MAGIC MIX

STAFF PICKS

ALBUMS

Fontaines D.C.

A Hero's Death

    Preorder the album from us for an invite to a very special album release show, filmed at 2FM Radio's studio in Dublin. "A Night In Montrose, Dublin" will air on Monday 3rd August at 8pm BST, 9pm CEST / 3pm EDT.

    All you have to do is order the album from us before midnight on Sunday 2nd August and we will email you a link to the show. IMPORTANT!!!: Links will be emailed after 4pm on Monday 3rd August, make sure you check your junk mail if it hasn't arrived in your inbox.

    Fontaines D.C. will perform new album A Hero’s Death in its entirety for the very first time, along with selected tracks from their award-winning debut Dogrel. A live Q&A with the band will also mark the occasion.

    See you down the front!!!

    You can also sign up to the bands mailing list for an invite.


    Barely a year after the release of their hugely acclaimed debut album 'Dogrel', which earned a Mercury Prize nomination and Album of the Year 2019 at both BBC 6Music and Rough Trade record store, Dublin’s Fontaines D.C. have returned with an intensely confident, patient, and complex follow up album. 'A Hero's Death' arrives battered and bruised, albeit beautiful - a heady and philosophical take on the modern world, and its great uncertainty. 

    STAFF COMMENTS

    Barry says: Well, well.. Fontaines follow up the stunning Dogrel with yet another killer LP. We get the brash distortion and rawkous chant-along melodies from the previous outing but imbued with a more mature songwriting focus and more refined sound. Stunner.

    FORMAT INFORMATION

    Coloured LP Info: Limited Edition Stormy Blue Vinyl.

    2xDeluxe LP Info: 45rpm cut double-LP on 180g black vinyl.
    Cut at Abbey Road Studios.
    Double gatefold LP.
    Comes with 12”x12” photo/lyric book.

    Max Richter

    Voices

      Over a decade after its inception, ground-breaking composer Max Richter announces the release of VOICES – a major new recording project inspired by the Universal Declaration of Human Rights. In a time of dramatic global change, VOICES offers a musical message of hope. Max Richter invited people around the world to be part of the piece, crowd-sourcing readings of the Universal Declaration of Human Rights to be interwoven into the work, which features an ‘upside-down’ orchestra. He received hundreds of submissions in over 70 languages. These readings form the aural landscape that the music flows through: they are the VOICES of the title.

      Max Richter explains, “I like the idea of a piece of music as a place to think, and it is clear we all have some thinking to do at the moment. We live in a hugely challenging time and, looking around at the world we have made, it’s easy to feel hopeless or angry. But, just as the problems we face are of our own making, so their solutions are within our reach, and the Universal Declaration of Human Rights is something that offers us a way forward. Although it isn’t a perfect document, the declaration does represent an inspiring vision for the possibility of better and kinder world.”

      STAFF COMMENTS

      Barry says: A new Max Richter! There are few things that can quiet my cat but Richter is one of them, and now we have a brand new album from the master of modern classical. This time we get the addition of softly spoken voices, beautifully harmonising with the layers of brittle strings and piano we've come to expect.

      FORMAT INFORMATION

      2xLtd LP Info: 180g Black vinyl for high quality sound.

      Suzanne Vallie

      Love Lives Where Rules Die

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

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

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

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

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

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


        STAFF COMMENTS

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

        FORMAT INFORMATION

        Ltd LP includes MP3 Download Code.

        Your Old Droog

        Jewelry

          Inimitable rap musician Your Old Droog is back. After recently releasing the acclaimed projects "It Wasn't Even Close" and "Transportation", the prolific artist is returning with the brand new album "Jewelry". The album is a celebration of YOD's Jewish heritage, which he is now officially revealing to the public for the first time. "Jewelry" features guest appearances from the likes of Matisyahu, MF DOOM, and Mach-Hommy (who also wears the hat of executive producer on the project), with beats by Quelle Chris, Tha God Fahim, Edan, Preservation, and more. "I'm a Jew in America", says Droog. "This is my story. Shalom." 

          The Psychedelic Furs

          Made Of Rain

            Highly influential post punk stars, The Psychedelic Furs release their new album, their first in nearly 30 years. From its exhilarating opening bars, Made Of Rain - sounds like The Psychedelic Furs and them alone. It’s a joy to hear again, fresher than ever. Their peerless permutations of art, aggression and ambience drive the dynamics, and it’s always been this originality which has set them apart, a cut above. The album was produced by Richard Fortus, whilst mixing duties were handled by Tim Palmer (David Bowie, U2, Robert Plant). 


            STAFF COMMENTS

            Barry says: From the outset, this absolutely sounds like a Psychedelic Furs album and after 30 years of not recording, that's quite an achievement. Walls of distortion and chorused guitar solos all behind Butler's instantly recognisable vocals.

            FORMAT INFORMATION

            2xColoured LP Info: Limited purple vinyl, gatefold sleeve.

            2xLP Info: Black vinyl, gatefold sleeve.

            With their first LP in over three years, Californian psych-dub duo Peaking Lights offer an outlet from the mundane with a kaleidoscopic collection of lo-fi, escapist-electronic pop. Over their illustrious twelve-year-plus career, the husband and wife duo of Aaron Coyes and Indra Dunis have set themselves apart with their characteristic dreamy, and melancholic sound that blends together elements of dub, and delicate-but-quirky electronics. E S C A P E, Peaking Light’s sixth album, and first for Dekmantel, finds them at their finest, replete with atmospheric landscapes crafted out of homemade-percussive loops, that sit alongside wondrous electronic pop and krautrock-like hooks, all tied together by Indra Dunis’ composed and hypnotic vocal charm.

            Now based out in Amsterdam, and having firmly established themselves on Dekmantel with their 2018 EP Sea of Sand, Coyes and Dunis’ unique brand of indie-synthwave yet further explores their ongoing delve into transcendental, psychedelic music. With E S C A P E, the production duo illustrate their pragmatic use of instrumentation and dubbing to create more heady and celestial avant-pop. From the very outset on opening track ‘Dharma’, the band’s iconic retro-dub aesthetic kicks in, before being accompanied by a litany of drum machines, sweeping compressed effects, and Dunis’ hypnotic serene vocals. Coyes, somewhat of a connoisseur and collector of varying studio gear adopts his steadfast dynamic approach to production, playing with new mixing techniques, tape loops, compression and effects throughout. It’s this freedom to indulge, and create new instruments, processes and sounds that have made Peaking Lights unique; an ever-present industriousness that characterises E S C A P E, whether it be on the deep textures of ‘Change Always Comes’, to the cathartic 80s pre-rave-wave of ‘The Damned’.

            E S C A P E is a vibrant moment full of multi-spectral melodies crafted in an aesthetic the group have excelled in and made their own; a style exemplified by their breakout 2011 LP 936. And throughout E S C A P E, whether it’s on the esoteric ‘Eyes Alive’ to the mesmerising beach rhythms of ‘Dreams’, Peaking Lights’ rich and reverberated sonic palette shines through. For both dreamers and dancers alike, the latest offering to Peaking Lights’ illustrious catalogue is a true mind-expanding and fantastical listen full of passion and catharsis.

            Crash! Pow! Bang! Boof! "Rebirth Of Gerberdaisy" is the fifth long player from Piccadilly favourite Morris Futon (Maurice Fulton) in his Boof guise, and it's every bit as bonkers and brilliant as everything else the producer has cooked up over the years. By now you should know the score, floatation tank pads, futuristic jazz tesselations, backwards-forwards-backwards basslines, oodles of mutant funk, live perx, drum machines, a mandatory one-two of TOUGH vacuum jackers and a touch of cannabis psychosis. 10 tracks across four sides of vinyl, conceived, composed and created by Maurice Fulton, presented by Running Back and Bubbletease Communications. Dopest shit!

            Romare

            Home

              Romare—real name Archie Fairhurst—returns with his new album “Home”, marking his 3rd on Ninja Tune and first full length album since 2016’s critically acclaimed “Love Songs: Part Two”. It follows the recently released ‘Gone / Danger’ 12”, his most direct dancefloor record to date, which Resident Advisor described as “An engrossing eight minutes of cinematic house music”.

              Romare’s music has always sat comfortably in both the dancefloor world and a more relaxed environment, “Home” being no exception. With euphoric, uplifting moments on ‘Sunshine’ and ‘Heaven’ through to more meditative and melancholy moments on ‘Deliverance’. “For me, the sweet point in music is when happy and sad come together” comments Fairhurst, “when they meet in the middle, that’s what I try to create”.

              The release of “Home” comes after a lifetime of being on the move for Fairhurst, he spent his childhood travelling constantly with his family as his parents moved around the world for work, before finally settling in the UK. This nomadic lifestyle would continue with his burgeoning career as a musician taking him off touring the world (playing over 150 shows in the last 2 years alone). Which brings us to “Home”, The new album marks a new chapter in Fairhust’s life with a move out of London to the countryside and starting a family, a move which has “given me peace and quiet” he comments. The new addition of his own home-built studio adds to this feeling of being content and settled, having worked from various bedroom studios in the past.

