of Eastman’s music while still capturing its anarchic ideal. Oldham’s repetitions of “Stay on it” are subversively subdued, and Dessner’s guitar inserts a punch of the urbane. The riff mutates, changes, fades away, returns triumphantly. It overpowers and is overpowered. Boundaries between musicians and audience dissolve––in concert, percussionist Matthew Duvall ran off the stage to make a surround-sound ruckus––addressing the broader political hierarchies that Eastman sought to triumphantly topple. The party is political. – Will Robin

                                                                                      STAFF COMMENTS

                                                                                      Barry says: Well, it's hardly surprising that Bonnie Prince Billy, Bryce Dessner and the chamber music majesty of Eighth Blackbird could collaborate and come up with anything less than absolute gold. Here is the result, and it's a meditative and moving collection of slow classical ballads, overlaid with the unmistakeable vocal charms of two of the most well regarded musicians of modern times.

                                                                                      Velvet Negroni

                                                                                      NEON BROWN

                                                                                      On Neon Brown, Velvet Negroni is a griot relaying the life and times of his own island—it’s a singular place, with the squeak and thrum of guitar strings looped over drum machine beats accented by steely marimbas, all creating a pocket for one of the most authentic and original artistic voices ever committed to tape.

                                                                                      You follow his voice as it rhymes in double time, or hiccups and la-las through a break, or croons from a room down the hall, as it unfolds into another story of lost love, or another joke about lost drugs, as he tries to make sense of a life spent in the (sometimes harrowing) pursuit of communion.

                                                                                      Turns out what sounds like a lonely island is in fact the city of Minneapolis. Velvet Negroni grew up in an outer suburb of the Twin Cities as Jeremy Nutzman, a black kid adopted into a white evangelical Christian family. His fundamentalist missionary of a mother drove him to virtuosity, both as a classically trained concert pianist and a competitive figure skater, but he had to climb out his bedroom window to play guitar in his first band.

                                                                                      In 2016 after years of performing under a schizophrenic rotation of various aliases, Nutzman finally landed on a persona that he felt he could be proud of. It was in a fancy cocktail bar in Austin, Texas that he hatched Velvet Negroni. A tour opening for Bon Iver followed, as well as a writing credit on Kid Cudi and Kanye West’s “Feel the Love” off their 2018 album Kids See Ghosts. That same year, he released his first singles on b4, “First Time” and “Crybaby.”

                                                                                      It was in the summer of 2018, together with his friends, producers Psymun (Future, Young Thug, Dua Saleh) and Tickle Torture, that Velvet Negroni composed the stories on NEON BROWN, stories he’s been waiting a lifetime to tell.


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

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


                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: Indies exclusive white vinyl.

                                                                                      Tenesha The Wordsmith

                                                                                      Peacocks & Other Savage Beasts

                                                                                      Tenesha the Wordsmith, who came to the fore on On The Corner’s 2018 release ‘Black Noise 2084’, has delivered a hard-cutting, gut-wrenching, and extremely moving spoken word album produced by Khalab that brings together different lines of black music – folkloric, jazz, and electronic dance – into an afro-futurist narrative with thunderous results. ‘Peacocks & Other Savage Beasts’, set for release on 30 August, lays bare difficult truths and projects the stories of hidden voices, with a warm and heartfelt delivery that envelops the soul.

                                                                                      The poems are dedicated to the intersection, the places where we contemplate identity, culture, trauma and love. ‘Peacocks & Other Savage Beasts’ is a place where they all meet. “I hope between these lines you find healing,” says Tenesha. “I hope your compassion for others grows. I hope you will make the decision you were afraid to make. I hope you will learn how to turn pain into power and purpose. Decide which type of beast you want to be and if you can’t make up your mind, watch the women…”

                                                                                      Originally from Oakland, California, “a place where revolutionaries are born,” Tenesha the Wordsmith originally began to fuse hip hop and poetry while living in Albany, New York, where she created her first collection ‘Body Of Work’. Her early influences have returned with features from beatboxers and vocalists that give the album a distinctly urban hip hop vibe.


                                                                                      Despite almost three decades of active audio duty, Common remains at the cutting edge, and his 12th solo LP, "Let Love" is yet another example of his golden age brilliance. This brand new album includes the new single "Hercules”, as well as recent JAM! “HER Love” featuring Daniel Caesar, special guest Dwele, and an unreleased beat from J mother fucking DILLA. The likes of Jill Scott, Swizz Beats and A-Trak offer assistance on the lovestruck affair, while Common updates his conscious style with shout outs to Cardi B, ASAP Rocky, and Tyler The Creator. This is an album of pure positivity, a place of light in these dark times, and another winner from this legendary artist.

                                                                                      Incredible new original music score by hip hop icon Dan ‘The Automator’ Nakamura (Handsome Boy Modeling School, Gorillaz, Deltron 3030, Kool Keith). Directorial debut by actress Olivia Wilde (‘Rush’, ‘Cowboys & Aliens’, ‘Burt Wonderstone’, ‘In Time’, ‘House’) the movie premiered at SXSW on Olivia Wilde’s 35th birthday. Starring Kaitlyn Dever, Beanie Feldstein, Sklyer Gisondo, Lisa Kudrow, Will Forte and Jason Sudeikis. Written by writer / producers Susanna Fogel (‘The Spy Who Dumped Me’, ‘Life Partners’, ‘Chasing Life’) and Emily Halpern (‘Spartan’, ‘Black-ish’, ‘Heist’).

                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: Blue marble vinyl.

                                                                                      Cabaret Voltaire

                                                                                      Chance Versus Causality

                                                                                        Chance versus Causality is a previously Previously unreleased soundtrack by industrial electronic pioneers Cabaret Voltaire, to 16mm film For Two Projectors by Babeth Mondini from 1979.

                                                                                        Features all original Cabaret Voltaire members – Richard H Kirk, Stephen Mallinder, Chris Watson.


                                                                                        FORMAT INFORMATION

                                                                                        2xColoured LP Info: Limited edition transparent green vinyl in gatefold sleeve.

                                                                                        The S.L.P.

                                                                                        The S.L.P.

                                                                                          Eagerly anticipated debut album from Kasabian songwriter/guitarist Serge Pizzorno. An 11 song album, featuring collaborations with Little Simz & Slowthai. Features the recent single "Favourites", "Nobody Else" & the future masssive dance smash "Trance". Described as 'Kasabian, without the guitars', this is an eclectic mix of Indie/Dance, with big production & bigger beats! 

                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Limited and exclusive clear vinyl edition.

                                                                                          Meatraffle

                                                                                          Bastard Music

                                                                                            We want to convey something political but not delivering it in a way that appears dogmatic or didactic, so some kind of story is created to instil into the brain good old fashioned socialist propaganda, like a loving attachment. ‘The day the Earth Stood Still’, we wanted to sound like The Residents composing an anthem for International Workers Day, an international day of action where the proles down tools and piss off to the seaside simultaneously all around the world, and thus the global Capitalist fiscal system crashes. .’Meatraffle on the Moon’ is an imaginary tale of exploitation of non-unionised space workers in intolerable mental and physical conditions working in our little solar system with the only antidote to their heartache and a complete buckle of legs…a moonbase karaoke bar! “

                                                                                            FORMAT INFORMATION

                                                                                            Coloured LP Info: Limited edition yellow vinyl.

                                                                                            The Futureheads

                                                                                            Powers

                                                                                              The North East indie post-punk band returned to their roots on recent single 'Jekyll', a biting, angular slice of guitar pop. Part of a broader full band project, The Futureheads have now detailed their first full electronic album in a decade.

                                                                                              New record 'Powers' lands on August 30th, with frontman Ross Millard commenting: “Obviously it’s an absolute privilege to come back and still have fans and that’s something to cherish but I also think we’ve got a bit of a job to do about letting people know that there’s more to this band than you might have thought.”

                                                                                              FORMAT INFORMATION

                                                                                              Coloured LP Info: Indies exclusive magenta coloured vinyl.

                                                                                              Shards

                                                                                              Find Sound

                                                                                                Find Sound is the debut record from Shards, a London based vocal group led by singer, composer and producer Kieran Brunt. Combining voices, synths and percussion, Find Sound is an astonishing exploration of the human voice; using the concepts of sound and light as simple metaphors for gaining understanding. The album’s pieces are intended to be miniature sonic paintings, with each adding to an overall picture of the emotional confusion of early adulthood: the uncertainty, the excitement, the terror and relief.

                                                                                                After collaborating with Terry Riley in 2016, Brunt was asked by the Barbican to form a choral group for Nils Frahm’s Possibly Colliding festival that summer. Following the success of the shows, Frahm invited Brunt to join him in Berlin to collaborate on choral arrangements for his recent album All Melody. Shards have since gone on to collaborate with other notable artists, including Michael Price on his recent LP Tender Symmetry.

                                                                                                Brunt details how he put Shards together: “I decided to go for 12 singers, capable of creating a good amount of noise but also small enough to get to know each other intimately. I also knew that I wanted to work with not just great voices, but singers with lots of personality and open minds when it comes to experimenting and trying things out.

                                                                                                The group ended up consisting almost entirely of friends and friends-of-friends. I also tried my best to ask people who weren’t just singers, but who do have other projects and musical interests. As such, we have people in the group who are also composers, instrumentalists, folk musicians and teachers. It’s a vibrant mix, and I’m constantly discovering new things about them the more we make music together.”

                                                                                                Each of the singers in Shards brings a very distinctive musical personality to the group, something which Brunt was eager to emphasise on their debut record. Rather than aiming for a seamless blend or absolute precision when recording, the differences between voices has been intentionally highlighted — celebrating their unique textures and inviting the listener to hear their minutest details up-close.

                                                                                                The album was recorded in Italy at Palazzo Stabile, a tranquil house and studio in the hills of the Piedmontese countryside. During a two-week residency, the group lived and recorded together under one roof, giving them the opportunity to play with recording techniques and experiment with different spaces. Most of the final record was recorded in a converted barn used primarily as a painting studio, and underneath the house in a 200 year-old wine cellar. The album was written and produced by Kieran Brunt with additional production from Paul Corley (Sigur Ros, Oneohtrix Point Never, Yves Tumor).


                                                                                                Parsnip

                                                                                                When The Tree Bears Fruit

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

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

                                                                                                  The Slow Show

                                                                                                  Lust And Learn

                                                                                                    With 2015’s ‘White Water’ and the following year’s ‘Dream Darling’ The Slow Show established themselves as a band who inhabit their own universe. There are antecedents – the exploratory beauty of Talk Talk, the ability to frame a story like Nick Cave And The Bad Seeds, The Blue Nile’s determination not to waste a single note. It all coalesces into something other: unless you’ve heard The Slow Show before, you won’t have heard anything quite like The Slow Show.

                                                                                                    As the name implies, songs take their time in The Slow Show, though there’s a fresh sense of immediacy in lead single ‘Hard To Hide’. But this is music built to last. That’s not accidental: singer Rob Goodwin and keyboardist Frederick ’t Kindt spent 18 months honing every note of ‘Lust And Learn’ into shape. Kindt helped establish leading Manchester studio Blueprint and knows the best local strings and brass players, who have helped The Slow Show since the start, while the Halle Youth Choir add the perfect counterpoint to Goodwin’s rich, sonorous voice.

                                                                                                    In the three years since ‘Dream Darling’, Goodwin has moved from his native Manchester to Dusseldorf. It was perhaps inevitable that one of The Slow Show should live in Germany, as the band are huge there and in the Low Countries, where they regularly headline festivals and sell out theatres. Changing record labels is part of the band’s determination to make greater inroads back home too, as is their determination to play more shows than ever around ‘Lust And Learn’. “I’ve said before how cathartic our shows are for us,” says Goodwin, a magnetic presence at gigs. “We’re more aware how cathartic they are for the audience too. The things people say to us are so moving. Usually, people don’t ask us about our songs, they tell us how the songs relate to them and their lives.”

                                                                                                    Perhaps the best and starkest example of just how The Slow Show move people comes in new song ‘The Fall’. Its evocative sense of peace are the only suitable setting for a song written after a fan emailed the band to say how their song saved her life. She was on a motorway bridge when a Slow Show song came on shuffle. Goodwin recalls: “What she’d been through was terribly sad, but the message she sent ended by saying she was peaceful now, that she was OK. The song is sad and dramatic, but hopefully it will make people feel more peaceful than anxious.”

                                                                                                    The stories in Goodwin’s lyrics are stronger and more honest than ever, unflinching in analysing his failings. He admits a debt to author Karl Ove Knausgard, another writer adept at blending fact and fiction. Goodwin explains: “Knausgard’s books blew my mind in so many ways, but from a songwriting point of view it was about how frank he is. He’s brutally, painfully honest. There’s an element of fiction in authors like him, and there’s a balance in our songs as well.”

                                                                                                    Throughout ‘Lust And Learn’, Goodwin delivers his stories with care, tenderness, and empathy. On ‘The Fall’, ‘Hard To Hide’ and ‘Exit Wounds’, he is accompanied by Keisha Jones, whose sparse vocals also featured on ‘Dream Darling’. “The lines Keisha sings are really important,” says Goodwin. “She doesn’t sing too much, but when she does she gives a new perspective to the narrative.”

                                                                                                    Rarely has a band created such a powerful, fully realised world from what initially appears such a minimal framework. No matter how gentle the beauty of their songs, The Slow Show are a band worth shouting about from the rooftops.