              Shifting from themes of love and romance on “Love Songs: Part Two”, “Home” explores spirituality, identity and belonging. “Identity and a sense of belonging is something I've been searching for more since becoming a father,” he explains, “growing up I was always around lots of people from different backgrounds, my own identity sometimes felt lost”. It see’s Fairhurst pull from the more unusual records in his collection for inspiration, delving into american gospel and traditional irish folk through to country, religious hymns and classical (with a special nod to composers Thomas Tallis and Vaugn Williams). “I always want to explore different sounds and genres from different countries and backgrounds” comments Fairhurst. During the past few years Fairhurst has moved away from purely sample based music, developing his use of instruments in his music and experimenting with different tools, both old and new. These tools include a vintage organ he found in a local charity shop, his dad's old 12-string guitar, re-assembling his childhood drum kit from the 90’s and a tape player which allowed him to start sampling from cassette tape.

              The album artwork, created by Fairhurst himself, uses a collage technique consisting of black and white cut-out images. “In this artwork each cut-out resembles an artist or group sampled in the album”, comments Fairhurst.

              Luke Vibert

              Presents Rave Hop

                The third, and final part, of Luke Vibert’s entertaining and infectious cavort through some of dance music’s key motifs, delivers a singular collection of tracks that the creator defines as Rave Hop.

                ‘Luke Vibert presents Rave Hop’ finds the British producer and musical trail blazer kick back on a bunch of lazy hip hop breaks and breezy samples. Soulful vocals, suave raps and buoyant riffs are expertly infused with dope as fuck beats and booming basslines.

                ‘Rave Hop’ concludes Vibert’s trilogy of albums for Hypercolour that has gifted us absorbing musical dispatches from the breakbeat and rave frontlines. With an enviable recording career that has taken in countless projects for labels like Ninja Tune, Warp, Planet Mu and Rephlex, Luke Vibert still holds the crown for king of the beats!

                Ohmme

                Fantasize Your Ghost

                  There's an obvious chemistry emanating throughout Ohmme's music that's so tangible it can only come from a decades-spanning friendship. Songwriters Sima Cunnningham and Macie Stewart formed their unbreakable bond performing throughout the fringes of Chicago's many interlocking communities, collaborating with titans from the city's indie rock, hiphop, and improvised worlds. But together, along with drummer Matt Carroll, they've stretched the boundaries of what guitar music can do starting with the band's experimental 2016 self-titled EP and their adventurous debut 2018 LP Parts. Now their longstanding partnership culminates with the stunning and muscular follow-up Fantasize Your Ghost. Ohmme formed in 2014 as an outlet for Cunningham and Stewart to explore an unconventional approach to their instruments.


                  "That's the whole genesis of the band: us walking up to our guitars and saying, 'how can we make this noisemaker do something different?'" says Cunningham. But as their musical collaboration strengthened, bringing Parts and intensive tours with acts like Wilco, Iron & Wine, Twin Peaks, and more, the band's scope and focus has also broadened. "Grinding on tour last year for so long, it can alter your mental state where you have to think about your life in a different way than you would if you're home. A lot of the songs stemmed from just thinking about all of the possibilities that life could be and could take," says Stewart. The commanding single "3 2 4 3" tackles the terrifying realization of needing to make a change. Their deft scene-setting and the way their disparate voices blend together heightens the song's inherent anxiety. These moments of emotional clarity fill Fantasize Your Ghost.


                  Written across 2019, early sketches of the album's tracklist were demoed at Sam Evian's Flying Cloud Studios in upstate New York. "That's where we really started to see the record come together," says Cunningham. The sessions were intensely collaborative and open, the product of long, existential conversations between Stewart and Cunningham in the van about their lives and how to channel the anger they were feeling about the state of the world. Tracks like the driving opener "Flood Your Gut" underwent several revisions with Ohmme uncovering several new directions the song could go before finishing it. Fantasize Your Ghost was recorded over a six day session in with indie rock journeyman producer Chris Cohen and captures the astounding magnetism and ferocity of their live show.


                  Fantasize Your Ghost encapsulates the thrilling and sometimes terrifying joy of moving forward even if you don't know where you're going. It's an album that asks necessary questions: When life demands a crossroads, what version of yourself are you going to pursue? What part of yourself will you feed and let flourish and what do you have to let go of? This is a record of strength, of best friends believing in each other. Unapologetic and brave, Ohmme are ready to figure it all out together.

                  STAFF COMMENTS

                  Barry says: Over the few years they've been recording, Ohmme have clearly perfected their brand of rhythmic indie rock into the perfectly hypnotic distillation we hear today. Elements of Americana, White Stripes-esque blues rock and hypntoic synthy kosmische. It's a melting pot indeed, but one that works flawlessly. That groove!

                  FORMAT INFORMATION

                  LP Info: Limited 'Spectral Blue' vinyl version.

                  LP includes MP3 Download Code.

                  Mike Polizze

                  Long Lost Solace Find

                    RIYL Purling Hiss, Birds of Maya, Kurt Vile, Steve Gunn, Nap Eyes, the War on Drugs, Jonathan Richman, The Clean, The Kinks, Neil Young.

                    “Beautifully melancholic… A craftsman whose easy mastery hides the years of work it took to get there. The hooks seem to never stop.” Pitchfork // “Idiosyncratic and remarkable … unwashed, long-haired pop strum.” NPR Music.

                    The story of Long Lost Solace Find, the debut solo album by Mike Polizze, is a Philadelphia story. It’s also a story about the erstwhile Purling Hiss frontman and Birds of Maya shredder stepping out from behind the wall of guitar noise into the bright sunshine to inhabit the dazzling realm of glassychords. Performed entirely by Polizze (largely live and acoustic), with notable instrumental and vocal contributions from longtime friend Kurt Vile, and recorded (slowly, over the course of a year) by War on Drugs engineer Jeff Zeigler, this intimate Philly affair clarifies the bittersweet earworm melodicism of Polizze’s songwriting, revealing bona fide folk-pop chops. Long Lost Solace Find finally harvests the wild local honey from the buzzing hive of Hiss.

                    Mike moved from nearby Media, Pennsylvania to Fishtown, Philadelphia in 2004, cofounding Birds of Maya with Jason Killinger (later of Spacin’) and Ben Leaphart (later also of Purling Hiss, Watery Love, et al.) and subsequently falling in with a nascent scene that included the War on Drugs, Kurt Vile, Espers, and the future Founding Fathers of Paradise of Bachelors. In the early years of the new millennium, Philadelphia, and particularly the affordable neighborhoods north of Northern Liberties that attracted artists and musicians, could be a brutal and sinister place, with acres of abandoned and blighted post-industrial blocks ripe for reclamation through thoughtless gentrification. (One of my final, fateful memories before I moved to North Carolina in 2006 was watching a threadbare, discombobulated pigeon stagger in sidewalk circles, impaled wingwise with a syringe. Tourists beware!) The primeval caveman roar of Birds of Maya through which Polizze carved savage solos, wielding his guitar like a garotte—reflected that uneasy, transitional urban milieu.

                    Beginning with his first record as Purling Hiss in 2009, Polizze retained the pervasive (if somewhat softened) fuzz but gradually pivoted to a more pop-inflected idiom that, as he refined it Adam Granduciel of the War on Drugs produced 2013’s Water on Mars increasingly recalled the classic indie rock of the late 1980s and early 1990s. Although, particularly in the early days, it sometimes constituted a de facto solo bedroom project, Purling Hiss eventually released six studio records (on the estimable Woodsist, Richie, and Drag City labels, among others) and toured for ten years as a proper band. Mike never entirely ventured out from behind the moniker, or the clamor. (On Long Lost Solace Find, he jokes about sometime nickname Dizzy Polizzy, singing, in the final lines of “Vertigo,” the last song on the record, “I am dizzy in your world.”) In 2015 Christopher Smith of Paradise of Bachelors urged Polizze to play his first proper solo show under his own name, opening for the Weather Station. The present album developed from that decisive moment, with Polizze, Zeigler, and Vile hunkering down in Uniform Recording to chip away at these twelve songs.

                    And what songs! With very little electric guitar and few effects audible, Polizze’s expressiveness and dexterity as a fingerstyle player (not to mention a singer) emerges, especially on unadorned tunes like “Wishing Well” and the instrumental “D’Modal,” both of which bring to mind friend and fellow Delco native Steve Gunn. An amiably languid mood prevails, offhandedly achieving an atmosphere of quiet bliss and charming nonchalance that belies the morass of contradictions, bruising anxieties, nostalgia and nauseous stasis suggested by the elliptical lyrics (I told you it’s a Philadelphia story). The lyrical content sometimes dissolves into the simple, childlike pleasures of rhymes and phonemic play, dispensing with parsable grammar entirely, as in the chorus of “Do do do” and the “Bam-bam a rambling man, a midnight sham” bit in infectious lead single “Revelation,” an instantly winsome number which features Kurt on backing vocals and surprise trumpet. The way Polizze sings the banal title of “Bainmarie” literally, from the French, “Mary’s bath,” a kind of double-boiler kitchen device, a reference to the hardships of past jobs like “memory” gets at the remarkable way these lilting melodies unfold with gorgeous, unpretentiously Proustian grace and ease. The endless hooks here sound casual, almost shrugged-off, despite their carefully constructed recursive and ramifying nature. Long Lost Solace Find demonstrates Polizze as a fount of perfectly turned little melodies and riffs and guilelessly sung ditties glassychords. Long Lost Solace Find represents the apotheosis of Polizze’s evolving craft.