                                                                                                    FORMAT INFORMATION

                                                                                                    Coloured LP Info: Limited white vinyl edition.
                                                                                                    180 gram vinyl.

                                                                                                    Pharmakon

                                                                                                    Devour

                                                                                                      Devour marks the fourth full-length record from Margaret Chardiet’s project Pharmakon and her most intense output to date. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as continuous takes with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date.

                                                                                                      FORMAT INFORMATION

                                                                                                      Coloured LP Info: Black and white vinyl.

                                                                                                      Coloured LP includes MP3 Download Code.

                                                                                                      Various Artists

                                                                                                      Beautiful Freaks - Waving Our Flag High, Wave On, Wave On: Music From The Original Counter Culture

                                                                                                        From the team that put together the acclaimed Running The Voodoo Down sets comes a carefully assembled celebration of the counter culture - from ALLEN GINSBERG and THE GRATEFUL DEAD to BRIGITTE FONTAINE, GONG and WITTHÜSTER & WESTRUPP.

                                                                                                        A compilation for the heads, not a playlist.

                                                                                                        “This is a journey … into Sound” ….

                                                                                                        ..…a different maverick sound one million light years from either the classic rock of the late 60s West Coast, the psychedelic pop of the UK, the primal shriek of the Vietnam soundtrack, or the wah wah powered protest of Blaxploitation. This is a journey into a new scene “THE ALTERNATIVE OF THE ALTERNATIVE”. This music is too abstract for the soldiers, and too square for the Panthers. This is a journey into the sound of the Freak Left and into an early DIY, powered by acid and humour, that is in many ways a true precursor of punk rock. It’s a journey into a cosmic mash up of folk, country, busking, comedy, music hall, raga percussion, chanting and the occasional spiked acid guitar solo. Music created communally and without commercial expectation over bottle after bottle of LSD laced soft drinks and free trips! But as much as it’s a journey into an alternative sound, it’s a journey into a different world .. the world of the Heads, the Freaks and Humbeads’ Map, a map created in a Berkeley coffee house and reworking the world to connect up the “Turned On” universe – a 5 boroughs type world dominated by a huge San Francisco & Berkeley and embracing New York, Cambridge, and LA and by implicit extension “hip” outposts in London, Paris, Berlin, Sydney and Sao Paulo.

                                                                                                        Ten years after it had started the counterculture seemed almost done – washed away in a tide of punk rock nihilism, and economic hardship.

                                                                                                        These artists represent something else, and something else important. Ideas of self made, of freedom and of protest through provocation live across these grooves. It’s time to give them a place in the pantheon and respect what they tried to achieve, because they did achieve change. The world we live in today is different and the Rainbow coalition is a valid and vibrant political force – it is the wave that gave us Obama and hope. And maybe the one that will bring further change in the future. “Sticking it to the man” was a state of mind and an ideal. Maybe we can give it a small voice again.


                                                                                                        Various Artists

                                                                                                        Lamp Records: It Glowed Like The Sun, The Story Of Naptown’s Motown (1969-1972)

                                                                                                        The complete collection: every soul, funk, gospel, rock track from Indianapolis’s greatest label on a 4 CD / 2xLP set. Sometimes, all it takes is one man to recognize a city’s potential for an industry. In Indianapolis, that man was Herb Miller, and his business was soul and funk. He came to prominence long after Indy’s allure as a jazz destination waned. He founded LAMP Records in the late 1960s to wake Naptown from its musical slumber. Miller served a critical role in city’s burgeoning soul and funk scene, providing not only financial backing, but acting as a one-stop, record-making shop for artists that had, to that point, been doing it all themselves. He’s the Berry Gordy you’ve never heard of. His roster – national acts like the Vanguards and Ebony Rhythm Band alongside talented, regional acts such as the Moonlighters, Montiques, Pearls and the Words of Wisdom Truth Revue – rivaled that of any American independent and paved the way for the ascension of 80s and 90s hitmakers Kenneth 'Babyface' Edmonds and Antonio 'L.A.' Reid, both of whom cut their teeth with LAMP alumnus.

                                                                                                        FORMAT INFORMATION

                                                                                                        2xLP Info: LP has a gatefold jacket with OBI. Contains a 24 page booklet with extensive liner notes and photos.

                                                                                                        2xLP includes MP3 Download Code.

                                                                                                        Horsebeach

                                                                                                        The Unforgiving Current - Piccadilly Exclusive Art Print Edition

                                                                                                        Initial quatities include an exclusive 12x12" art print.

                                                                                                        Manchester songwriter Ryan Kennedy returns with his fourth album "The Unforgiving Current". Recorded in and around Tokyo hotel rooms, apartments and studios, the album is a badly lit stroll through Tokyo's winding streets, stopping in only the most questionable bars. Despite its seemingly overpopulated centres, there is often a strange isolation. This Isolation would be the fuel behind "the Unforgiving Current".

                                                                                                        After moving to Tokyo early 2018 Kennedy began work on the album. Amidst language and work issues his rosey outlook soon dimmed and what follows is Kennedy's exploration and loneliness in this foreign land. Previous musical similarities may be unearthed but what runs through this record is a vein of (dare I say) mature introspection which sets it apart from previous works.

                                                                                                        STAFF COMMENTS

                                                                                                        Barry says: It's very few albums I own which every time I hear, I have a different favourite. First off, the woozy haze of 'Dreaming' was an obvious choice, then the CR-78 percussion of the bittersweet 'Vanessa' ensured my boat stayed afloat, before being overtaken by my current favourite in the gorgeous 'Mourning Thoughts'. I'm sure it will continue, Ryan is a true genius, and this only proves it's continuing exponentially.

                                                                                                        FORMAT INFORMATION

                                                                                                        Coloured LP Info: Limited clear vinyl.

                                                                                                        Highly anticipated second album, 1.5 years after their critically acclaimed debut LP. Featuring members of the now-defunct band The Drones. RIYL: King Gizzard and the Lizard Wizard, Nick Cave, The Slits, Protomartyr, The Drones, Gang of Four, IDLES.

                                                                                                        “I've invented fake news as a genre of music,” Gareth Liddiard observes with a laugh. He's talking about “Maria 63”, the closing track on Tropical Fuck Storm's sophomore LP ‘Braindrops’. The song takes aim at the once-marginalized alt-right conspiracy theories that now seem to be a driving force behind the rise of fascism in global politics. “It may be the most stupid song ever written,” Liddiard jokes. He's wrong, “Maria 63” is emblematic of Tropical Fuck Storm's keen ability to mine the extreme edge of pop culture's periphery for potent musical and conceptual spice.

                                                                                                        Tropical Fuck Storm were formed around 2017 in the city of Melbourne, Victoria along Australia's south-eastern coast. The band released their debut long-player A Laughing Death in Meatspace on Joyful Noise Recordings in 2018. Each of the band's four members bring considerable experience to the group. Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps it's that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genre's norms.

                                                                                                        “Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,” Liddiard explains. He cites Doc at the Radar Station-era Captain Beefheart as a key sonic touchstone, and Braindrops certainly shares the Captain's penchant for pounding abstract grooves. Tropical Fuck Storm have achieved a uniquely off-kilter sound on Braindrops Liddiard partly credits this to the group's use of unconventional equipment, “We use lots of techno gear to make rock and roll because rock and roll gear is boring, and all sounds like Led Zeppelin.”

                                                                                                        Liddiard's own description of Tropical Fuck Storm's sound is nearly as interesting and evocative as the music itself. He describes the LP's title track as “Fela Kuti in a car crash,” and talks of creating a sonic atmosphere that “sounds like chloroform smells” for “Maria 62”. A recurring theme on Braindrops concerns the various ways the human brain can be manipulated and controlled for exploitative gain. The bracing “The Planet of Straw Men” is a study of human behavior inside the social media comments section, a place where otherwise reasonable people are seen gleefully engaging in psychotic chest-thumping rhetoric. Listening to Braindrops is a jarring and exhilarating experience, full of pulsating grooves, dissonant experimentation, and unsettling dystopian plot-lines. Braindrops is an unrelenting work, from an unrelenting musical ensemble. “Tropical Fuck Storm is a full on thing,” Liddiard offers. “Everything we do, we do it to death.”

                                                                                                        STAFF COMMENTS

                                                                                                        Barry says: A completely nuts, clashing collection of fragmented melodies and post-punk spirit, encompassing psychedelic freeform, spoken word vitriol and arty noise into a confounding but strangely addictive listen.

                                                                                                        FORMAT INFORMATION

                                                                                                        Dinked Edition LP Info: • Limited exclusive edition of 500.
                                                                                                        • Highlighter Yellow & Electric Blue split-colour vinyl.
                                                                                                        • Includes bonus 7” featuring a Missy Elliott cover.
                                                                                                        • Numbered.
                                                                                                        • Includes download.

                                                                                                        Coloured LP Info: Hot Magenta coloured vinyl.

                                                                                                        Coloured LP includes MP3 Download Code.

                                                                                                        For Fans Of…Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod et al.

                                                                                                        Ghost Funk Orchestra are a mystery. Plain and simple. Dirty, soulful production, 'verbed and fuzzed out guitars & mysterious vocals that feel like a lost score to a Quentin Tarantino film. The brainchild of one-man producer / musician / arranger Seth Applebaum, GFO is forging new territory and blurring the line between soul and psychedelic, just in time for that BBC3 Woodstock documentary everyone's been banging on about! 


                                                                                                        STAFF COMMENTS

                                                                                                        Matt says: Just in time for that BBC3 Woodstock documentary everyone's been banging on about, a modern interpretation of soul and psyche that's sure to excite the hippies. Refracted through a cinematic prism, the track's have a focus and direction which elevates them above other druggy bandwagon hoppers...

                                                                                                        FORMAT INFORMATION

                                                                                                        Coloured LP Info: Limited gold vinyl.

                                                                                                        Ceremony

                                                                                                        In The Spirit World Now

                                                                                                          Ceremony make their Relapse Records debut with their highly ambitious new album, 'In the Spirit World Now'! The album sees Ceremony at the height of their creative output, as the always-evolving Rohnert Park quintet take various influences from post punk and rock to create one of the summer's most compelling and infectious records. "In the Spirit World Now" is full of layered sonic fury and anxiety, each song building up to a point and then descending down through a militant, catchy hook. “Turn Away the Bad Thing” sets the tone, guitars climbing around the driving bass line, as Ross Farrar sings, “It’s getting harder for me to be alright/Eyes adjusting to the dark/The momentum of all these last resorts built inside of me.” Songs like “Presaging the End” and “Calming Water” feel romantic and distressed, while “Further I Was” and “Years of Love” are driven by Farrar’s rebellious energy as he repeats the hook with a deadpan realness. “Years of love can be forgotten/In the hatred of a day.” But the true stand-out is the title track, “In the Spirit World Now”, a haunting pop gem with a sticky chorus and lead synth riff that plants itself in your head as Farrar chants the track’s name over and over like a mantra. “In the Spirit World Now" is a sort of nebulous and ectoplasmic place where things may not be quite what they seem,” he says. “It means sh*t is about to get weird.” The album marks a milestone for this Northern California punk outfit who have stayed true to themselves as songwriters throughout massive sonic growth throughout their storied career.

                                                                                                          STAFF COMMENTS

                                                                                                          Barry says: From the fractured art-punk aesthetic of Wire or even bits of Sonic Youth, through wide-spanning cinematic shoegaze majesty and grungy snarling anthems, Ceremony have crafted a brilliantly varied and thoroughly enthralling collection of snappy punk anthems mixed with a huge variety of influences.

                                                                                                          The city and the country both have distinct, vibrant energies - but there’s something happening in between, too. As factories give way to fields, and highways drift into gravelly roads, the friction can be palpable, the aura electric. The lines between city and country were on Jack Cooper’s mind when he named his new band Modern Nature. He took the phrase from the diaries of filmmaker Derek Jarman, written on the coast of Kent in his Dungeness cottage. Visiting Jarman’s home, Cooper was struck by what he calls a “weird mix of urban and rural” - such as the way a nuclear power station sits next to open grasslands.

                                                                                                          On Modern Nature’s debut album, ‘How To Live’, urban and rural cross into each other. Plaintive cello strains melt into motorik beats. Pastoral field recordings drift through looping guitar figures. Rising melodies shine with reflective saxophone accents, placing the record somewhere in the Bermuda Triangle between the expansive motorik of Can, the Canterbury progressiveness of Caravan and the burgeoning experimentalism of Talk Talk’s ‘Colour Of Spring’.

                                                                                                          STAFF COMMENTS

                                                                                                          Barry says: Having penned a succession of hazy, indie-rock affairs, Jack Cooper (formerly of Manchester's own Trof fame) breaks out a beautiful folky wanderer, heavy on reverb and drifting guitar ambience, but maintaining the melodic leaning that has earned him so many delighted fans. This is beautiful work, and possibly my favourite of his considerable output.

                                                                                                          FORMAT INFORMATION

                                                                                                          Coloured LP Info: Green vinyl LP with digital download code.

                                                                                                          Alexander Tucker

                                                                                                          Guild Of The Asbestos Weaver

                                                                                                            “Essential listening for anyone who wants to hear why the psychedelic lineage of the past 50 years is fresh and alive” - The Quietus

                                                                                                            Tucker’s boundless and singular vision is on full display in his most immersive and intoxicating music yet. Minimalist motifs are sculpted into deep drone constructions, weaving dense layers of maximalist sound to powerful disorienting effect. The songs occupy a unique territory somewhere between paranormal electronics and cosmosseeking psychedelia, standing as some of Tucker’s heaviest and most hallucinogenic work to date.

                                                                                                            Alexander Tucker is a member of Grumbling Fur, his duo with Daniel O’Sullivan (This Is Not This Heat).

                                                                                                            STAFF COMMENTS

                                                                                                            Barry says: I remember seeing Alexander Tucker play about 15 years ago on his own, with a wealth of guitar pedals and even then, he sounded like about 5 people. In this recent, more bombastic iteration you can, at the very least, double that. Huge walls of psychedelic sound and twisting lysergic melody lines and airy drones make for a thoroughly intoxicating and rewarding listen.

                                                                                                            Jay Som

                                                                                                            Anak Ko

                                                                                                              Melina Duterte, aka Jay Som, wrote most of her brilliant new album, Anak Ko—pronounced Ah-nuh Koh and meaning “my child” in Filipino—in a burst during a self-imposed week-long solo retreat to Joshua Tree. As in the past, Duterte recorded at home and remained the sole producer, engineer, and mixer. Honing in on simplicity and groove, refining her skills as a producer, Duterte cracked her sound open subtly, highlighting its best parts: She’s bloomed.

                                                                                                              Inspired by the lush, poppy sounds of 80s bands such as Prefab Sprout, the Cure, and Cocteau Twins—as well as the ecstatic guitarwork of contemporary Vancouver band Weed—Anak Ko sounds dazzlingly tactile, and firmly present. The result is a refreshingly precise sound.

                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: LP is pressed on Red, Orange & Pink Splatter Vinyl.

                                                                                                              Augustus Pablo Meets King Tubby

                                                                                                              The Messenger

                                                                                                              “Both are legends because both innovate – and activate and motivate. King Tubby (Osbourne Ruddock) arrived on earth in 1941. As a teenager he repaired radios before moving onto repair sound system speakers. Since the mid-50s, sound systems had conquered Jamaica, replacing live bands as the people’s favoured choice of access to their music. Tubby (a very slim man) found himself much in demand. In 1968, Tubby opened his own shop, Tubby’s Home Town Hi Fi. That led him into the world of sound, led him into recording studios where first he remixed. But then he got bored and in doing so released himself by devising his own amazing aural vision. Tubby invented dub and he did so by experimenting, by creating a unique template where he stripped away certain parts of the record, replaced them with another, highlighted some instruments, dropped others, and on top of this used all kinds of studio effects.

                                                                                                              And thus King Tubby became King of Dub. In 1971, inevitably, he opened his own studio – and he took the music deeper. Many musicians loved his set up, including Augustus Pablo. Pablo (Horace Swaby) arrived on earth in 1954. He hit the musical scene playing…the melodica. No one had thought to do so previously. Again, the breaking of new ground was heard in Jamaica. The instrument was perfect for the King Tubby vision, Pablo’s playing producing a sound that was melodic, harsh, edgy, and soulful. Over Tubby’s shuffling rhythms and maelstrom of sound, Pablo improvises with huge imagination and skill. His major hit East Of the River Nile suggested and put forward a sound derived from the Far East and he was up and running. In 1975, he began a fruitful collaboration with King Tubby. Their first album together Ital Dub is a classic. The later King Tubby Meets The Rockers Uptown is more than that, it is legendary. And now The Messenger is upon us, an album cut at some point in the 70s and which remained in the vaults. Should it have stayed there? No way. This is music that upholds the very high stars of their past, music which fires itself on imagination and strength, a collusion and collaboration of immense proportions, music that provides and creates moods with such purpose and drive. Pablo’s melodica is centre stage but is counterpointed by contagious rhythms and touches of inspiration as horns and bass lines mesh in and out of view, held down by an ever steady barrage of sturdy drums and bass and a never ceasing source of imaginative and delightful sounds. The sound constantly changes and because it does the album contains a staggering array of moods, from upbeat into deep waters. The Messenger is forward music, still sounding as fresh as it did on the day of its conception. And it will do so for time eternal.” Paolo Hewitt 

                                                                                                              STAFF COMMENTS

                                                                                                              Matt says: Some classic riddims here from Tubz N Pabberz, in some cases in their original conception. Augustus' mystic melodica collides beautifully with Osbourne's magic dub techniques making for an enchanted early prototype of the genre.

                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: Indies-only clear vinyl.

                                                                                                              Written over the course of three years, "Cage And Aviary" ties personal reflection to wider social issues, giving an intimate insight in to what it means to come of age in today’s world. Sophisticated songwriting is brought to life with Bryony’s harmonious vocals, layered with jazz, soul and elements of folk, creating a melodic sound that has charmed many major tastemakers. "Cage & Aviary" was created with long-time friend, collaborator and Tru Thoughts label-mate Tom Leah AKA Werkha, highlighting their capacity for musical exploration.

                                                                                                              'The album is built around my contemplations on life, love and myself and tying that in with wider global issues.' Jarman-Pinto explains, 'lyrically I have circled around the theme of family and securities I felt at a younger age, measured against my insecurities now and personal desires to my own femininity and personhood'. This lyrical struggle is best represented in “Emerge”, a track written at a time when Jarman-Pinto was experiencing her biggest lack of creativity and insecurity around her writing; she describes a breakthrough in writing, willing for one to come.


                                                                                                              STAFF COMMENTS

                                                                                                              Matt says: Delicate vocals, jazz-flecked instrumentals; Jarman-Pinto causally wears flowers in her hair with a relaxed, diurnal, open-air quality; you get the feeling she's destined for some colourful live performances across the festival circuit. One to check for sure.

                                                                                                              Of indisputable +313 vintage, Scan 7, with deep roots in the rich musical heritage of Detroit techno, drop their new triple vinyl album since 20 years on Deeptrax Records!

                                                                                                              Scan 7,closely related to Underground Resistance, forms a mysterious Detroit underground collective and with this triple album, the enigmatic outfit raises the flag for Motor City techno once more!

                                                                                                              Metroplex-era electro, rushing orchestral techno, deep Detroit house and galactic funk aplenty, it instantly harks back to that 'classic' Detroit-patented sound. Starting with the energizing flurry of "Stringing me along" with thick Deja-Vu UR / DJ Rolando flashes, towards the political tinged new electro monster "It's time" and from Berghain / Tresor-influenced bangers like "I'm Covered" with the frightening words 'no weapons formed against me shall prosper' until deep vibin' floating house sounds close off the EP with a more organic palette and relaxed tempos.

                                                                                                              Fun fact!: SCAN 7`s name originates from the word DETROIT, which consists of 7 letters, and its area code, 313 (which, added up, equals 7)!


                                                                                                              STAFF COMMENTS

                                                                                                              Matt says: Bang! Fresh-as-u-like, Dee-troit patented alchemy here from master sorcerors Scan 7 who herald a new age for Motor City techno. You need this!

                                                                                                              Shannon Lay

                                                                                                              August

                                                                                                                There is an entire sub-genre of poetry devoted to rivers and their persistent, meditative flow. Emily Dickinson’s ‘My River Runs to Thee’ compares them to the cycle of life, while Alfred Tennyson’s ‘The Brook’ deems them eternal and Kathleen Raine’s ‘The River’ muses on the dream-state they evoke. For transcendent folk pop artist Shannon Lay, the river is all of the above: It’s the metaphor driving her latest album, the exquisitely uplifting ‘August’, which doubles as an aural baptism renewing her purpose for making music. “I always picture music as this river. Everyone’s throwing things into this river, it’s a place you can go to and feed off of that energy,” she says, “and feel nourished by the fact that so many people are feeling what you’re feeling. It’s this beautiful exchange.”

                                                                                                                The album’s name, ‘August’, refers to the month in 2017 when Lay quit her day job and fully gave herself over to music. This was her liberation as an artist and the album is devoted to paying that forward to her listeners. Lay may be the most chilled-out artist you’ll ever meet. Despite fronting her tranquil solo act and being a guitarist/singer in the indie rock band Feels, she never pressures herself to overachieve. Nonetheless, she regularly does: in a glowing review, Pitchfork anointed her last album, ‘Living Water’, “captivating.”

                                                                                                                ‘August’ was mostly written in three months, during Lay’s first solo tour for ‘Living Water’. “For the most part, all of the songs were just guitar and voice,” she says. In keeping with the humbled, contemplative nature of ‘August’, most tracks clock-in at three minutes or less. She saved indulgence for the production. “Some songs as they were had this room to grow,” says Lay, who recorded the album with her longtime friend, musician Ty Segall at his home studio on the East Side. “I believe whoever you record with tends to affect the mood of music and Ty really brought this jovial sense that I hadn’t really explored yet,” she says. Also in the mix is Mikal Cronin, who played saxophone on the album’s opener, ‘Death Up Close’. “A lot of my friends who are really tough have admitted that they shed a tear when they hear my songs, and I think that really speaks to the visceral aspect of folk music,” Lay says. “It’s this ancient form of expressing yourself.”

                                                                                                                Think of ‘August’ as a warm hug for your psyche. “I want to create as much music as I can,” she says, “and leave this spot by the river where people can go sit and enjoy.”

                                                                                                                FORMAT INFORMATION

                                                                                                                Coloured LP Info: Loser Edition sun yellow vinyl.

                                                                                                                Bill Ryder-Jones

                                                                                                                Yawny Yawn

                                                                                                                  At the end of 2018, Bill Ryder-Jones released the critically acclaimed Yawn – his beautiful fourth album. He has now reimagined the songs from Yawn, this time with only vocals and piano, opening an even more intimate window onto his world. Taking inspiration from The Beach Boys, Bill has titled this alternative version of the record Yawny Yawn.

                                                                                                                  In his own inimitable style, Bill Ryder-Jones says: “I can't remember why I thought it was a good idea to make a piano version of Yawn, I presume at some point I felt that the original had too much pep. Was actually quite fun to make although I've since developed a dislike for the way my hands look”.

                                                                                                                  Similarly to Yawn, the album artwork for Yawny Yawn features a family photo. Bill adds: “Much like the artwork for Yawn, this photo just looked like it should be an album cover. Whereas Yawn featured my brother, our babysitter and myself in the background, the artwork for Yawny Yawn shows me at my aunt's house aged 3 and playing my keyboard.

                                                                                                                  Black Doldrums

                                                                                                                  She Divine EP

                                                                                                                    Black Doldrums, the lauded London-based power-duo, are returning with their expansive new EP 'She Divine' on premiere shoegaze indie Club AC30. Known for delivering layered echo-drenched guitar with heavy, relentless drums, Black Doldrums create transient and euphoric dark psychedelia and they've once again captured their raw, untamed energy with the help of producer Pat Collier.

                                                                                                                    "If Phil Spector was a goth this is what his wall of sound would be like, relentless, pounding beats over fuzzed and distorted guitars and topped with a vocal so ethereal it's barely there." - Shindig! "A huge slab of noise that sits between Spacemen 3 and the Brian Jonestown Massacre." - Clash Magazine.

                                                                                                                    STAFF COMMENTS

                                                                                                                    Matt says: Awash in reverb, fuzz with dashes of tabla and eastern influences, it's no wonder it's been likened to a gothic Phil Spector.

                                                                                                                    High quality laquer cut LP with silver and pink pantone colors on cover. Mutual Intentions is proud to present "Astral Traveling" which is Byron The Aquarius' debut album. A stunning piece of fusion built from everything between jazz, soul, hiphop and house makes Mutual Intentions a perfect platform for the release. String compositions is an on-going theme throughout the album. From the first chord on "Love Is 4U", until the very last second of "Spazzing Out", where Byron raps over a beautiful backdrop consisting only of Fender Rhodes, electric bass & strings. Byron jumps seamlessly between different genres throughout the whole album. From the acid house inspired "Sorry Kari", to 70's prog jazz sounding cuts like "Lost In Love". Once you put the needle on side B, you'll hear "Deep In That ***** feat. MDMA" which sounds pretty much like if Dexter Wansel took MDMA in 2019, inside Legowelt's studio and tried to re-create his classic cut "Theme From The Planets"



                                                                                                                    Singer, songwriter, composer and multi-instrumentalist, Desmond Coke's supremely rare, privately pressed, lo-fi, synth-soul fusion, "Let's Chase The Sun" is represented here in edited form. Painstakingly remastered from the original tapes, this self taught pianist, drummer and sax player condensed his musical experiences and dreams in to an opus on love and togetherness.

                                                                                                                    Desmond Coke alias 'Fatfingers' - named by fellow musicians due to improvisation and interpretation skills - began playing keyboards by ear at 15 and went on to a music career playing with the likes of Alton Ellis, Prince Fari, Barrington Levy, Dillinger, Don Cherry and Shara Nelson, as well as a gamut of the On-U Sound label's projects, including Creation Rebel, Dub Syndicate, Singers & Players and Mark Stewart + Maffia.

                                                                                                                    With an interest in reggae, dub, jazz, soul, meringue, gospel and garage, his sole album was a true fusion to create a brand new sound. Composed, arranged and produced by Coke, he worked with an array of seasoned musicians, including his own sisters Winifred (percussion / vocals) and Paulette Coke (percussion / DX-7 & M1 synthesisers).