                    FORMAT INFORMATION

                    Coloured LP Info: Transparent blue vinyl is for indies only (650 copies).

                    Coloured LP includes MP3 Download Code.

                    Daniel Blumberg

                    On&On

                      On&On, is the brand new album from Daniel Blumberg. A 9-track song-cycle that confirms the London musician and visual artist as a unique creative force, pushing the art of song into expansive new territories.

                      On&On - which follows 2018’s Minus, Blumberg’s debut for Mute - is a consolidation of the deconstructed song aesthetic he has developed, operating at the intersection between conventional song structures and free improvisation. Now he takes this further, incorporating recurring, shape-shifting motifs and at times dissolving the boundaries between songs altogether.

                      Born out of live sessions with the same core group of players as Minus: Daniel Blumberg (vocals, guitar, harmonica), Ute Kanngiesser (cello), Billy Steiger (violin), Tom Wheatley (double bass) and Jim White (drums), with the addition of electronic maverick Elvin Brandhi (vocals). As such it represents a deepening of relationships and distillation of techniques for this tight-knit group of free-playing musicians, who are loosely based around Café OTO.

                      The album is recorded by Peter Walsh (Scott Walker), who has captured the group’s extraordinary performances - encompassing the full expressive range of their instruments from softly-bowed melodies and tender vocal harmonies to rough-hewn scrapes, plucks and rattles - while the sound of the room and the outside world spill naturally into the sound field.

                      FORMAT INFORMATION

                      Coloured LP Info: Initial copies pressed on clear vinyl and includes a free lyric sheet.

                      William Tyler

                      Music From First Cow

                        William Tyler composed the music for First Cow, the new A24 film directed by Kelly Reichardt, almost entirely on several of his guitars and a dulcimer.

                        In First Cow, Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early nineteenth century way of life. A taciturn loner and skilled cook (John Magaro) has travelled west and joined a group of fur trappers in Oregon Territory, though he only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune; soon the two collaborate on a successful business, although its longevity is reliant upon the clandestine participation of a nearby wealthy landowner’s prized milking cow.

                        Reichardt again shows her distinct talent for depicting the peculiar rhythms of daily living and ability to capture the immense, unsettling quietude of rural America.

                        FORMAT INFORMATION

                        Ltd LP Info: LP is black vinyl in matte jacket + black inner sleeve + LP3 download of full album.

                        Brigid Dawson & The Mothers Network

                        Ballet Of Apes

                          Tip-top of our osmosis list is the first quiver of tunes from Brigid Dawson and her newly minted Mothers Network: wise warnings dyed in dark hues, knotted and hard-won torch songs from the edge of a turbulent sea, bittersweet balladry spun in defense against evils familiar and unknown. Lovely though it may seem from a distance, the striation of loss quicksilvered throughout provides weighty balance to her contralto lilt. Those familiar with her harmonic counterpoint from her time in Thee Oh Sees or in OCS know she can belt as well as lullaby but there’s a fresh and smolderingly heavy swing in her step on display here that we mightily dig.

                          “Ballet of Apes” tapestries together sessions that read like a who’s who from outside our own castle walls - in Australia with Mikey Young (Total Control/Eddy Current Suppression Ring), in San Francisco with Mike Donovan (ex Sic Alps), Shayde Sartin (ex Fresh & Onlys/lifetime ringer) and Mike Shoun (ex Oh Sees/Peacers), and in Brooklyn with instrumental heavy-weights Sunwatchers - and the results are spellbinding. At the focal point of this maelstrom, our lady, as if illumed by candlelight, intones, pleads, consoles - white magic perhaps but it carries with it the anodized tang of blood. 

                          FORMAT INFORMATION

                          Dinked Edition LP Info: • Exclusive Magenta Coloured Vinyl.
                          • Exclusive Folded 12 X 24” Poster (Folded / With LP).
                          • Signed Inner Sleeve.
                          • Numbered Sleeve.
                          • 500 Only.

                          Family Selection Box

                          Here Comes The Wave

                            Here Comes the Wave is the new album from Sheffield-based filmmakers-turned-musicians Family Selection Box. Building on the kitchen-sink narratives of its predecessor Confetti - which earned praise and airplay from BBC 6 Music’s Marc Riley - Here Comes The Wave maintains songwriter Tom Diffenthal’s fascination with everyday life shot through with a hyper-real expression of his own anxieties when coping with it. Lead single Where Did She Go? sets the tone for the album with Lauren Dowling’s breezy vocals telling the story about the pair’s beloved cat Peggy-Sue coupling with the laid-back Lou Reed-meets-Metronomy guitars and then being used as a vehicle to deal with worry, uncertainty and a lack of direction.

                            The juxtaposition of the upbeat, wonky pop tunes with the considered, lyrical storytelling is also present in the likes of Trying to Forget What’s on Ur Mind and Hollywood Babylon , however the album is varied in it pacing and style. Melancholic Car Journey Part I , as well as its follow up Part II reveals Tom and Lauren’s knack for stripping the music back and letting the strong lyrics sit at the forefront. The complex instrumentation in the swelling woodwind and brass sections of Don’t Break My Heart is grand and belies the album’s DIY methods of creation. Tom said: “This album is about exploring the brighter side of anxiety, whether that’s worrying about the wider state of the world and its structural injustices or being panicked that your indoor cat has found its way outdoors. “There’s also a nod to a time when my best friends were so hungover they squabbled over who had ownership over the one plastic bag they had on standby. “It was recorded mainly at home, although £27 was spent on a rehearsal room to record drums.”

                            As filmmakers - with award-winning shorts under their belts as well as being resident music video auteurs for the rest of their Bingo Records label mates - Tom and Lauren are no strangers to a compelling narrative. And their work as members of Bingo stablemates and 6 music favourites Mr Ben & the Bens and Potpourri means we are all well aware of their musical aptitude. Here Comes the Wave is a culmination of these things, and a crystalisation of an artistic vision that successfully uses the lens of familiar life to consider - often with a healthy dose of wry humour- the ways in which the ordinary can often seem funny, bleak, strange and daunting all at the same time. This is an album about confronting things head on and looking for brightness, and invites the listener to do so as they engage with it. And much like the narrator in album closer Goodbye Wave , they will be glad they did. 

                            Photay

                            Waking Hours

                              It's 2020, and everyone is exhausted. The world is falling apart, and then there's the day-today stress of just existing in the modern world. Keeping up with everything feels impossible, and we all feel that neverending push to always be productive, inspiration and motivation be damned. For NYC artist Photay (a.k.a. Evan Shornstein), none of this is particularly conducive to living a healthy existence, let alone being creative, but he's decided to face it head on.

                              Waking Hours, his second full-length (following 2017's Onism), is a meditation on time and, more specifically, our obsessive need to fill every moment with activity. "It's about getting back to a really simple notion of just celebrating your existence and not necessarily attaching this huge story of who you are and what you do," he says. "It's about finding comfort in just being." Photay's search for calm is at the very core of Waking Hours, and while he admits that making the album was therapeutic, it shouldn't be mistaken for some sort of healing ambient excursion.

                              The LP is largely electronic, but frequently verges on pop and extensively features Shornstein's own vocals. The music is intimate and inviting, but it also suggests that Photay is perhaps at his best when he's blurring genre boundaries. "I really truly love so many different types of music," he says, "and for this album I opened things up and gave myself the freedom to go anywhere."

                              FORMAT INFORMATION

                              Coloured LP Info: Indies exclusive white vinyl version.

                              Land Of Talk

                              Indistinct Conversations

                                Indistinct Conversations is the new album from Land of Talk - the Montreal-based band led by Elizabeth Powell. The album’s first single “Weight of That Weekend,” finds Powell delivering a soulful, impassioned plea over an expansive musical terrain. “‘Weight of That Weekend’ is a recognition of having been on the receiving end of a lifetime of sexual coercion, assault, boundary violations, and subsequent gaslighting. It all just came to light after an especially heavy weekend a few summers back,” explains Powell. “I was so sick of carrying all this weight that wasn't mine to bear. So sick of being owned by all of this. Imposed on me mostly by men. I grew so sick of suffering and being slowed-down by this weight. The song is a prayer for a lightness of being. A prayer for capital ‘L’ Love.”

                                All 11 songs on Indistinct Conversations were written by Powell (vocals/guitar/keys), and share the hallmarks of the Land of Talk sound: her silvery vocals; masterful, at times cacophonous guitar playing; and a stream-of-conscious lyricism—here perhaps at her most emotionally vulnerable and honest. Powell produced and arranged the tracks together with her bandmates Mark “Bucky” Wheaton (drums/keys) and Christopher McCarron (bass), and the trio recorded the album in a studio built by McCarron in Wheaton’s apartment basement.


                                FORMAT INFORMATION

                                Coloured LP Info: Gatefold jacket opaque red vinyl.

                                Suzie Stapleton

                                We Are The Plague

                                  For Fans Of - PJ Harvey, Nick Cave, Chelsea Wolfe, Mark Lanegan, Elliot Smith, Thurston Moore, Patti Smith. Acclaimed alternative alchemist’s highly-anticipated debut LP. “Striking, black-shrouded songwriting” (Clash). A bold soundtrack to the apocalypse.

                                  “We Are The Plague” declares Suzie Stapleton over the anthemic, fuzzed-out bass that opens the acclaimed alternative alchemist’s extraordinary debut album. It is a rallying cry, the defiant call of a generation sold down the river and acutely aware of its own imminent demise. The album centres around Stapleton’s midnight vocal; raw, poetic lyrics; and expressive, unique guitar playing ranging from a light touch similar to Elliot Smith to effects-soaked riffs evoking Sonic Youth or Soundgarden. Backed by band feat members of The Stranglers and Jim Jones & The Righteous Mind, and mixed by Dan Cox (Thurston Moore/Laura Marling). “Suzie has toured with Mick Harvey and Mark Lanegan - it won't be long before they're opening for her.” 

                                  Hoopla Blue

                                  Pl(^)nted

                                    Supported by PRS Foundation, their new album ‘Pl(^)nted’ was produced at The Cottage, a remote 18th Century residential studio in the Scottish Highlands (The Twilight Sad and GoGo Penguin) and mastered at London's prestigious Metropolis Studios (Lana Del Rey, The Big Moon, HMLTD). The 12” vinyl eco-friendly run uses up leftover coloured pellets from previous vinyl runs, producing a randomised ‘lucky-dip’ colour vinyl.

                                    Based in Birmingham, Hoopla Blue have shared the stage with the likes of Mac DeMarco, The Flaming Lips, Algiers, Public Service Broadcasting, Let's Eat Grandma, Lowly, Mothers, Blaenavon and Wolf Alice. The band have previously collaborated with BBC Two's Springwatch to soundtrack a segment and in 2019 their remix 'Mauveine C' premiered at Flatpack Film Festival and was released via Static Caravan Records (Tuung, Hannah Peel).

                                    STAFF COMMENTS

                                    Barry says: Encompassing aspects of math-rock shoegaze and post-rock while remaining firmly outside all of them, beautifully produced and written arty rock like this is a tonic for the soul. Lovely stuff.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Randomly coloured eco vinyl.

                                    Ganser

                                    Just Look At That Sky

                                      Growth with no reward. Finding strength in your less desirable traits. Coming up with the perfect comeback hours later in bed, glaring at the ceiling. Asking yourself: am I improving, or am I just changing into something unrecognizable? Chicago quartet Ganser probe the futility of striving for self-growth during the chaos of our times for dark comedy and jagged sounds on their potent new LP, Just Look at That Sky. Equal parts Space Odyssey and Ghost World, Ganser released their debut LP Odd Talk in 2018 to favorable coverage from The New York Times, Billboard, and Stereogum. Building on their dissociative disorder namesake, the album’s tone vacillated between frenzied and contemplative, probing on questions of communication, intimacy, and avoidance.

                                      On Just Look at That Sky, Ganser further explores the personal inner climate of uncertain times. Opening track “Lucky” announces an explosive energy that evokes the Midwest noise-rock legacy of bands like Jesus Lizard and Shellac, while embracing a more colorful palette of post-punk and art rock influences. Nadia Garofalo and Alicia Gaines, a self-described two-headed monster who share lead vocal duties, can bring both a recalcitrant cool worthy of Kim Gordon and a booming sneer that recalls Poly Styrene; the discordant interplay of Charlie Landsman’s guitar and Brian Cundiff’s drums on standouts “Self Service” and “Bad Form” build to blistering climaxes that wouldn’t feel out of place on Red Medicine-era Fugazi. And then there’s Ganser’s lyrics: manic explorations of worry and dread mark this record, the epic messiness of daily life in our damaged times attacked with sardonic specificity as often as generalized doom. Just Look at That Sky isn’t afraid to acknowledge that we’re all Extremely Online all the time, but rather explicitly owns it.

                                      These songs chart inner monologues of emphatic confusion, emotions already deeply felt further ratcheted up by the anxiety of always having too much information about other people, and always being just one tweet or status update away from knowing what everyone really thinks about us. This culminates in closing track “Bags for Life,” which imagines how online discourse might tackle a front-row seat for the end of the world. These are songs that never shy away from ugliness and confusion, that believe embracing the totality of the self sometimes means leaning into our dickish behavior. In the past, some listeners have had trouble reconciling non-male voices with the sorts of topics Ganser writes about, but that comes to an end with Just Look at That Sky. Co-produced with Electrelane's Mia Clarke and engineer Brian Fox, this is an assured, fully realized triumph of a record from an art-punk band that’s figured out how to focus on making great art, even if everything else around them falls apart.

                                      Song Sung

                                      This Ascension Is Ours

                                        Twin sisters Georgina and Una McGeough who comprise Song Sung, grew up in Monaghan, a gnat’s width away from the border with Northern Ireland, and since the past decade have been based out of New York.

                                        Via a mutual friend, the film-maker Seamus Hanrahan, Song Sung got a connection to David Holmes (Killing Eve, Noel Gallagher), and following their chance meeting in early 2016, spent three days holed up in Holmes’ studio laying down the tracks for an album. They had been collaboratively bouncing tracks back and forth between New York and Belfast for a short period, with Holmes sending the arrangements and Song Sung writing the lyrics and vocal melodies.

                                        Fast forward four years and the result is a hypnotically unique sound that is strangely anthemic, coming on like a space-age girl-group transmitting directly from Jupiter. Holmes, known for his many film scores co-wrote and produced the album with fellow composer and Unloved band-mate Keefus Cian- cia (True Detective and The Ladykillers). The pair have a long standing working relationship and have worked on numerous scores including The Fall and Killing Eve (for which they won a BAFTA) as well as both Unloved albums.

                                        Meanwhile, Song Sung, forging careers in the art world, have simultaneously managed to amass this vast catalogue of ma- terial in, quite frankly, the most unorthodox way imaginable (possibly contributing to the idiosyncrasies of their songwrit- ing). “We make melodies using alternative ways, but we also dabble in software” explains Georgina, “in the beginning, we created melodies by using our own vocals over some of our favourite music. Our first apartment in the East Village, was located above a bar and our back room was situated directly above the DJ booth. This is going to sound ridiculous, but it’s true, we started making melodies over the bass of the tracks coming through the floor from the bar below.” From that, a process of layering vocals, however obscure, was how the band started to formulate songs.

                                        “We were very excited to work with David, the whole process was amazing and such a privilege. He got us immediately", claims Una. Georgina nods her approval. “Working on this album was an absolute dream. We only hope that the songs resonate, as they make their journey out into the world."

                                        Alex Izenberg

                                        Caravan Château

                                          Following a four-year silence, enigmatic LAoutsider Alex Izenberg presents his sophomore album ‘Caravan Château’ via Weird World / Domino.

                                          Recorded largely at Tropico Beauty with Greg Hartunian (Young Jesus) and Derek Korat, and with the help of a handful of collaborators including Chris Taylor (Grizzly Bear), Jonathan Rado (Foxygen, Whitney, Lemon Twigs), Ari Balouzian (Tobias Jesso Jr) and others, Izenberg creates songs that are easy to adore but hard to define. Izenberg’s sharp songs are the bait that first brings you into ‘Caravan Château’ but that deliberate ambiguity is what brings you back repeatedly, hoping to tease out the riddles of being inside these stunning tunes.

                                          FORMAT INFORMATION

                                          LP includes MP3 Download Code.

                                          Fabiano Do Nascimento

                                          Preludio

                                            Prelúdio is the third album Now-Again Records will issue from the thrilling, young Brasilian guitarist Fabiano do Nascimento. Produced by Mario Caldato, Jr. and Luther Russell and engineered and mixed by Caldato and Jason Hiller, this album features do Nascimento’s longtime drummer Ricardo “Tiki” Pasillas. It is the first album of solely do Nascimento’s own compositions and, like his previous albums Dança dos Tempos and Tempo dos Mestres, follows folkloric Brasilian music, Brasilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, combing the heady ‘60s and ‘70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brasilians for generations.

                                            Do Nascimento was born into a musical family, from lineage that stretches back to his great-grand-fat her Ladario Teixeira, a blind saxophonist who contributed to the re-creation of the instrument by adding more keys to the older incarnation of the instrument in the early 20th century. He was born in Rio de Janeiro and grew up there and in Sao Paulo, where he found inspiration in his uncle, the late Lúcio Nascimento, bassist and composer in Leny Andrade's band Bom de Três. While he came from a musical pedigree, he’s largely self-taught, largely in the service of an overarching mission to showcase the folkloric music of his home country as he continue to develop possibilities for language of the guitar itself. His studies ramped up after he moved to Los Angeles in 2001. His first champion was Aloe Blacc, who worked with do Nascimento over the years, including his work on his debut album Shine Through for Stones Throw Records. His collaborators now include Madlib, multi-instrumentalist Sam Gandel, Innovative Leisure chanteuse Claude Fontaine and legendary Brasilian percussionist, bandleader, songwriter and catalyst Airto Moreira.