                                                                                                                    Pressed on his own Saterlite Entertainments in 1989, Coke describes the album's purpose, "to get the message across to have focus, ambition, to dream and 'chase the sun'. That relationships are important, 'I need somebody' and naturally the chemistry is 'you and me'. Great relationships are about friendships and that it's ok to 'mesmerise a friend'. The most natural thing is to enjoy each other's company and to 'make a love child'. These good intentions and meanings, where love is the key." Some thirty years later Desmond's thoughts are as resonant today as then - Let's Chase The Sun.

                                                                                                                    STAFF COMMENTS

                                                                                                                    Matt says: What is this tropical funk curio I hear you ask?! Well, it's Desmond Coke! - with a name like that you'd surely expect him to bring the party, and like a white horse he elegantly struts across dancefloor, beach, terrace and club; the perfect soundtrack to a debauched night on the tiles in a foreign paradise.

                                                                                                                    Spike Fuck

                                                                                                                    The Smackwave EP

                                                                                                                      Newly signed to Partisan Records (IDLES, Fontaines D.C., Cigarettes After Sex), Spike Fuck first came to prominence as a striking figure in the explosive flourishing of musical creativity that has recently occurred in Melbourne.

                                                                                                                      Partisan release ‘The Smackwave EP’ physically for the first time, including the bonus track ‘Body By Crystal’. Her debut album is due for release next year.

                                                                                                                      Drawing from a difficult period of heroin addiction, Spike creates beautifully infectious, Triffids-tinged rock and roll songs which describe, with unflinching candour and white hot urgency, the peaks and valleys of that lifestyle, recalling at times the febrile music scene of 80’s New York and cult heroes like Jim Carroll and Johnny Thunders.

                                                                                                                      Spike Fuck is inspired primarily by love and obsession, addiction, sexual disorientation, Catholic guilt and washed up 60s musicians who make overproduced comeback albums a decade later crying out for redemption and maybe even just a little bit of the limelight back. Spike Fuck describes her work as “smackwave” - a blend of late 80s new wave with equal parts late 70s post-punk, with a dash of country music/singersongwriter sensibilities delivered in Las Vegas Ballroom karaoke vocal style.

                                                                                                                      “Is Spike Australia's most exciting songwriter?” - Vice

                                                                                                                      “Meet Spike Fuck, Rick Owens’ new favourite musician” - Dazed

                                                                                                                      “With that first release she started a beautifully honest conversation about addiction, loneliness and gender identity” - i-D

                                                                                                                      “Honest and unvarnished, ‘Junkie Logic’ details its writers’ problems with drug abuse through the odd, yet apt lens of glistening, 80s power-balladry/loner-rock that patrols the darkest of tunnels, forever seeking the light at the end.” - God Is In The TV

                                                                                                                      Singapore Sling

                                                                                                                      Killer Classics

                                                                                                                        Discordant, claustrophobic and unforgiving, Icelandic psych-rock heavyweights Singapore Sling – the project of Reykjavík-based noisenik Henrik Björnsson – have been conjuring their own scuzzy nihilistic anthems for nearly two decades and have picked-up a cult-like following along the way. Two years on from the Kill Kill Kill (Songs About Nothing) LP, the band are now back with their tenth full-length, Killer Classics. An eleven-track collection of macabre rock’n’roll scuzz, Killer Classics sees Singapore Sling return on top form. Throughout its running time, the record pools together the primal gusto of The Stooges paired with a (un)healthy smattering of Mary Chain fuzz-pedal belligerence and Suicide-esque proto-punk.

                                                                                                                        More than the sum of their influences, though, each song is delivered with the same trademark charm – or perhaps, lack of – that the band have been cultivating since Henrik founded the project back in 2000. Outlining his mission statement for the record, Henrik says: “The last record [‘Kill Kill Kill’] was about music. This one is about songs. The title of the record is ‘Killer Classics’ because that is what I set out to make: Killer Classics. Just simple, catchy rock’n´roll songs. As rock’n’roll songs should be. Of course.” The album borne out of a particularly challenging period in his life, which he wound up channelling into the new material, he goes on to explain: “Before I recorded this new album I had many frustrating months where I didn’t have the time, space or peace of mind to write and record. When I was finally able to do that again I had to let all that frustration out and I did that by making a lot of noise and saying fuck a lot.” 

                                                                                                                        RW Hedges

                                                                                                                        The Hills Are Old Songs

                                                                                                                          Following on from RW Hedges Pop debut 'The Hunters in the Snow'.. this one takes place in The American West of 1877 the year the phonograph was invented.

                                                                                                                          Constructed in RW's studio 'The Chalet' a get away full of books and fairy lights out in a field in a no man’s land. RW & Luca Nieri sat around bonfires and wrote lyrics written on big spools of paper.

                                                                                                                          As per last time Luca Nieri produces and RW Hedges directs the songwriting further towards his influences of 1930's Hollywood. 


                                                                                                                          New Model Army

                                                                                                                          From Here

                                                                                                                            Formed in Bradford in 1980, New Model Army's beginnings were inspired by Northern Soul, Punk Rock and the incendiary atmosphere of the times. Since then, they have had a long, creative and eventful journey. They have been massively influential in 'post-punk', 'folkrock', 'political-rock', 'goth', 'metal' and all kinds of musical sub-cultures but they have steadfastly refused to belong to any club or style.

                                                                                                                            Members have changed over the years and musical styles have evolved but at the heart of the band Justin has remained, along with a distinct and sincere belief in the power of music to inspire and effect change on both a personal and political scale, locally and globally.

                                                                                                                            'From Here' was recorded earlier on the tiny Norwegian island of Giske at the beautiful Ocean Sound Recordings studio and reflects the spectacular isolation of that environment yet has profound messages for the world we all live in and the times we are experiencing. The album was mostly written in just two months and recorded in only nine days and is the follow up on the two hugely acclaimed albums Between Dog And Wolf (2013) and Winter (2016). New Model Army decided to work again with Lee Smith and Jamie Lockhart, with whom they have developed a productive relationship over a few years and who persuaded them to leave a lot of the details of the music to spontaneity.

                                                                                                                            “This album has a feel that is different to our other albums, but it still contains all the elements that characterise our peculiarly unidentifiable music – perhaps even more than ever. And “From Here” was an obvious title. The record belongs to a very special place and a particular time – what is happening in the world, where we are as a band and where we are as people.”

                                                                                                                            Various Artists

                                                                                                                            Ann Arbor Blues Festival 1969

                                                                                                                              Ann Arbor Blues Festival 1969, is a 50th anniversary celebration collecting previously unheard songs by such blues legends as Howlin’ Wolf, Muddy Waters, B.B. King, James Cotton, Son House, Magic Sam, T-Bone Walker, Junior Wells, Big Mama Thornton, Clifton Chenier, Son House, Mississippi Fred McDowell, Lightnin’ Hopkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, Big Joe Williams, Charlie Musselwhite and more. 

                                                                                                                              The historic gathering was presented by a small group of blues-obsessed University of Michigan students determined to give their blues heroes a public spotlight where they might shine before it was too late. Among those enterprising student-promoters was John Fishel, whose teenage brother Jim Fishel, gathered some friends to help record the festival as a personal memento. Taking advantage of their all-access pass and juggling a small Norelco tape recorder from set to set, the friends let the 1⁄4” tape roll. Though field recordings in the literal sense of the term, they capture the brilliance of the musicians, the excitement of the crowd and the loose, convivial nature of the entire festival. Those tapes, long thought to be lost, have now been lovingly restored to capture the electric energy of the landmark concert. Both volumes include never-before-seen photographs, an exclusive reminiscence from Jim Fishel, and extensive liner notes by Parker Fishel, Sophie Abramowitz and David Beal.

                                                                                                                              Called out by The Irish Times as “Ireland’s best new rock band” and named as an one of NME's “100 Essential New Artists for 2019," When I Have Fears is the debut album from Dublin, Ireland's The Murder Capital.

                                                                                                                              Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".

                                                                                                                              An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

                                                                                                                              STAFF COMMENTS

                                                                                                                              Barry says: The Murder Capital are a perfect storm of gloomy existential post-punk and hypnotic punk drive. Swaggering through the more industrial, cavernous atmospheres of Joy Division or the chanting spoken-word drawl of Mark. E, there is a lot for Manchester to love in this one. Brilliant stuff.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Coloured LP Info: Gatefold marbled rust colour version.
                                                                                                                              Includes download card & lyric booklet.

                                                                                                                              LP Info: Black vinyl.
                                                                                                                              Includes download card & lyric booklet.

                                                                                                                              The Center Won’t Hold is the tenth studio album by Sleater-Kinney. It addresses transformation as it relates to the corrosion and decomposition of forms. Fractured and frayed by age or by loss, by internecine politics, by trauma or depression, these eleven songs ask what remains of a body, a human spirit, a relationship, a city, a country. The narrators herein sing from the brink of madness, corruption, loss, or grief. And though they speak to us from the narrow, near desperate strands to which they are consigned by others, or upon which they’ve self-exiled—feeling small, fearing obsolescence—they ask to be heard on the most sprawling of canvasses. By couching these personal stories in a sonic palette that unabashedly takes up space, what remains is a tale of survival: a treatise on female friendship, inner strength, resilience, and community.

                                                                                                                              If The Center Won’t Hold forces a reconsideration of a band people thought they knew, it’s due to the methodologies employed in the writing and making of the album. The tools upon which Sleater-Kinney had relied proved inadequate, both metaphorically and literally, so they sought new ones. They used the geographical distance between them, along with the larger uncertainty and brokenness swirling around them, as a means of inducing and exploring sonic change. Most concretely, they worked with producer Annie Clark (St. Vincent), who treated each song as its own world, letting them find a specific vernacular through careful construction and deliberation.

                                                                                                                              The most succinct thing to say about The Center Won’t Hold is that Sleater-Kinney continue to challenge the idea of what three women sound like when they create music together over the course of twenty-five years.


                                                                                                                              STAFF COMMENTS

                                                                                                                              Barry says: Sleater-Kinney have been one of the most interesting outfits to have come out of the 90's post-grunge indie boom, and have remained a fierce musical force since then. Through a myriad of splits / reformations and stylistic turns they have returned with their beautifully crafted powerhouse, 'The Centre Won't Hold'. Huge stadium choruses and anthemic turns are infused with snapping percussion and echoing distorted guitar, all topped with those unmistakable vocals.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Deluxe LP Info: Heavyweight black vinyl, gatefold sleeve with inner bag + bonus black vinyl 7” of ‘Hurry On Home’.

                                                                                                                              LP Info: Heavyweight black vinyl in a gatefold sleeve.

                                                                                                                              King Gizzard & The Lizard Wizard

                                                                                                                              Infest The Rats Nest

                                                                                                                              The planet is in trouble. Dire trouble. But fear not: Melbourne seven-piece King Gizzard & The Lizard Wizard return to save us all, this time armed only with blast beats, an arsenal of well-oiled guitars that are locked and loaded, and a desire to melt faces clean off.

                                                                                                                              Released just six months after the uplifting blues-rock boogie and deep electro explorations of Fishing For Fishes and drawing on the mid/late 1980s golden period of thrash metal - Metallica and Slayer, certainly, but also lesser-cited bands such as Exodus, Kreator and Overkill - Infest The Rats’ Nest sees a wholly unexpected creative detour into new sonic terrain.

                                                                                                                              King Gizzard & The Lizard Wizard aren’t mere dabbling dilletantes either. Their love of this ferocious music runs deep, and was previously explored on 2017’s apocalyptic concept album Murder Of The Universe, hinted at during 2016’s award-winning Nonagon Infinity’s more bludgeoning moments and elsewhere in numerous hardcore psychedelic freak-outs in their back catalogue.

                                                                                                                              “In year 4 there was an older kid who was into Rammstein,” explains Stu of his early discover discovery of metal’s extremities. “I made friends with him and we put together a performance at our school assembly where we headbanged to ‘Du Hast’. I got whiplash, which I thought was pretty cool. That was my introduction to heavy metal, and soon Rammstein led to Metallica, Metallica led to Slayer, Slayer led to Kreator and Sodom. The German bands really kicked my ass and scared the hell out of me too. Later on, when I picked up a guitar I realised that shit was too hard to play, so I got into rock ‘n’ roll and garage. That was liberating.”

                                                                                                                              Infest The Rats’ Nest is the sound of King Gizzard & The Lizard Wizard scratching the thrash metal itch, fully and unequivocally. This is an album dripping with disdain and disgust for a planet consuming itself in a mass act of cannibalism which meets the fears and anxieties of a planet head on; here is a place where uncompromising music meets the concerns of contemporary cli-fi, that emerging movement of writing centred around ecological disaster and its repercussions.

                                                                                                                              After a punishing release and touring schedule of 2017-18, Infest The Rats’ Nest was recorded by a pared-down King Gizzard line-up. The band have always enjoyed a fluid approach to writing and recording and with guitarist Cook Craig and keyboardist/harmonic player Ambrose Kenny-Smith touring with their other band The Murlocs, bassist Lucas Skinner enjoying first-time fatherhood and drummer Eric Moore running the band’s own label Flightless (other bands they have released include Thee Oh Sees, Amyl And The Sniffers and Tropical Fuck Storm), they were down to a three-piece.

                                                                                                                              Infest The Rats’ Nest sees Stu and guitarist Joey Walker share all the guitar and bass parts, with (other drummer) Michael Cavanagh recording all the drums. This small set-up ensures tight arrangements and maximum velocity - and another curveball from this most unpredictable (yet consistent) of bands.