                                            Moreiera states that Nascimento is "Brazilian but (his mind is) from a place in Brazil that is not common. Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy! You see, because that’s the most important thing in music. The energy. That’s why I love to play live. And that’s why I’m playing with Fabiano.” The Brazilian guitarist’s third album for Now-Again, featuring 10 original compositions. Shades of Baden Powell, Hermeto Pascoal, Carioca, Tenorio Jr., Rosinha de Valença. Produced by Luther Russell and Mario C. Featuring Ricardo “Tiki” Pasillas.

                                            Various Artists

                                            Nu Leaf

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

                                              As the rift between academic jazz, new age, and pop narrowed in the 1980s, D.I.Y. practitioners of metronome driven riffs found new growth in a burgeoning managerial middle class, a commercial audience held captive in dentist offices and waiting rooms across America. Session players took to midi-banks stocked with every instrument imaginable and delivered on a road rage-induced demand to stay cool, relaxed, and focused all at once. The extra-wide cuts packaged here will be mint for years to come. Go ahead, break the seal on a fresh pack of NuLeafs: There’s only one sensation this smooth


                                              Various Artists

                                              Future Disco - Visions Of Love

                                                2020 sees Future Disco release number 13 in the eagerly anticipated compilation series. Displaying a fresh cover from the new artistic direction as part of their 10 year celebration in 2019, the album Visions of Love also shows off fresh sounds and exclusive tracks from a selection of exciting talent. Visions of Love is for everybody seeking something new and exploring exciting opportunities.

                                                Future Disco has always managed to weave that line of interesting and party starting and on this album it’s no different. Disco has always been about uniting the dance-floor and Future Disco embody this spirit with a cross selection of sounds and artists. They find plenty of future rising stars with Stockholm’s Kornel Kovacs, Chicago’s Chrissy and Paris’s Yuksek all comfortably sitting alongside more established names as Kenny Dope remixing Moon Boots, Lane 8 and Kraak & Smaak.

                                                There are plenty of exclusives too. Three Future Disco edits from head compiler Sean Brosnan and three exclusive tracks, one from Future Disco’s very own Ekkah, familiar names Lifelike & Musimeci and one from newcomer Gruvee. The entire mixed album has as always been edited and mixed for dancing pleasure.

                                                Includes three exclusive edits by the team behind the Future Disco series Artistic collaboration between photographer Em Cole and creative agency Baby Multiple tracks being pressed to vinyl for the very first time A new era for the much loved and world renowned album series with bespoke artwork Welcomes rising stars Kornel Kovacs, Chrissy alongside legendary names Kenny Dope and Lane 8 Exclusive tracks from Ekkah, Musumeci and newcomer Gruvee

                                                FORMAT INFORMATION

                                                2xLP Info: Red vinyl edition.

                                                Rose City Band

                                                Summerlong

                                                  It is impossible to talk about modern psychedelic music without mentioning Ripley Johnson. As bandleader of Wooden Shjips and half of Moon Duo, Johnson has continually charted new cosmic paths that expand on the language of the genre. With Rose City Band, Johnson’s songwriting and beautiful guitar lines take center stage. While his vocal treatment would be recognizable to any Wooden Shjips fan, the sparseness of the instrumentation lays bare the beauty of his writing. Shimmering guitar lines are free to shine, buoyed by driving rhythms. New to the mix are arrangements and instruments drawn directly from classic country, resulting in songs with more than a hint of twang. Buoyant and joyous, Summerlong is a captivating listen that leaves the listener yearning for more. The record is an ode to freedom, born of a musician stepping out of all routines and whose own liberation is communicated so completely in his music. Summerlong is a record that, taken in its entirety, is an emphatic statement on the songwriting power of Ripley Johnson. Johnson’s joy in every aspect of this album is delightfully infectious.

                                                  Rose City Band started purely as a recording project, with Johnson’s role mostly obscured for the self-titled debut album. Released with no promotion, in the style of private press records, it was a liberating, a focus on music without any expectations. With a chuckle, Johnson elaborates, “I always would threaten to my friends that I’m gonna start a country rock band so I can retire and just play down at the pub every Thursday night during happy hour. I love being able to tour and travel, but I also like the idea of having a local band … more of a social music experience.” Freedom from expectation and obligation gave Johnson the space to experiment. The introduction of lap steel, mandolin, and jaw harp enhance Johnson’s lean guitar work with radiant overtones, placing Summerlong more overtly within the country tradition than its predecessor. Work on the album began at Johnson’s home studio in Portland during the summer, but, interrupted by touring, was not be finished until winter. The dark isolation of winter and the pining for summer’s easier days can be felt in the album’s few quieter moments. Summerlong was mixed by John McEntire (Stereolab, Broken Social Scene, Tortoise) at his newly minted Portland Soma Studios and mastered by Amy Dragon at Telegraph Mastering, also based in Portland.

                                                  The aptly named Summerlong, born of Johnson’s own fondness for the season, delivers an emotional lift—an expression akin to the joy of getting out there on a warm day, be it gathering for a BBQ, hopping onto a bike, leaping into a swimming hole, or simply reading in a park.

                                                  STAFF COMMENTS

                                                  Barry says: Ripley Johnson once again brings the good stuff for his second album under this moniker. Swooning guitars and hazy atmospheric ambience underpin the solid backdrop of Ripley's sweet vocal delivery and syrupy, languid melodies. It's an enchanting and evocative collection, and one that continues the (very high) reputation set by last years' eponymous debut.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Clear / orange / blue vinyl.

                                                  Coloured LP 2 Info: Summer sunset orange coloured vinyl.

                                                  On her 3rd album for both Fat Possum and Loose Records, Courtney Marie Andrews has seemingly pulled in to one package all the songwriting skill, vocal prowess, and musicianship displayed on previous albums, into one career defining statement. A break-up record for sure, though due to CMA's extraordinary storytelling gifts, more of a modern day coming-of-age tale of love won, love sustained, and unfortunately, love's inevitable dissolution.

                                                  STAFF COMMENTS

                                                  Barry says: A bittersweet and majestic collection of heartfelt ballads and more upbeat, jangling pieces all rendered in Andrews' typically effervescent and emotive style. Slide guitars, rich acoustics and those unmistakable vocals. Gorgeous.

                                                  FORMAT INFORMATION

                                                  LP Info: Random copies of the preorder of this album will include a limited edition signed postcard!

                                                  LP includes MP3 Download Code.

                                                  Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state. Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases.

                                                  Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage – a self-styled fusion Kamaal describes as Wu Funk.

                                                  New players on this record include LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside a vocal feature from Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod.

                                                  Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Indies exclusive red vinyl.

                                                  Fiona Apple

                                                  Fetch The Bolt Cutters

                                                    Fetch the Bolt Cutters is a strange and exceptional record, even within the context of an uncommon career. It shakes, rattles and rolls with unorthodox percussion, and on the opening track – I Want You to Love Me – the singer hiccups in ecstasy, facing off against an arpeggiating piano as though competing to climax first.

                                                    Although veteran engineer/producer Tchad Blake had some input, and Apple sought the assistance of her drummer’s father, sound engineer John Would, Fetch the Bolt Cutters marks the first time she has entirely overseen production on one of her albums. Knowing her own mind is a major theme. “I would beg to disagree, but begging disagrees with me,” she swaggers on Under the Table, a wickedly funny song about how she is a nightmare date at pompous dinner parties. (“Kick me under the table all you want.”)

                                                    STAFF COMMENTS

                                                    Barry says: Toeing the line skilfully between mellow jazz, soulful r&b and good old-fashioned indie, Fiona Apple has a sound all of her own. Spoken word sections segue seamlessly into more driven rhythmic material before calming right back down into almost ambient instrumentation. Brilliant, and bonkers.

                                                    FORMAT INFORMATION

                                                    2xColoured LP Info: Limited double Pearl Opaque vinyl LP.

                                                    2xColoured LP includes MP3 Download Code.

                                                    2xLP Info: 180 gram, double black vinyl.

                                                    2xLP includes MP3 Download Code.

                                                    CD Info: Jewel case, 20 page 4/4 booklet.

                                                    ‘All The Time’, Jessy Lanza's first album since 2016's ‘Oh No’, is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in ‘Anyone Around’, subtle footwork flutter giving a nervous energy to ‘Face’, unusual underwater rushes underpinning ‘Baby Love’.

                                                    The songs also sound more “live” than ever before. Jessy’s voice is treated, re-pitched and edited on songs like ‘Ice Creamy’ and gestural sounds seem to respond to her lyrics in songs such as ‘Like Fire’, which reward the listener on repeated plays. More than previous albums, the lyrics on ‘All The Time’ became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. ‘All The Time’ has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it’s their best work yet.