                                                                                                                              STAFF COMMENTS

                                                                                                                              Barry says: King Gizz' go all thrash on their 15th album thus far, and what could easily be their 9th this year (it's not). Lots of hammer-on mayhem and huge powerchord chugs all over the place. It's a testament to their ability as songwriters that they can craft an homage as skilfully as this, and manage to maintain their own identity throughout.

                                                                                                                              \m/ -_- \m/

                                                                                                                              Ride are back with their second album since reforming — it’s titled This is Not a Safe Place and is out via Wichita. They once again teamed with producer Erol Alkan and mixer Alan Moulder, both of whom worked on 2017’s Weather Diaries, which came together quickly at the end of 2018. The first single is the sparkling “Future Love” which feature Ride’s lush, signature harmonies. They’ve always had a Byrds side to them and that plays out nicely here in a “Twisterella” kind of way. “Future Love is a song about the beginning of a relationship, when everything feels possible,” says the band’s Andy Bell. 

                                                                                                                              STAFF COMMENTS

                                                                                                                              Barry says: Ride were obviously one of the most influential bands in the shoegaze scene in the early 90's but since their reformation for 2017's ' Weather Diaries' have veered a little more towards the more stargazing end of the indie spectrum. Big rock choruses and catchy riffs work their way beautifully beneath the ever-hypnotic vocals of Gardner & Bell. A huge leap from their already brilliant 2017 offering, and another sign of Ride's essential place in our musical landscape.

                                                                                                                              “In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

                                                                                                                              Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it. 

                                                                                                                              I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated - brought to life by humankind. Violent - insurmountable and wild beyond our control. Mild - delicious.
                                                                                                                              This is perhaps the most concise body of work I have written to date. Having worked extensively throughout my musical life with dramatics, narrative, and ‘melody against all odds’, these tracks are the most direct and honest yet. The level of articulation in these tracks surpasses anything I have utilized before.”
                                                                                                                              - Benjamin John Power.

                                                                                                                              STAFF COMMENTS

                                                                                                                              Barry says: Huge lurching arpeggios and cavernous percussion snaps glitch their way around a solid core of 16-bit reductions and skittering vocal shards. Drawing a flawless line between game soundtracks, rawkous EDM and the slowly building electronics of dancefloor trance or the incremental atmospheric accentuation of 70's prog. Indescribably mad, but thoroughly addictive.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Dinked Edition LP Info: • Exclusive numbered edition of 500 units only.
                                                                                                                              • Exclusive pink coloured vinyl.
                                                                                                                              • Exclusive tote bag.
                                                                                                                              • Exclusive Sticker.
                                                                                                                              • Exclusive print.

                                                                                                                              Coloured LP Info: Indies only green vinyl.

                                                                                                                              Oh Sees

                                                                                                                              Face Stabber

                                                                                                                                Hey there, human kids,
                                                                                                                                Lift your face out of the feed trough and pluck that feculence from your ears. Hark! A sonar blip from beneath the pile of bodies. Boop, blip ughhh….
                                                                                                                                People churning like a boiling swamp. Man, this din is nauseating.
                                                                                                                                The screen flickers for the first time this year with a transmission from two months in the future:
                                                                                                                                “the internet has deemed guitar music dead and you are free to do whatever the fuck you like ….long live the new flesh!”

                                                                                                                                This album is Soundcloud hip-hop reversed, a far flung nemesis of contemporary country and flaccid algorithmic pop-barf.
                                                                                                                                No songs about money or love are floating in the ether.
                                                                                                                                Just memories, echoes, foggy blurs
                                                                                                                                Blip-blop goes the scope
                                                                                                                                Heavy funk
                                                                                                                                Dystopia-punk canons
                                                                                                                                Lonnnnng jams
                                                                                                                                Bloated solos dribbling down your caved-in chest.
                                                                                                                                Human cattle like a beef avalanche, right on your burned out face hole.
                                                                                                                                Spider legs fuzz crawling in your brain.
                                                                                                                                Lots of curse words for your mom.
                                                                                                                                You’ve gotten the over-population blues, so let’s have some art for art’s sake.
                                                                                                                                What else are you gonna do?
                                                                                                                                Stare at the sky? Please…
                                                                                                                                50 carbon copies of you look back at you as you walk the streets.
                                                                                                                                Take a breath, you’re going to need it.
                                                                                                                                Take drugs, you’re going to need those just to stand in line at the air and water reclamation center soon enough.
                                                                                                                                There’s no fruit, buddy.
                                                                                                                                You’re at the bleak-peak.
                                                                                                                                They will squeeze you till you’re all squeezed out.

                                                                                                                                For fans of fried prog burn out, squished old-school drool, double drums, lead weight bass, wizard keys (now with poison), old-ass guitar and horrible words with daft meanings.
                                                                                                                                If you don’t like it then don’t listen, bub.
                                                                                                                                Back to the comments section with you!
                                                                                                                                Easy
                                                                                                                                Over and out

                                                                                                                                - John Dwyer.

                                                                                                                                STAFF COMMENTS

                                                                                                                                Barry says: Obviously the Oh Sees had to release another album on the same week as their top competitors in the 'Who Can Write The Most Albums' game (it's a good one), and much like KG&tLW, they've smashed it once again. It's no surprise that Dwyer has formed a brilliantly heavy but perfectly nuanced mix of production perfection and instrumental devastation. Everything you'd imagine, and some stuff you probably wouldn't. Ace.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                2xColoured LP Info: Limited edition indies only version.
                                                                                                                                One LP translucent Red vinyl and one LP translucent Orange.

                                                                                                                                Here Lies Man

                                                                                                                                No Ground To Walk Upon

                                                                                                                                  Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat?

                                                                                                                                  Since that time, Here Lies Man has expanded and expounded upon their sound and ideas of heavy riff rock and psych within the ancient rhythmic formula of the clave. The L.A. based band comprised of Antibalas members have toured relentlessly over the past 2 years, while also releasing a second album, You Will Know Nothing and an EP, Animal Noises, both in 2018.

                                                                                                                                  No Ground to Walk Upon is their third album, and continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. The lead single “Clad in Silver” is the soundtrack snippet of a journey to the imaginary place called home, which can never be arrived at. With every step, the character imagines getting closer, but it is a hallucination that fades in and out of perception.

                                                                                                                                  Their debut album Here Lies Man was very well reviewed and featured in loads of end of year polls. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. 2018’s You Will Know Nothing furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers. No Ground to Walk Upon is the next step in the band’s rapid ascent to what is bound to be influential upon riff based rock.

                                                                                                                                  “We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist/guitarist/multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

                                                                                                                                  No Ground To Walk Upon also includes an interesting conceptual mathematics to the entire proceedings, a theme begun on the prior album. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.”

                                                                                                                                  Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) recorded the album much like they did their previous releases, at their own L.A. studio on a Tascam 388 8-track tape machine. Additional layers were recorded with former Antibalas keyboardist Victor Axelrod and other contributors in various other locations, all while the band continued its rigorous touring schedule. 


                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Barry says: it's pretty impossible not to nod your head along to Here Lies Man, as alluring as the best funk and the most playful rock groove all mixed into one package. Fiery distorted guitar, rhythmic syncopation and hazy, chunky riffage. The Perfect combination.

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  Dinked Edition LP Info: Exclusive colour pressing (purple with orange swirl).
                                                                                                                                  Custom Tote Bag with Band / Dinked / Label Logo On it.
                                                                                                                                  Custom Here Lies Man Patch.
                                                                                                                                  Signed Band Photo.
                                                                                                                                  Hand-numbered.

                                                                                                                                  Though the biro-wielding cassette ninjas of the world may disagree, some things are too good to stay on tape forever, and Basso is delighted to bring you the first ever vinyl version of Eleventeen Eston‘s 'Delta Horizon‘.
                                                                                                                                  Originally released on a Not Not Fun cassette in 2014, EE‘s evocative debut made it into the tape decks of the hundred coolest people on the planet, where it has remained ever since, stretched and slackened by constant play.
                                                                                                                                  Now remastered for vinyl by Sergey Luginin, 'Delta Horizon‘ is ready to take over your turntable, its humid funk and sunkissed guitars the perfect conditions for a living room mirage. Across thirteen tracks, Eston tops crackling drum machines with optimistic keys, nimble jazz bass and chiming guitars, recalling an unremembered 80s of pastel shades, coastal romance and lemon juice highlights.
                                                                                                                                  Blurry references to infomercial pop and arcade boogie flirt with vaporwave‘s nostalgic aesthetic, but Eston‘s sound is more heartfelt, even when it wobbles under the heatstroke. If Todd Rundgren suffered an LA ego death in 1974 and woke up on the Perth shoreline in the mid 80s, he‘d have tried to make music like this, but he wouldn‘t have come anywhere close to 'Delta Horizons‘.

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Barry says: VHS saturated chiming guitars and snappy bitcrushed drum machines smash out the perfect intro music to a terrible 80's teen drama. Running down the beach, laughing and bmx'ing down the pier. All that stuff, and all while listening to this perfectly janky, hazy dream fest. Unmissable.

                                                                                                                                  Lillie Mae

                                                                                                                                  Other Girls

                                                                                                                                    From the new track’s opening “I Ain’t Your Baby,” the Nashville singer, songwriter, downtown scene slayer, and most-wanted fiddler signals a reclaimed confidence and bold evolution, telling women’s stories - including her own - that build on the strength of her “nervy” (NPR Music), 2017 Jack White-produced debut. Lillie Mae led a sequestered childhood touring in a motorhome with her musician parents, constricted by religious boundaries. In her adolescence she busked from RV parks to the Rio Grande, swept through Nashville clubs, and achieved Top 40 country status in her sibling group Jypsi, but on Other Girls, a new side of herself emerges with more to say than ever before. She embraces personal triumphs on “I Came For The Band (For Show),” breathes new perspective into “Terlingual Girl,” a song she wrote as a 19-year-old in the South-Texan desert, and professes brave truths as heard in “You’ve Got Other Girls for That.” After a vagabond past, crossing paths with hundreds of musicians, she limits the cast of Other Girls to just her brother, sister, and a few trusted collaborators. Lillie Mae will debut songs from Other Girls live this summer, as she supports the Raconteurs across the west coast. She will also join Robert Plant on tour, both opening for him and playing in his band. 

                                                                                                                                    STAFF COMMENTS

                                                                                                                                    Barry says: Other girls is a brilliantly written mix of classic country chord structures and the slightly gloomy reverb and poignant minor key changes of modern folk, all brought together with deft production and a stunning vocal performance from Lillie Mae. Stunning stuff.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    Coloured LP Info: Indies exclusive, limited rainbow splattered vinyl.

                                                                                                                                    Friendly Fires

                                                                                                                                    Inflorescent

                                                                                                                                      Brand new album from the band that brought you "Paris" and Indie Anthem "Jump In The Pool" Arriving eight years after their last album, Inflorescent is the sound of a band rejuvenated and reborn. The hiatus had left some to question whether we'd ever see another full length Friendly Fires record but once the three band members - Ed Macfarlane, Edd Gibson and Jack Savidge, friends since the age of eleven - reconvened in Macfarlane's parents' St Albans garage (the scene of much of their early recorded output) at the tail end of 2017, things were never really in doubt. Arriving with just three scrawled words ("Love. Like. Waves") as a starting point, they soon emerged with a finished song as fresh and vital as anything they'd done before.

                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Barry says: A great return for the Friendly Fires, from the grooving guitars and falsetto vocal swathes to more downbeat, synthy affars, 'Inflorescent' is a bracing and confident ode to dance from the ever-reliable trio.

                                                                                                                                      Bobby Krlic

                                                                                                                                      Midsommar - Original Motion Picture Soundtrack

                                                                                                                                        Midsommar is a new horror film from director Ari Aster (Hereditary). Starring Florence Pugh and Jack Reynor, the film follows a couple who vacation in a small Swedish village to attend a festival that happens once every 90 years. The trip starts out idyllic as the duo becomes acquainted with the town, but as time lingers they become increasingly suspicious of their neighbors as the cult-like tendencies of the town become apparent.

                                                                                                                                        For scoring duties on Midsommar, Ari Aster selected British composer Bobby Krlic (also known by his stage name The Haxan Cloak). Best known for his dark and spooky instrumentals, Krlic has delivered a masterwork of tense, atmospheric pieces and beautiful orchestral movements. The compositions weave expertly with the looming threats clad in the daylight of Scandinavian countryside. Music is an essential element of Midsommar's atmosphere and will stay with viewers long after the film has ended. 


                                                                                                                                        STAFF COMMENTS

                                                                                                                                        Barry says: As the mastermind behind the otherworldly dark-drone monster that is 'The Haxan Cloak', Bobby Krlic is easily one of my favourite artists of the last ten years, and while it's hard to believe that anything could rival the intensity and world-shattering heft of Excavation (album and song(s)), this stunning outing displays exactly the same attention to detail and organic aural writhing, just this time it's for a film that's just as scary. Textbook Krlic.

                                                                                                                                        The Hold Steady

                                                                                                                                        Thrashing Thru The Passion

                                                                                                                                          The Hold Steady’s seventh studio album Thrashing Thru The Passion collects five new songs recorded this year alongside five acclaimed ones released digitally between November 2017 and March 2019.

                                                                                                                                          Loscil

                                                                                                                                          Equivalents

                                                                                                                                            Canadian composer Scott Morgan’s 12th long-player as loscil takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay.

                                                                                                                                            It’s a deeply fitting analog for Morgan’s own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space.

                                                                                                                                            The name Equivalents referred to Stieglitz’s notion of the photographs as being equivalent to his “philosophical or emotional states of mind;” the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapor.

                                                                                                                                            The entirety of the record was created specifically for the album with the exception of “Equivalent 7,” which began as a dance score for frequent collaborator Vanessa Goodman.

                                                                                                                                            The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid.Cloud photographs taken by Scott Morgan at various locations throughout Cascadia in 2018.


                                                                                                                                            STAFF COMMENTS

                                                                                                                                            Barry says: Scott Morgan has always excelled at dynamic ambient music, infused with a barely perceptible electronic drive rather than a slowly drifting cloud of sound. What we have here more all-encompassing electronic drone, subtly infused with latent dub atmospheres and tender plucks of acoustic strings or piano. Stunningly immersive, and hypnotic to the end.

                                                                                                                                            Frank Turner

                                                                                                                                            No Man's Land

                                                                                                                                              With 2018 Producer of the Year Catherine Marks at the helm and featuring a dynamic cast of all-female musicians, ‘No Man’s Land’ is an album dedicated to telling the fascinating stories of women whose incredible lives have all too often been overlooked by dint of their gender. “These stories should have been told already,” says Turner of the album and its accompanying podcast series, ‘Tales From No Man’s Land’ which launches its first episode today. “And I suspect if they were men they would be better known.”

                                                                                                                                              The women featured on the album’s 13 tracks come from across wide geographical and historical lines. There’s Byzantine princess Kassiani (The Hymn of Kassiani), Egyptian feminist activist Huda Sha'arawi (The Lioness), and Resusci Anne (Rescue Annie) an apocryphal drowned virgin whose face was used as the model for the medical CPR mannequin across the world (“You can’t not write a song about a woman who died never having been kissed and then became the most kissed face in history,” reasons Turner). There’s the serial killer from the Deep South who plucked her victims from lonely hearts pages (Nannie Doss), the jazz-obsessed heiress who fought for the Free French (Nica Rothschild), a rowdy coach house landlady from 17th century Camden Town accused of witchcraft (Jinny Bigham), the Wild West vaudeville star shot by a smalltown outlaw (Dora Hand). These are just a few of the fascinating characters who feature on No Man’s Land and have long been ignored by the mainstream.

                                                                                                                                              “It’s bringing together my two main interests in life, which have always been separate from each other - history and songwriting,” explains Turner, who can be found seeking out long-forgotten historical sites on self-guided psychogeographical strolls when he’s not packing out arenas or headlining festivals.

                                                                                                                                              First single ‘Sister Rosetta’ is about the unparalleled Sister Rosetta Tharpe, one of the most important and influential musicians in American History. On it you can hear guitar breaks lifted from Tharpe’s own back catalogue. “Which I found challenging, because she’s a way better guitar player than me,” admits Turner.

                                                                                                                                              Despite the record’s implicit feminism, it doesn’t see Turner’s clambering onto any kind of soapbox. “It’s not telling anyone what to do or how to live or how to be,” he explains, prepared for a variety of different reactions to the project, including those who might be wondering if it’s really his place to be singing songs of disenfranchised women. “If there was a crowded field of people writing songs about Princess Kassiani then I would see the argument for me bowing out, but there isn’t,” he states. “No-one else is writing these songs right now. That’s why I want to share these stories.”

                                                                                                                                              No Man’s Land also includes perhaps the most revelatory song of Turner’s career. Written in tribute to his mother, Rosemary Jane honours her grit and determination through the harder parts of his childhood.

                                                                                                                                              No stranger to appearing on other people’s shows, Turner’s own podcast ‘Tales From No Man’s Land’ takes a deep dive into each song, like a sonic Cliffs Notes. Produced in collaboration with Somethin’ Else it sees Turner talking to historians and experts at places important to the women on the record, from Jinny Bingham’s coach house - which is now Camden’s Underworld venue - to Cleveland’s Rock & Roll Hall of Fame which only last year honoured Rosetta Tharpe, the Dodge City’s Boot Hill Museum and Southwark’s Cross Bones graveyard. Each finishes up with Turner singing an acoustic version of the song. “I’m not someone who believes in the supernatural, but there’s definitely an imprint when you’re at the place that was important to them,” says Turner. “It feels like a nice honouring, and a way to say ‘hey, we’re still thinking about you’.”


                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              Coloured LP Info: Indies exclusive white coloured vinyl.

                                                                                                                                              Coloured LP includes MP3 Download Code.

                                                                                                                                              Press Club

                                                                                                                                              Wasted Energy

                                                                                                                                                When Melbourne punks Press Club released their debut album Late Teens, it was received as a cacophonous battle-cry, resonating with fans far beyond their native Australia. Marked out as a band to keep an eye out for very early on, their music was singled out for its honesty and integrity, and the band praised for their social awareness, calls for self-improvement and powerhouse live performances.

                                                                                                                                                Press Club’s sonic calling cards are all present on Wasted Energy; the fuzz-addled, kicked-in speaker bass of Iain MacRae, the thick guitar tones of Greg Rietwyk, the merciless drumming of Frank Lees, and the emotionally charged vocal deliverance of Natalie Foster. On new single Thinking About You, amongst the climactic clatter of the band giving it everything, is Foster recounting her experience with a stalker. Never one to shy away from what is uncomfortable, the song embodies a freak’s tongue, cooing unbridled down the phone line; abrupt, uninvited, and out of the blue. In contrast to Late Teens, lyrically, Wasted Energy approaches the microphone through a lens of extrospection. It examines the negative behaviours in the world around us and how we’re all learning to exist in today’s ever-evolving socio-moral landscape. Wasted Energy is broadly about change, and life’s watershed moments that change its course. These shifts are laterally represented lyrically and sonically in many of its songs. Sweeping about-faces and musical departures are an expansion of the musical fibre that make up the Press Club repertoire. 

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Coloured LP Info: Indies exclusive limited edition transparent magenta vinyl.

                                                                                                                                                Selva Discos returns to the LP reissue game with a bang – by giving a new life to the stunning and very sought-after Memória das Águas album by Fernando Falcão.

                                                                                                                                                Originally recorded in 1979 in Paris but only released independently in Brazil in 1981, the album comes complete with genre-hopping explorations that swirl around ambient soundscapes, lively jazz, experimental-leanings, Afro-rhythms and a unique blend of Latin grooves and French pop with a Brazilian accent, but it also comes with a story as deeply unique as the music.

                                                                                                                                                To make a long story short, after participating in the political movements against the military regime in 1968 in Brazil, Fernando Falcão left the country and moved to France, where he lived in exile for 15 years. There, after working in music, acting, and sculpting, he involved himself in Jérôme Savary's legendary Grand Magic Circus, where he met his first wife, Valérie Kling. It was from this relationship that a partnership began between the musician and his father-in-law, the artist François-Xavier Lalanne, who guided Falcão in the process of inventing sound sculptures such as the balauê – a horizontal version of the berimbau string instrument whose sound was influenced by a water stream (since there was a hose soaking parts of the balauê wet during the performances). Much of this exploration and experimentation resulted in the album Memória das Águas.

                                                                                                                                                The album still sounds like little else from the time. As audacious and experimental as it is seamlessly listenable, it takes in immersive textures one moment before breaking out into Fela Kuti-esque brass-soaked grooves the next. It’s ultimately a record that captures the spirit and rhythm of Falcão’s homeland combined with the lush production and art-pop approach associated with his exiled home; It’s a polished, well executed and glistening record. Its fusion of African, Brazilian, jazz, pop, classical and avant-garde collides to create a record that spans as many continents as it does genres.

                                                                                                                                                Remastered from the original master tapes, not only the sound but the artwork of Memória das Águas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus articles that help to explain who Fernando Falcão was and where Memória das Águas sits among other staples of Brazilian music, including one from DJ and selector John Gómez – who helped to connect Selva Discos' Augusto Olivani with Diana Lion, Fernando Falcão's daughter (since the musician died in 2002), for this project.

                                                                                                                                                After Memória das Águas, Selva Discos will also reissue another long lost Fernando Falcão LP album – Barracas Barrocas.

                                                                                                                                                Jonas Munk & Nicklas Sorensen

                                                                                                                                                Always Already Here

                                                                                                                                                  Jonas Munk & Nicklas Sørensen team up for a genre-defying record that explores American minimalism, psychedelia, and electronic music both vintage and contemporary. On a foundation of interlocking guitar and synthesizer patterns, the duo constructs lengthy pieces that are experimental yet welcoming in nature, precisely executed yet with room for soaring improvisation. Always Already Here pays homage to the masters of classical minimalism (Steve Reich, Terry Riley) and the pioneers of electronic music and kosmische (Brian Eno, Manuel Göttsching), still it doesn't sound derivative or retrospective. The type of hypnotic bliss Munk and Sørensen strive for is distinctly timeless. Always Already Here came to life during a handful of intense sessions in Munk's studio in Odense, Denmark. However, from a larger perspective the record seems to be a culmination of several years of collaborating.

                                                                                                                                                  From 2010-14 Munk recorded & produced 3 full-length albums for Sørensen's band Papir. In the period 2015-17 the two collaborated on Sørensen's 2 solo efforts ”Solo” and ”Solo 2”. During the same period they have occasionally performed live as a duo, playing semi-improvised shows based around guitars & synthesizers. These live shows have assuredly influenced their collaborative work with an explorative, animated quality which is especially apparent on the album's free flowing, zen-orientated B-side. Always Already Here ties together several musical threads: academic pattern-music, psychedelia, avant-garde sound exploration as well as a highly melodic sensibility. It's a multi-layered, colourful album that demands full sonic immersion

                                                                                                                                                  Originally self-released as a tape under the artist name Pest(e), this 1996 collection of IDM and analog electronics is in fact the debut Lowfish album. Intended as a demo, it caught the attention of infamous UK label Skam - but after months of fruitless phone tag with the label, it was time for Gregory De Rocher to strike out on his own. Dropping his Pest(e) moniker in favour of Lowfish, in 1997 De Rocher co-founded Suction Records with like-minded producer Jason Amm, aka Solvent. While that Test(e) tape wasn’t technically a Suction Records release, it served as the impetus for starting the label, and it's always referenced as catalog no: suction000.

                                                                                                                                                  Fans of mid/late-90s Artificial Intelligence classics from Autechre, Locust, Aphex Twin, u-Ziq, and Bola will recognize those hallmark sounds here, alongside traces of formative influence from Skinny Puppy, OMD, and Tangerine Dream. Recorded live to DAT with a bedroom full of analog classics (Roland Jupiter 6, TR-808, TR-606, Arp Odyssey, Korg MS-20), a sampler, and an arsenal of cheap FX units, the melodies here are lush and addictive, with layers of warm, lo-fi-ish (get it?) grit - often intentional, sometimes just a product of the process. Although largely on the armchair techno tip, the dense drum programming also nods to the burgeoning drum and bass movement, which De Rocher was firmly (but only briefly) obsessed with.

                                                                                                                                                  For the first time on vinyl and rightfully re-branded as a Lowfish release, this is another stormer from Suction. Recommended!


                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                  Matt says: Another winner from the firm who brought you the RX-101 releases. Deep tek electronix from a master craftsmen. You need!

                                                                                                                                                  Various Artists

                                                                                                                                                  A Hard Row To Hoe Volume 1

                                                                                                                                                    Popcorn is a style of music and dancing first established in Belgium in the 1970s and 1980s. The style includes a wide variety of mostly American and British recordings of R&B and pop music made between the late 1950s and mid 1960s, often relatively obscure, and characterised by a slow or medium, rather than fast, tempo. This record features 14 pure Popcorn groovers from the golden era. 

                                                                                                                                                    Various Artists

                                                                                                                                                    Slow Grind Fever Volume 9

                                                                                                                                                      Volume #9 in this amazing series of slow grinding R&B/Soul/Exotica tunes as they are being played in a club in Melbourne/Australia. Around midnight on the last Saturday of every month, an assemblage of juiceheads, grifters, kittens, dandies and derelicts gather in a dimly-lit, smoke-filled room and dance together real slow. These are some of the records they dance to... 

                                                                                                                                                      Rock provocateur Marika Hackman will release her highly anticipated new album ‘Any Human Friend’ via AMF Records and on Sub Pop in North and South America'.

                                                                                                                                                      Any Human Friend’ has been co-produced by David Wrench (Frank Ocean, The xx, Let’s Eat Grandma) and Marika herself, and shows off a sharper and more liberated sound than ever before.

                                                                                                                                                      Marika is a ‘Rid of Me’-era PJ Harvey for the inclusive generation: unbounded by musical genre, a preternatural lyricist and tunesmith who isn’t afraid to go there. 

                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      Barry says: A brilliant outing here from Marika Hackman, beautifully marrying the synths and rhythmic drive of 80's pop music with her notoriously superb songwriting prowess, immediately rewarding but develops with every listen. A wonderful change of pace.

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      Coloured LP Info: Pink marbled vinyl.

                                                                                                                                                      Kandodo 3

                                                                                                                                                      K3

                                                                                                                                                        Brand new studio full length from Bristol based sike-o-nauts, orbiting in the Heads’ realm and led by Heads’ Simon Price.

                                                                                                                                                        For fans of: Popul Vuh, Parson Sound, Amon Duul, Neu!, The Heads, Spacemen 3, Harmonia, Moon Duo, Carlton Melton, Fripp & Eno.
                                                                                                                                                        k3 continues the trajectory of outer space excursions found on previous kandodo releases.