                                                    STAFF COMMENTS

                                                    Barry says: Jessy Lanza has made many waves in the music world, finding a perfect home in the home of off-piste electronic adventures, Hyperdub. This one sees Lanza in a more playful mood, encompassing aspects of synthpop, future beats and r&b. It's a beguiling and exciting listen, and a superb return for Lanza.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Indies-only turquoise vinyl.

                                                    John Foxx & The Maths

                                                    Howl

                                                      John Foxx And The Maths return with a new line-up on their 5th studio album, Howl. Former Ultravox guitarist Robin Simon joins Foxx, Benge (Ben Edwards) and Hannah Peel after previously guesting with The Maths at their debut Roundhouse show in 2010. ‘For years, I'd wanted to work with Robin Simon again,’ says Foxx. ‘There’s something central about what he does - and I always miss it, no matter who I work with. It’s what Rob can do with a song, and with the sheer power of sound.’

                                                      Work on the album began back in April 2019 at Benge’s Memetune studios in Cornwall with Rob Simon involved right from the start, his contributions instantly mutating the original ideas into something new. ‘Give him a song and he’ll give you three takes - all utterly different incarnations,’ enthuses Foxx who first worked with Simon on Ultravox’s Systems Of Romance album in 1978. ‘And it will all be much better. Demolition intercision is what he does and when you get used to the violence he can wreak, it’s a true delight.’

                                                      Foxx and Benge originally got together back in 2010, playing a headline show at the Roundhouse in London as the first ever John Foxx And The Maths show before they’d even finished their debut album, Interplay, which came out a few months later in 2011. Forward-looking, intuitive and risk taking from the start (Critic Mark Fisher summed them up as ‘a glimpse into another world in which rock ’n’ roll was invented on Moogs’) their passion for the strange sounds and atmospheres they seduce and rip from the machines in Benge’s studio has inspired a series of fiercely personal electronic records - the Shape Of Things (2012), Evidence (2013) and The Machine (2017), an eerie instrumental score for the theatre production of E.M. Forster’s The Machine Stops. Along the way they’ve collaborated with The Soft Moon, Gazelle Twin, ADULT., Xeno & Oaklander, Gary Numan, Matthew Dear and many more, but at the core of everything is Foxx and the Cornish-based artist/producer. ‘Benge is this generation’s Conny Plank’, grins Foxx. ‘Original thinker, open mind, eager conspirator in insanity and the desire to push everything beyond its limits and record it all perfectly - but holding no daft prejudices. In other words, the kind of captain you always want at the helm of the Enterprise.’

                                                      Hannah Peel joined the line-up on the Interplay tour in 2011 and has played every show since, while also adding violin to Evidence and of course, Howl. ‘Hannah did a few star turns on the album,’ says Foxx, referring to the vicious noises that she conjured up as textures on a few songs. However on the electro-psychedelic ‘Everything Is Happening At The Same Time’, the complex interplay of the ‘The Dance’ and the romantic longing of ‘Strange Beauty’, Foxx describes her string-led contributions as ‘luscious, expansive and eloquent.’

                                                      The Maths have created an album of dark, writhing glamour. Opener ‘My Ghost’ sounds like haunted static in a cold wind, the title track is a twisted glam-punk celebration of ‘the outsider’ who leaves the fringes to make himself visible, while Foxx switches to a sinister Ferry-esque croon on ‘Tarzan And Jane Regained’.‘New York Times’ is a report back from the city of the 1970s, with Foxx’s vocals gently coaxing out the vulnerability of its street characters and Factory stars, while ‘Last Time I Saw You’ revels in an ice-cool narrative illuminated by neon-lit transformations and flickering revelations - this song is built for streets and strobes. The album ends with ‘Strange Beauty’, where Foxx sounds like an echo from the 1950s - a voice that is still searching across all these years for something just out of reach.


                                                      STAFF COMMENTS

                                                      Barry says: There's a whole world of influence here being semlessly integrated into one cohesive whole. Elements of post-punk and synthpop mix with the headier aspects of industrial (distorted basses, jagged melodies a-la NIN), and more percussive, beat-led DFA style rhythms. A collection that is, amazingly, more than the sum of its parts.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Orange Coloured Vinyl UK Indies Exclusive.

                                                      ‘Love & Peace’ sees Steve mixing up all of his much-loved ingredients to deliver a fresh new record that offers the perfect antidote for the troubled times in which we live. Full of hope for the future, it’s a great mix of boogie, blues, rock, Americana and folk – all delivered in Seasick Steve’s unique style. It’s a sizzler of an album that he can’t wait to release.

                                                      “In these crazy times seems to me there just ain’t enough love and peace to go around,” says Steve. “I ain’t exactly sure what this here record got to do with love and peace, but I figured I’d call it that anyways!”

                                                      Produced and written by Seasick Steve, this album sees him breaking with tradition. While some of it was recorded in his barn, the majority was recorded in Los Angeles at Studio 606 and at East West Studio 3. The album was mixed by Vance Powell (Jack White, Chris Stapleton) and Steve at East West.

                                                      Steve’s long-term drummer Dan Magnusson (a.k.a. Crazy Dan) is of course featured on the record, along with some amazing contributions from guitarist Luther Dickinson (North Mississippi Allstars) and harmonica player Malcolm Arison (The BossHoss).

                                                      Steve adds, “This was recorded on 2” analogue tape, mixed to analogue tape and for the vinyl it was cut from the 1/2” master tape direct to lathe. ‘Old skool’, no computer, hear what I’m sayin’? I hope you like it ok. Adios amigos!”


                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Clear vinyl, limited to 1000 copies in the UK.

                                                      LP Info: Black vinyl edition.

                                                      Autotelia

                                                      I

                                                        Autotelia - as originally coined by psychologist Mihaly Csikszentmihalyi - describes a process by which someone has a purpose in, rather than outside of themselves. Those who are autotelic depend less on external rewards for their satisfaction, being driven instead simply by purpose or curiosity. Such an ethos was the genesis of a new project put together by Tomaga’s Tom Relleen and The Oscillation’s Demian Castellanos. Autotelia’s sound - as chronicled on their debut release for Rocket Recordings - evolved purely of its own volition, as its makers were happy to allow their own chemistry and interplay to take their distinct course. This zen-like simplicity of approach has been more than rewarded, as the impulses and intentions blossomed into meditative extrapolations both sonically rich and spiritually bewitching.

                                                        Although some observers may able to detect parallels with the blissful drift of Cluster’s ‘II’, the glowing ampstacks of Spacemen 3’s ‘Dreamweapon’ or the becalmed modernism of late ‘70s Eno in these radiant trance states, the core sound of Autotelia remains in splendid isolation, an incandescent and unearthly tapestry of echoes and vibrations channeled direct from the id and the ether, yet one that maps out a voyage sonically between vintage memories and future epiphanies.“These tracks are pure escapism - zoning out and not worrying about anything” reckons Tom. “I think that when playing music for a completely new project it can be really liberating since there is no expectation and no baggage associated with that you might have already released. The slate is blank. Hence Autotelia.”

                                                        STAFF COMMENTS

                                                        Barry says: Hypnotic repeating synth phrases and cavernous ambient washes pull together into a heady psychedelic soup, a-la Cosmic Ground, the newest Follakzoid, even breaking down into Eno in the more drify sections. Beautiful and meditative but never too slow, and full of constantly evolving bliss.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Indies Only Green Vinyl, 400 Only.

                                                        Soul Jazz Records’ new album ‘Kaleidoscope – New Spirits Known and Unknown’ brings together many of the groundbreaking artists involved in the new jazz scene that has developed in the UK over the last few years.

                                                        Featured artists include Matthew Halsall, Yazmin Lacey, Ill Considered, Tenderlonious, Theon Cross, Emma-Jean Thackray and many, many more in this ground-breaking release.

                                                        As well as sharing a pioneering spirit in these new artists’ approach to frontier-crossing musical boundaries, a further theme of this album is that many also share a determination to independent practices – and most of these artists’ recordings featured here are either self-published or released on independent labels. While the attention of this new wave of jazz artists up until now has been London-based, this album shows how this movement is spread across the whole of Britain (and indeed beyond).

                                                        ‘Kaleidoscope – New Spirits Known and Unknown’ shows that while there is commonality in these artists’ approach to music, there is a wide variety of styles – from deep spiritual jazz, electronic experimentalisation, punk-edged funk, uplifting modal righteousness, deep soulful vocals and much more.

                                                        FORMAT INFORMATION

                                                        3xIndies Exclusive LP Info: Deluxe edition with bonus 7".

                                                        Jon Hassell

                                                        Seeing Through Sound (Pentimento Volume 2)

                                                          “Listen as if you were being told a secret” - Federico Fellini

                                                          A companion piece to 2018’s Listening To Pictures, this second volume in the pentimento series presents eight new tracks by the music visionary, continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing. Pentimento is defined as the “reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over” and this is evident in the innovative production style that ‘paints with sound’ using overlapping nuances to create an undefinable and intoxicating new palette.