                                                                                                                                                        Recorded over the past three years and aided by fellow Heads types H O Morgan and Wayne Maskell, this album was recorded in Bristol and on Price’s 4 track.. Mastered once again at Optimum by Shawn Joseph.
                                                                                                                                                        Out of focus, relaxed and expansive vibes fuse together into serpentine rivers of minimalist rhythms and echoed tones, drawing the listener into tunnels of sound and scorched sonic landscapes.

                                                                                                                                                        It's one for the headphones at 30,000 feet or late night deserted drives.
                                                                                                                                                        k3 finds three heads taking time out to dive into the dronal repetitions of deep space, 3 psychonauts killing time in the only way they know how; head-nodding drumfuzz layered with creamed strings. Guest guitar from fellow sike-head John McBain on the final half of the 40 minute trip which makes up sides 3 and 4.

                                                                                                                                                        k3 takes the autobahn, veering left past the sun and heading on till morning. There are no black holes 'cos we're in it: just do the half. The colours will come back with the dawn.

                                                                                                                                                        Settle in for the long haul and ….

                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                        Barry says: Hazy sun-dappled ambient psychedelia doesn't come any more satisfying than this, with slow-mo Earth-like progressions and weighty clean guitar plucks meander over a satisfyingly hypnotic undercurrent of staggered distorted bass and whirling sine waves. Properly hypnotic stuff here, perfect for phasing out in the sunshine.

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        Coloured LP Info: Heavyweight mirrorboard gatefold sleeve, white vinyl pressing of 600 copies.

                                                                                                                                                        In his relatively short career, the prolific Anderson .Paak has self-published over 100 songs to market. .Paak has acquired an impressive list of collaborations including acts such as Mac Miller, Chance the Rapper, Rapsody, A Tribe Called Quest, and his band The Free Nationals; a steady stream of requests to work with some of the industry’s most renowned artists, and an instant hit "Til It’s Over", heard in the Spike Jonze directed commercial 'Welcome Home' for Apple’s HomePod starring FKA Twigs. In 2018, his monster single "Bubblin" saw a Jimmy Kimmel Live! Performance and won him his first GRAMMY for Best Rap Performance in 2019.

                                                                                                                                                        .Paak also made his debut SNL appearance performing "Tints" as well as "Who R U?" off his recent album "Oxnard", his third LP and first on Dr. Dre’s Aftermath Entertainment. The album marked a career high for him debuting as the #1 Independent album in the US according to Billboard as well as debuting at #5 on the Rap chart, #6 on the hip-hop / R&B chart and #11 on the Top 200. The phenomenal album was executive produced by Dr. Dre and features the likes of hip-hop legends Kendrick Lamar, Snoop Dogg, J. Cole, Q-Tip, and Pusha T. Following the album’s release, .Paak has been on a sold-out tour in both the US and Europe, with fans anxious to see his energetic and captivating live performances.

                                                                                                                                                        Only five months after Oxnard’s release, Anderson .Paak’s latest project Ventura switches gears to soul from the grit and urgency that Oxnard brought acting as a juxtaposition to the two towns where .Paak grew up. Anderson explains:
                                                                                                                                                        'Growing up in Oxnard gave me the grit and the church to find this voice of mine. One town over I went further and found my depth. The duality of each place inspired me greatly and from that I made two albums at the exact same time but held one back because that would have been too many songs to perform live for you all! I like ending things on an even number so welcome to "Ventura".'


                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                        Barry says: An absolutely killer new outing from senior .Paak here, brilliantly displaying a refracted rainbow of R&B influences, brought together with his forward thinking lyrical content and staggeringly effective rhythmic flow.

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        Coloured LP Info: RSD stores exclusive on milky clear coloured vinyl.

                                                                                                                                                        Fionn Regan

                                                                                                                                                        Cala

                                                                                                                                                          'Cala' was written and performed entirely by Fionn, once more returning to his home in Bray, on the outskirts of Dublin.The same site that framed his celebrated debut album, the natural, coastal setting plays a role in the construction of 'Cala'.He explains: “The album does have fundamentally elemental, visual components. I wouldn’t mind knowing why! It’s a mystery to me, how songs evolve. Thankfully, they do.” Featuring 10 tracks trimmed into a 35 minute package, 'Cala' is led by new song 'Collar Of Fur'. A narrative driven piece, the songwriter marvels at its “sparse cinematic moments, like a super-eight movie.”


                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Barry says: Beautiful, tender fingerpicked guitars and Regan's spellbinding voice make 'Cede' an essential addition to the arsenal of any folk fan, and moreso, because it leans towards the mellow country side of folk, anyone else would be hard pressed not to find the beauty within. A stunning LP, and one that will be on the player for some time to come.

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          Coloured LP Info: Yellow vinyl.

                                                                                                                                                          April, 1985. At the very moment when the first few notes of ‘Go Out And Get ’Em, Boy!’ twinkle out of BBC Radio 1’s John Peel show to herald the birth of The Wedding Present, David Gedge is listening intently at home along with the population of late teens that would become his ardent fans. In the beginning, The Wedding Present were resolutely not an album band. In fact, David had often been quoted as saying that they would never release an LP. Pleased to have recorded and released that debut single... they just started on the next one. This continued for a couple of years, while the band went from organising their own concerts in pubs around Leeds to playing at Glastonbury Festival. That all changed, of course, when George Best became The Wedding Present’s first album in 1988. But Tommy – released one year later – was made up of the early songs from the singles and radio sessions that had catapulted them from being bedsit musicians into indie darlings: ‘Go Out And Get ’Em, Boy!’ with its purposefully super fast guitars, ‘You Should Always Keep In Touch With Your Friends’ – an anthem for those long time Wedding Present fans, ‘My Favourite Dress’ – the only single in the collection that ended up on George Best – the classic, fraught tale of losing one’s first love that perfectly played on the heart strings and began David Gedge’s legacy of understanding everyone’s heartbreak.

                                                                                                                                                          Tommy 30 – a brand new re-recording of Tommy – did not come about simply as a ‘follow on’ to George Best 30. The band felt – during a Tommy 30th anniversary concert tour – that the songs had grown and evolved. Enter a more confident vocalist... an altogether growlier guitar. A bigger sound. The urgency of a 25 year old Gedge is replaced with a charming vocalist with years of experience. Everything’s warmer and, maybe, gentler... but in a satisfying way. It’s like your old friends have come home to see you. You’ve all changed, you’ve all had broken hearts... but you’re all still friends and you still enjoy each other’s company after all these years. "The boy Gedge has written some of the best love songs of the 'Rock 'n' Roll' era. You may dispute this but I'm right and you're wrong!" - John Peel 

                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Barry says: There's no denying that the Wedding Present are one of the most respected and long-running bastions in indie music, and 'Tommy' was seen by many as their finest point. This 30 year reissue (30!?) is just as essential as the day it came out, and comes in a lovely indies-only blue vinyl version to brighten up the place too. Get on it.

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          Coloured LP Info: Indies only blue vinyl edition.

                                                                                                                                                          Chali 2na & Krafty Kuts

                                                                                                                                                          Adventures Of A Reluctant Superhero

                                                                                                                                                          The time has finally come to grab your capes, don a pair of tights and load up the turntable ready for the show to begin. This is "Adventures Of A Reluctant Super Hero" - prepare for the Purple Assassin and the Scratchman as they come and save your city, the scene and hip-hop as we know it.

                                                                                                                                                          Featuring a who’s-who of collabs and guest appearances from hip-hop royalty, this 14-track record takes you to just about every corner of the genre, leaving no stone unturned. With Lyrics Born and Gift Of Gab joining on "Guard The Fort" to deliver a serious statement of intent to open the LP, the rest of the record is an adventure through funk, breaks, rolling basslines, buckets of groove and everything in-between.

                                                                                                                                                          Throw in a generous portion of expertly delivered bars and vocals from genre sidekicks like Harry Shotta, Skye (Morcheeba), Omar, Dynamite MC and more, and you’re left with a hip-hop record that not even the comic books could have conceived.


                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Matt says: Hip-hop continues to be a dominating force as trap, grime and rap vie for the spotlight. Chali 2na & Krafty Kuts bring that old skool boom-bap flavour and keep us noddin' till sun down. ffffressh!

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          Ltd LP Info: LP version comes with an exclusive 8-page comic-book by official Star Wars
                                                                                                                                                          illustrator JAKe + full album download

                                                                                                                                                          New LP from the youngest of the outrageously talented DeenMamode brothers (Mo Kolours & Reginald Omas Mamode IV), Jeen Bassa. "Cassava Pone" follows up on his hugely successful "All My People" and "Timewaves" LP’s on 22a.

                                                                                                                                                          **vinyl only, strictly limited one-off pressing, once it’s gone it’s gone!**

                                                                                                                                                          This is a classic beat-tape style LP from one of the most under rated hip-hop producers in the UK right now. Warm and woozy productions that stand out in a world saturated with bland Dilla and Madlib-esque pastiches.

                                                                                                                                                          Heavily influenced by Bassa’s Mauritian roots, the album takes you on a journey through aboriginal and pan african sounds with heavy layers of percussion and samples from his fatherland. Features Mo Kolours, Al Dobson Jr, Reginald Omas Mamode IV and Shepherd Manyika.


                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Matt says: Enigmatic Londoners Jeen Bassa drop a stylish mixtape styled album but rather than re-hash old Dillaisms and Madlib pastiches, the duo opts for something distinctly their own and, dare I say it, from the heady melting pot of UK influences.

                                                                                                                                                          Glasgow-based soundsystem and production unit, Mungo's Hi Fi drop a new album, "More Fyah", a stunning collaboration with UK singer and MC, Eva Lazarus. A genre-melding masterpiece, "More Fyah" traverses between reggae, dub, dancehall and other bass flavours. Eva seamlessly tackles every track with her unique lyrical flow and wide vocal range, matched by Mungo's infectious signature sound. From the rocksteady relick of "Dub Be Good To Me", the ragga mash-up title track "More Fyah", the summery riddims of "Light As A Feather", featuring London reggae artist Kiko Bun, to the roots sampling "Babylon Raid", featuring Jamaican reggae legend Max Romeo, Mungo’s have a sound that is deeply rooted in dub and reggae’s lineage, backed by the sharp, sassy and slick vocals of Eva Lazarus.

                                                                                                                                                          Raised out of one of the most musically creative cities in the UK, Mungo’s Hi Fi have made a massive contribution to Glasgow’s musical story with a respectful nod to Jamaican sound system tradition. Founded in 2000, Mungo’s was formed by two like-minded DJs, inspired by the free party scene but following the Jamaican tradition of King Tubby and Jah Shaka. True to reggae/dancehall’s DIY ethos, they built their first sound from speakers found in a skip and began producing on an old Atari. They started inviting visiting vocalists to their regular nights in Glasgow to hold the mic and then join them in the studio. Following early recordings on London’s Dubhead records, including debut album "Mungo’s Hi Fi Meets Brother Culture", they founded the Scotch Bonnet Records label in 2005.

                                                                                                                                                          Today Mungo’s Hi Fi’s three DJs, Craig, Doug and Tom play all over the world, assisted by the team at Scotch Bonnet Records: all committed to spreading their philosophy of serious, seismic productions plus easy going democratic dancehall fun. Highly collaborative, they’ve worked on remix projects with Leftfield, Coldcut, Submotion Orchestra, Kahn and Prince Fatty in the UK to Major Lazer in the US and are currently expanding links with East African Records based in Uganda. The vocal collaborations go much further, from foundation Jamaican legends such as Sugar Minott, Ranking Joe and Johnny Clarke to contemporary artists like Charlie P, Kenny Knots, YT, Solo Banton, Parly B and Marina P. This is Eva's first full length album, having recently featured on tracks with Swindle, Zed Bias, Jus Now and Gentlemans Dub Club. A multi genre artist, she has been making waves worldwide, fresh from her first global tour which took in Panama, Dubai, Uganda, Kenya, India, Vietnam, Australia and New Zealand. Her releases include The Nextmen vs Gentleman's Dub Club "Pound for Pound" and Benny Page "Front Left". She is also set to release her first solo EP later this year and has a starring role in ‘Kid_X’, a theatre production that charts a futuristic romance between a boy with a bionic heart and a famous rooftop selfie queen.


                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Matt says: Scotch Bonnet bass stalwarts Mungo's Hi-Fi are bread and butter for our reggae section, always garnering our shelves with a release or two every year. "More Fyah" is this year's long playing offering and boy is it killer. Dancehall, bass, roots, dub and reggae flavours are all represented in authentic yet inspired and creative form, there's a few UKs determined to keep reggae fresh, and Mungo's Hi-fi rate up their with the best of the bunch.

                                                                                                                                                          Art Ensemble Of Chicago

                                                                                                                                                          We Are On The Edge: A 50th Anniversary Celebration

                                                                                                                                                            Iconic, innovative and internationally renowned force in avant-garde music The Art Ensemble of Chicago released their 50th anniversary celebratory album We Are On The Edge in April, and Erased Tapes are honoured to announce the vinyl edition of this exceptional body of work. Led by surviving founding members Roscoe Mitchell and drummer Famoudou Don Moye, these brand new recordings involve a staggering array of contemporary artists ranging from across the jazz, experimental and improvised music spheres; from the visionary poet and musician Moor Mother, trumpeters Fred Berry and Hugh Ragin, who have performed with Mitchell for over five and four decades, to bassist Jaribu Shahid, supreme cellist Tomeka Reid, celebrated flute virtuoso Nicole Mitchell and the extraordinary voice of Rodolfo Cordova-Lebron.

                                                                                                                                                            The vinyl edition will be available as a double album featuring a meticulous studio session of the newly assembled group of musicians, combining re-recordings of works spanning the last 50 years, some never before recorded, as well as new compositions. The 4-LP special edition also includes their live set recorded at Edgefest, the annual experimental jazz and creative new music festival in Ann Arbor, Michigan.

                                                                                                                                                            Having witnessed this exciting new formation around Roscoe and Don live at Big Ears Festival in Knoxville, Robert Raths was compelled to start a conversation with their US label Pi Recordings, based out of New York, and support this project in any way possible.
                                                                                                                                                            The Art Ensemble of Chicago is a band that has been at the forefront of creative improvised music since forming in 1969. It has also long served as the flagship ensemble of the Association for the Advancement of Creative Musicians (AACM), the august Chicago-based organisation that also fostered the careers of members such as Muhal Richard Abrams, Anthony Braxton, Henry Threadgill, and Wadada Leo Smith, among many others. Now led by the surviving members Roscoe Mitchell and drummer Famoudou Don Moye, their new album We Are On The Edge: A 50th Anniversary Celebration is not only a commemoration of a half-century of magical music making, but also a loving tribute to the band’s three original members who have passed: Lester Bowie, Malachi Favors, and most recently, Joseph Jarman.

                                                                                                                                                            The greatness of the Art Ensemble has always been the shared commitment of its original members to the total realm of African diasporic music: what they have long-termed “Great Black Music — Ancient to the Future”. Also important are the group’s disparate musical and artistic personalities, comprised of jazz, advanced compositional techniques, theatrical performance, poetry, Pan-African percussion, all tied together with improvisational flair, a taste for the absurd, and the exploration of pure sound and space. It is this open-mindedness – absorbed from the basic tenets of the AACM – that has made the band one of the most important in the history of music.

                                                                                                                                                            Mitchell and Moye are now 78 and 72, respectively, but one would never guess by their outlook. Mitchell, who was recently named to a prestigious United States Artist Fellowship, is about to retire from his teaching position at Mills College, is most excited when you ask him about his upcoming projects, gushing about a dizzying array of performances, commissions, collaborations, composition ideas, and musical studies and inventions. There is, of course some wistfulness when looking back, particularly with the passing of Joseph Jarman earlier this year, but the overwhelming feeling is anticipation of what is coming next or, as Moye always says, "focus and forward motion". It’s a clarion statement that Mitchell and Moye are intent on ushering The Art Ensemble of Chicago forcefully into its sixth decade. As Moor Mother declares: "We are on the edge!" 

                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            4xDeluxe LP Info: The 4-LP special edition also includes their live set recorded at Edgefest, the annual experimental jazz and creative new music festival in Ann Arbor, Michigan.

                                                                                                                                                            2xLtd LP Info: Double album featuring a meticulous studio session of the newly assembled group of musicians, combining re-recordings of works spanning the last 50 years, some never before recorded, as well as new compositions.

                                                                                                                                                            Stroom's archival exploration of Belgium's musical heritage continues this week with a window into the work of Shakti, an early collaboration from New Beat legends Praga Khan, Chris Inger and Jade 4 U, who released about a thousand killer tracks separately, as well as going on to form Lords Of Acid! This retrospective collects tracks from Shakti's debut LP "Demonic Forces", 1988 single "Forbidden Dreams" and 1990 CD album "Shakti Featuring Jade 4 U". 
                                                                                                                                                            Combining tough rhythms, punishing synth parts and unexpected melodies, the LP is a perfect combination of Western club energy and Eastern motifs - thusly as New Beat as it's possible to get. "Forbidden Dreams" and "The Awakening" slap like any Boccaccio banger should, while Jade 4 U's Cindy Ecstasy-style vocals on cuts like "The Early Train" bat their painted lids perfectly. All in all, a killer set of formerly new beat. 

                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                            Patrick says: Stroom pay tribute to Belgian club kingpin Praga Khan with this retrospective collection featuring fellow New Beat pioneers Chris Inger and Jade 4 U. Heavy 80s percussion, hefty synthlines and Eastern melodies abound in true New Beat fashion!

                                                                                                                                                            Moon B takes a step out of his comfort zone with ‘Udaya’, giving a lesson on how it isn’t the tools at your disposal, but rather how you use them. A stalwart of vintage analogue gear under normal circumstances, he’s harnessed the full power of his iPad to conjure up 8 cuts of slick, lo-fi boogie that emanate with a smoky warmth. Gone are the genre-hopping sensibilities of earlier releases, replaced with a renewed focus on what really counts: the funk. Gliding on thick, queasy basslines, woozy synths, sampled instruments and iOS-powered FX, it’s a “navigational soundtrack through life's mysteries,” velvety and fuggy in equal measure right to the final beat. Roughly translating to ‘ascension’ in Sanskrit, ‘Udaya’ is a deeply affecting record at times: a sample of Jordan Peterson reciting philosophy on the ‘individual’ provokes reflection on behalf of the listener, while ethereal pads hint at the idea of heightened experience through music. There’s something outward looking and contemplative about the album too, in a wistful, heavy-hearted sort of way - the sort of feeling evoked when man considers the vastness of the universe and his place within it. It isn’t often you find a record simultaneously offering transcendent moments and evoking imagined memories of late night cruises through dimly lit suburban streets and while contemplating humanity’s cosmic insignificance. 

                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                            Matt says: Moon B's gone on a cybernetic-spiritual journey on this latest release. Channelling his chackras through digital interfaces and iOS-instrumentals. A mainframe-indebted masterpiece!

                                                                                                                                                            Kyle Dixon & Michael Stein

                                                                                                                                                            Butterfly: Original Series Soundtrack

                                                                                                                                                            Grammy nominated ‘Stranger Things’ composers and S U R V I V E members Kyle Dixon and Michael Stein return to score three part British drama ‘Butterfly’.

                                                                                                                                                            Housed in a heavyweight spined sleeve and pressed on 180g black vinyl with digital download card included.

                                                                                                                                                            “We had just come off our first project that had established us as these retrosynth/80s producers, and we wanted to do something that helped get us out of that box,” Dixon and Stein said in a press release. “Obviously there are still synths being used, and coincidentally some of them are from the 80s, but hopefully this score won’t be received as such.”

                                                                                                                                                            The music to ‘Butterfly’ sustains Kyle Dixon and Michael Stein’s proclivity for locating humanism in their electronics. The signals they send have some sort of uncanny correlation with core feelings. More uncanny is their tonal grasp of what it is to be young and curious.

                                                                                                                                                            ‘Butterfly’ is the story of 11-year-old Max who identifies as a girl and wants to live her life as Maxine. Her estranged parents Vicky and Stephen attempt to work out how best to cope with and support this huge life decision.

                                                                                                                                                            LP includes digital download code.


                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                            Barry says: AARGH. I always loved the throbbing synths and intense atmospheres in Dixon & Stein's work under their own names (soundtracking Stranger Things for example), and as 'Survive', but this soundtrack takes all of that oscillator knowledge and inject it with a healthy dose of hazy 80's reverie (despite their insistence to the contrary), all saturation and arps. Completely on-board.

                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            LP includes MP3 Download Code.

                                                                                                                                                            Kyle Dixon & Michael Stein

                                                                                                                                                            Spheres (Original Score)

                                                                                                                                                            ‘Spheres’ is a celestially immersive experience focusing on the human connection with the cosmos - with music composed and performed by Kyle Dixon and Michael Stein.

                                                                                                                                                            Written and directed by Eliza McNitt (‘Fistful of Stars’, ‘Without Fire’), ‘Spheres’ will be released on the Oculus Rift and is presented by City Lights and Protozoa Pictures. Darren Aronofsky and Ari Handel are executive producers.

                                                                                                                                                            Grammy nominated Kyle Dixon and Michael Stein need no introduction as two of today’s most highly regarded film score composers, having worked on ‘Stranger Things’ series 1 and 2 and ‘Butterfly’, as well as being members of S U R V I V E.

                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                            Barry says: Two D&S scores in one week?! This one is equally as excellent, but a little more geared towards the ambient end of the spectrum, with cavernous echoing reverb and subtly panned swirls of industrial machination, this is equally as superb as their previous work but considerably darker. A perfect flipside to the coin.

                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            Coloured LP Info: The LP format is pressed on white vinyl and
                                                                                                                                                            housed in a heavyweight spined sleeve. Includes
                                                                                                                                                            digital download card featuring the binaural mixes
                                                                                                                                                            of the score for the most immersive experience
                                                                                                                                                            possible.

                                                                                                                                                            Brix & The Extricated

                                                                                                                                                            Breaking State

                                                                                                                                                              Vinyl version of second critically acclaimed album. Brix & The Extricated have pushed the sonic boundaries set by their debut. While retaining much of what was loved about their first album, this record demonstrates musical muscle and rapid growth of artisitc intent. While the sonic thread of their time in The Fall is still clearly evident, there are many surprises and unexpected corners throughout the album. This album is packed with seriously infectious choruses and killer guitar work. Each of the ten songs is rifled with the gut wrenching power chords, driving riffs and technical dexterity of Jason Brown’s guitar contrasted against the delicate beauty of Steve Trafford’s moody, atmospheric, transportative soundscapes.


                                                                                                                                                              Both musicians take you on two separate but intertwined sonic journeys as the two guitars debate conversationally from one song to the next. They play off each other and bait each other, returning to that place where they blend in orgasmic bliss – this is post punk guitar work at it’s best. Smith Start comes into her own as a vocalist here delivering every word with intent while emotionally engaging the listener throughout. Building on her inspirational work in ‘Part 2’, she reasserts herself as a leading light to women across the generations, swimming against the tide and defying expectations. She brings a message of hope, not just to women but to people everywhere to strive for what is possible. Smith Start again resets the bar of expectation stepping out of preconceived, conditioned perceptions of previously well trodden paths. Vocally we hear a voice that ranges from vulnerable delicacy to the battle cry of a warrior. The unexpected addition of strings (arranged by Sarah Brandwood-Spencer) add a surprise multi dimensional emotional texture throughout, that seamlessly support Smith Start’s message. At times the strings hark back to the golden age of Hollywood glamour resulting in a wonderful collision where MGM meets post punk rainy Manchester. Lyrically this album is a metamorphosis and transformation moving from black and white to full blown Technicolour. A deeply personal album, written from truth. ‘Breaking State’ is about breaking out of an emotional hijacking into a better place. 

                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                              Barry says: We love a bit of Brix here in the shop, and this second outing from them is just as chunky and satisfying as the first, from the hypnotic 90's grunge melodics of 'H.C' to the almost poppy production and snarling vitriol of 'Prime Numbers', this is a perfect follow-up to the well regarded debut LP.

                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              Coloured LP Info: Transparent purple LP.

                                                                                                                                                              Spacebomb House Band

                                                                                                                                                              Known About Town: Library Music Compendium One

                                                                                                                                                              Spacebomb House Band is comprised of Trey Pollard, Matthew E. White, Pinson Chanselle, and Cameron Ralston. Collectively, they are the musicians, arrangers, and producers behind artists like Natalie Prass, The Waterboys, Slow Club, Foxygen, Matthew E. White, Nadia Reid, Bedouine and many more.

                                                                                                                                                              Known About Town is released on soda bottle clear vinyl. The music?
                                                                                                                                                              Instrumental, interstitial music, & spiritual sounds recorded at the Spacebomb Studios in Richmond, Virginia. It’s good for a party. It’s good to run to. It’s good to drink cocktails with. It’s just good, good music. 

                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              Coloured LP Info: Soda bottle clear vinyl.

                                                                                                                                                              Monarch

                                                                                                                                                              Beyond The Blue Sky

                                                                                                                                                                In recent years Southern California has proved to be fertile ground for heavy psych, prog and free rock. The amount of excellent bands growing out of the San Diego soil is simply unparalleled. Among the youngest generation of these bands are the five-piece Monarch, a band rooted in psychedelia and experimental prog, with a view towards broader horizons. There's something refreshing about Monarch's take on psychedelic rock: they aren't afraid to weave allman brothers-esque dual guitar lines with synthesizers and saxophone. They can be heavy, but there's an unmistakable panoramic quality to their compositions too, reflecting the rich and diverse environment they've grown up in, with dazzling pacific coastlines, mountains and desert highways.

                                                                                                                                                                Compared to their debut album, ”Two Isles” from 2016, Beyond The Blue Sky is a more complex record. The three year journey has led the band through several separate recording sessions and ended up going all-analog at Audio Design studios. It’s an album that’s meticulously crafted and with sights set on new musical territory. Their songwriting has matured and each track feels like a mini-epic, travelling unexpected routes before reaching their sonic destination. Nowhere is this more apparent than on the album's centerpiece, the three-part Beyond The Blue Sky/Phenomena/Counterpart, where Monarch manages to fuse all their influences into one mammoth composition. It's an album to drive off into a careless summer sunset and beyond 

                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                Barry says: A heady collection of grooving guitar jams, heavy AF percussion and drippingly psychedelic vocals that only the balmy climes of California could bring about. Fully immersive and addictively euphoric jams.

                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                LP Info: Limited to 500 copies.