                                                          In classic Hassell fashion, the title can be interpreted in a myriad of ways, but perhaps the most pertinent at the moment is the human instinct to sing and play through a rain of difficulties. A future blues of indeterminate and ever-shifting shape. The album is buffered by two 8-minute plus epics at the beginning and the end - the hypnotic “Fearless” with it’s metronomic, almost Can-like rhythm, and blurry, noir-ish texture of sound emerging like car headlights from the fog; mirrored at the end of the record by the beautiful sci-fi lullaby of “Timeless”, a track with a gaseous, billowing quality as electronic clicks and bubbles float over a landscape of shimmering, glacially paced complexity. The bridge between those two worlds is no less compelling, from the frantic, spidery IDM sketch of “Reykjavik” to the collapsed-time ballad of “Unknown Wish”. Whilst containing seeds of classic ‘fourth world’ fusion, this record finds the artist still questing to create new forms and mutations of music, a thrilling window into what music could sound like in a world to come.

                                                          STAFF COMMENTS

                                                          Barry says: In essence experimental electronic music, but with a rich and evocative seam of cohesive melody and rhythm woven through it's core. Programmed percussion and sequenced synths lend a sense of drive to the otherwise floating new-age-electronic swirls. It's amazing how many influences can be skilfully brought together in the right hands, and Hassell has those hands.

                                                          FORMAT INFORMATION

                                                          LP includes MP3 Download Code.

                                                          It’s no big secret: The elements of trance music have always played a vital part in the music of Prins Thomas. In fact, there are scholars who argue that these stylistic attributes were the ramp that shot his disco into space. But let’s not pour hot coffee onto the cold one. When the king they call Prins sent a loose bunch of tracks to Gerd Janson to get some sort of feedback, it was like an epiphany: the calling for the missing link between “Logic Trance” compilations of yesteryear and the honey for the strobe light bees of today has finally been answered. Naturally, it’s not all ice cannons and glow sticks, endorphins and euphoria. The private and poetic Prins stands just one step behind the sweaty one - in alphanumeric track list order. If there has ever been something like thinking-(wo)mans-trance, this is the album for it.

                                                          Omar S

                                                          Fuck Resident Advisor

                                                          New Omar S album we've all heard about finally gets a vinyl release. Detroit's pinball wizard ushers forth another slick collection of hardware driven house and techno, all executied in that inimitable FXHE style. I have to say, this is some of the hottest and most inspired stuff Alex has conjured up in sometime - there's deep, almost-Reece style basslines, some inspired keyboard patches and truly cosmic arpeggiators. It's still undeniably AOS, but in no way can he be accused of resting on his laurels or churning out the same old stuff. Brand new vibrations from Detroit's posterboy.

                                                          You know what to do! - PRONTO!

                                                          Limited copes...


                                                          STAFF COMMENTS

                                                          Matt says: Mega new vibes from Omar S. Comin' on strong on every track and pressed for maximum fidelity! Get in!

                                                          Deadly Avenger & Si Begg

                                                          Yokai

                                                            Yōkai (妖怪, ghost, phantom, strange apparition) are a class of supernatural monsters, spirits, and demons in Japanese folklore.

                                                            The new album from the trailer music composers of Hereditary, Midsummer, Parasite, IT, Pet Sematary.

                                                            Inspired by the cutting edge scores of some of the most recent elevated horror films. Compositions such as Mark Korven’s The Witch, Cristobal Tapia De Veers mesmerising The Girl With All The Gifts and the detailed electronics of Trent Reznor and Atticus Ross. Deadly Avenger and SI Begg created ‘YOKAI’ with their extensive combined library of sounds, textures and bespoke organic, electro acoustic instruments.

                                                            Yokai is Dripping with supernatural demonic horror at every pore. All 14 tracks of the new album are named after a unique Yokai. Pushing the horror tropes aside the duo have elevated the somewhat derivative world of trailer music into a haunting folk insisted soundscape, that will upend how elevated horror music should be heard.

                                                            STAFF COMMENTS

                                                            Barry says: I've been on board with everything Deadly Avenger has ever done (2018's 'When Haro Met Sally' was my album of 2018 in fact), but this outing is a bit of a departure for him, but definitely not for home label, Burning Witches. This is a brilliantly crafted, simmeringly dark tour-de-force from one of the greatest musicians in the industry. Just LOOK at that package too. Outstanding.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: 180g heavyweight white vinyl. Insert print and download card, heavyweight sleeve and bespoke slipcase with spot UV varnish. Artwork by Matt Ryan Tobin.

                                                            Andre Bratten

                                                            Silvester

                                                              A lot has been written about seminal Norwegian black metal band Mayhem but André Bratten’s new record for Smalltown Supersound surfaces a little known story about the group

                                                              In 1986-87, years before their 1993 debut record, guitarist Øystein Aarseth (aka Euronymous) took a musical pilgrimage to Germany to solicit collaboration with one of his musical heroes. Øystein, who tragically was destined to be murder by former member Varg Vikernes in 1993, bought an Interrail ticket and travelled from Norway to Germany to seek out experimental musician Conrad Schnitzler. Conrad was the founder of West German Krautock incubating club the Zodiac Free Arts Lab in West Berlin in 1968 and a former member of Tangerine Dream and Kluster (key experimental groups in the development of industrial music and Kosmiche electronic music).

                                                              Øystein sat outside Schnitzler’s house and refused to leave until he was allowed in to talk. His persistence paid off, with Schnitzler surprisingly agreeing to write a piece of music for Mayhem. The piece of music became “Silvester Anfang”, the first track and introduction to Mayhem’s classic debut “Deathcrush”. A detailed percussive number, Mayhem still open their heavy live shows with this music today.

                                                              When Mayhem founder Jørn “Necrobutcher" Stubberud told the story behind “Silvester Anfang” to Bratten at a party, they immediately had the idea that Bratten should remix or rework this little known track. Totally absorbed in the sounds of Schnitzler and its strange and unusual pairing with Mayhem, Bratten started out with a plan to make one remix. He ended up with a series of tracks inspired by both Schnitzler's intro and the sounds of teh debut record “Deathcrush”. The results transpired into a mutation of Conrad Schnitzler, Mayhem and André Bratten.

                                                              “Silvester” is Mayhem and Schnitzler reimagined. Or deconstructed and then rebuilt. However you term it, a remix turned into a new André Bratten unlike any he has recorded before, haunted by the echoes of Mayhem’s grisly legacy as well as Klusters early industrial music’s concrte looped experiments. 5 new tracks and 50 minutes of new music. An album of abstract freeform structures morphing elements of kraut, techno, ambient, black metal, industrial, minimalist and drone. A perfect fusion of two dystopian extremes of Norwegian underground music.

                                                              X

                                                              Alphabetland

                                                                While everyone is social distancing, closing ranks and donning masks while they shop, life can seem somewhat surreal to the senses. Yet, through all of the chaos, one thing is constant, music brings us together. Now, on the 40th Anniversary of the landmark, Los Angeles, and 35 years since the original band have released an album – X, one of the greatest Punk Rock bands in music history, releases ALPHABETLAND. The original foursome - Exene Cervenka, John Doe, Billy Zoom, and DJ Bonebrake have now made the album available for fans to purchase and by adapting to this moment, X continues to embody the same spirit they did when they began in 1977.

                                                                “When your heart is broken you think every song is about that. These songs were written in the last 18 months & it blows my mind how timely they are,” explained John Doe. “We all want our family, friends & fans to hear our records as soon as it's finished. This time we could do that. Thanks to Fat Possum & our audience.” 

                                                                STAFF COMMENTS

                                                                Barry says: Alphabetland is exactly what we need right now, rawkous good-natured punk-rock. Irreverent in places but as politically charged as you'd expect from some veterans of the scene. Brilliantly good fun, and as serious as it needs to be.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Indies only blue vinyl.

                                                                Laurence Pike

                                                                Prophecy

                                                                  Laurence Pike continues in a rich creative vein with the release of Prophecy, his third solo album in as many years. Inspired to write and record in response to the devastating wild fires in his native Australia, the percussionist, composer and producer has created a work for our times.

                                                                  Adopting the working formula of ‘one take’ studio performances for drum kit and sampler; channelling the moment through Pike’s singular, organic use of electronics, and intuitively constructed arrangements. There is an instinctive and emotional resonance here, driven by his reaction to the climate emergency.

                                                                  Laurence Pike on Prophecy:
                                                                  The music on Prophecy was made during an intense period of climate-related disasters in my home of Australia last summer that seemed to represent the beginning of a strange new way of existing on Earth.

                                                                  The pieces were developed in the space of four weeks at my home, and then captured in a single day of studio performances. As a result, the music is as much an assemblage of moments from the days leading up to the recording (stepping into my garden to be greeted by a dark pink sun against a brown sky, and ash gently raining on me) as it is a reflection of how I felt in the moment playing them live in the studio.

                                                                  In the short time since, we’ve gone from staying inside and wearing face masks because the city was completely surrounded by fire, and the air filled with acrid smoke, to staying indoors to stop the spread of a global pandemic…



                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Limited edition on yellow vinyl with download code.

                                                                  Three Queens In Mourning / Bonnie Prince Billy

                                                                  Hello Sorrow, Hello Joy

                                                                    Three Queens in Mourning first gathered in summit to sing celebration of the publication of Will Oldham’s book of collected lyrics, Songs of Love and Horror. Alasdair Roberts (Appendix Out), Jill O' Sullivan (Jill Lorean), and Alex Neilson (Trembling Bells, Alex Rex) each arrived provisioned with a small armful of selections nearest and dearest from Bonnie Prince Oldham’s far-reaching catalogue.

                                                                    Three Queens in Mourning’s takes on these tunes follow naturally from the fit between Will’s words and their three distinctive voices. Alasdair Roberts’ sweet, guileless delivery of “Christmas Time in the Mountains” amplifiesthe lacerating quality of the lyric “we need an enemy / I’m saving all my rage for you”; even if at the outset of the song we’re told that “time is the enemy,” the abiding sentiment—the red-hot word that organizes my memory of the song—is rage. Ali’s and Jill’s trading of verses on “New Partner” puts a different spin on what had previously registered as an especially mercurial first-person narrative voice, one that swoops between tenderness (“lay back, rest your head on my thighs”) and ecstatic self-absorption (breaking it to the ex to whom the song is addressed that “I’ve got a new partner riding with me”). Add Alex’s voice, not only for his madcap “Lost Blues,” but as part of the choir on “Ohio River Boat Song” (a song with origins in the traditional “Loch Tay Boat Song”), and these three Scottish accents singing about the muddy Ohio, Smoketown, Oldham County, and Floyds Knobs, I mean, there’s not much else this Kentuckian—these are all deeply familiar landmarks—can say. Type through tears. On this back to back records, The Bonnie 'Prince' Billy LP is a collection of three cover versions from Ali, Jill and Alex directory and one original track.

                                                                    Three Queens in Mourning / Bonnie 'Prince' Billy is a collaboration between Will Oldham (Bonnie Prince Billy), Alasdair Roberts (Appendix out / Drag City), Jill O Sullivan (Jill Lorean) and Alex Neilson (Trembling Bells, Alex Rex).

                                                                    Shirley Collins

                                                                    Heart's Ease

                                                                      Heart’s Ease follows 2016’s Lodestar; which on its arrival, seemed like a musical miracle - an enthralling new LP from a woman who is widely acknowledged as England’s greatest female folk singer, but who had not recorded an album for 38 years.

                                                                      With Heart’s Ease, Shirley delivers a record even stronger than Lodestar having completely regained her confidence, and singing so well that you can’t believe she was away for so long. As Shirley put it, “Lodestar wasn’t too bad, was it? But when I listen to it, it does sometimes sound rather tentative. I had to record it at home because I was just too nervous to sing in front of somebody I didn’t know. This time I was far more relaxed – even though I went into a studio.” Recorded at Metway in Brighton, Heart’s Ease is as compelling and original as Shirley’s great albums from the Sixties and Seventies. There are traditional songs, of course, from England and the USA, but there are also more new songs than in the past (four non-traditional tracks) and there’s even a burst of experimentation that hints at possible new directions to come.

                                                                      In the years between For As Many As Will (1978) and the release of Lodestar, Shirley suffered from a form of dysphonia, had lost her singing voice, and was never expected to sing again – certainly not in public. Lodestar was a delightful surprise to all her fans and the folk community, and once Shirley had started to sing again, she was not going to stop. “I’m absolutely consumed by this music,” she said. “I have always loved it so much. I’m still learning songs and just want to keep learning them. I thought ‘somebody has got to sing these songs, so it might as well be me!”

                                                                      Collins followed Lodestar with a remarkable blitz of activity for a lady in her eighties. There was a film, and soundtrack album, The Ballad of Shirley Collins. There was a new autobiography, All in the Downs, which won the Penderyn Music Book Prize (beating the Beastie Boys). And there were high-profile come-back concerts, including a memorable appearance at London’s Barbican, at which she was backed by an exceptional group of friends and musicians, the Lodestar Band. She may have felt nervous being back on stage, “but I feel so supported by that band. And every song I sing I love anyway – it’s not a hardship to sing the songs!”.

                                                                      All of which is reflected in her second come-back album, Heart’s Ease. Collins’ intriguing choice of songs on Heart’s Ease includes two with lyrics by her first husband Austin John Marshall, a graphic artist and poet who produced several of her albums and had the inspired idea of getting Shirley to work with blues/jazz/world music guitarist Davy Graham on that extraordinary album Folk Roots, New Routes in 1964. There are more family memories with “Locked In Ice”, written by Dolly’s son the late Buz Collins and the most startling new piece is the finale, “Crowlink”, named after a pathway on the South Downs overlooking the English Channel “where I love to be,” in which Shirley sings against a moody, atmospheric fusion of Ossian Brown’s hurdy-gurdy, and electronica and field recordings of waves and sea birds from Matthew Shaw.

                                                                      Heart’s Ease is a glorious reminder that Shirley Collins is still in a class of her own, both as a folk singer with a distinctive no-nonsense style that is all her own, and as an innovator. And she certainly doesn’t intend this album to be her last. “I have such a huge memory of songs, so many of which I still want to sing. And I wasted all those years not singing, so now I’ve got to catch up a bit!”

                                                                      FORMAT INFORMATION

                                                                      Deluxe LP Info: Deluxe edition with gold foil sleeve and 4 page booklet.

                                                                      Deluxe LP includes MP3 Download Code.

                                                                      Black Helium

                                                                      The Wholly Other

                                                                        Black Helium aim to deliver a lysergic heterogeneous sprawl on this, their second LP ‘The Wholly Other.’ From the blunt thunderous groove of ‘Hippie On A Slab’ to the narcotic tranquillity of ‘Teetering On The Edge’, via the hypnotic ascension of ‘Pink Bolt’. ‘The Wholly Other’ was recorded live over two loud, sweat drenched days in August 2019 by Wayne Adams at Bear Bites Horse Studio (Green Lung, 11PARANOIAS, Casual Nun), just before the band embarked on a UK tour with Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs.

                                                                        Black Helium are a four-piece psychedelic rock group, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed out psychedelia.

                                                                        Influences include, amongst many: Amon Duul II, Loop, Hawkwind, The Stooges, The Groundhogs, Spacemen 3 and Electric Wizard.


                                                                        FORMAT INFORMATION

                                                                        Ltd LP Info: Limited black vinyl LP housed in a full colour outer sleeve with download code. Strictly limited to 400 copies.

                                                                        Winter

                                                                        Endless Space (Between You & I)

                                                                          The power of a Winter song is hard to describe, like how the delicate world building of a good book can be more compelling than real life. There's a make-believe, fairy tale surrealism that sets Winter's blend of shoegaze and psychedelia apart while existing in the same universe as the ethereal dream pop of Cocteau Twins and Melody's Echo Chamber.

                                                                          Samira Winter grew up in Curitiba, Brazil, where her Brazilian mother filled their home with the gentle melodies of MPB (música popular brasileira), and her father introduced her to the distorted sounds of American punk. At 18, she moved to Boston where she first released music as Winter, eventually moving to LA's Echo Park. Winter has built a cult following with a stream of bilingual releases and national tours supporting Boogarins, Broncho and Cherry Glazerr, not to mention dates in Mexico, South America and Europe.

                                                                          “Winter’s breathy voice is pretty magical.” Brooklyn Vegan. 

                                                                          “Winter makes cosmic dream-pop fit for stargazing. The languid motion of their soaring tunes are filtered through fuzzy sounds of slowly writhing guitar work.” AudioTree.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Purple Opaque vinyl does not contain a DL card.

                                                                          Luke Jenner

                                                                          1

                                                                            It's hard to speak about unspeakable things - violence, abuse, addiction and abandonment; especially when these things rupture the innocence of childhood.

                                                                            But one of the merits of Luke Jenner's new solo project is that he not only speaks of these things but he does so in a way that wrests them from the dark, small cubicle of shame, placing them firmly in the light so that we, as listeners and fellow survivors, can start to maybe walk with our head high. In this moment of empty pop music séance, the scope and ends of this project - to try and help people - feels almost revelatory.

                                                                            Revelatory is the right word here in that it carries with it, of course, the sense of religious or spiritual insight. As front man for the legendary post-punk NYC band, The Rapture (a band name that already attests to Jenner's abiding faith and interest in the force of spiritual reckoning), Jenner has never shied away from his belief in God, community, family - all as a means of recovering the fractured x of y. "How Deep is Your Love", "Grace"… But while those The Rapture records flirted with these themes, Jenner's album “1” fully embraces them. “1” is commanding yet generous in its vision. It follows Jenner's personal history - from the trauma of child abuse in his family to the happiness he seeks in his own family now and in the community of survivors that sustain him - within the context of rock history and the music that sustained him there as well.

                                                                            "All Things Must Pass" by George Harrison (also invested in spiritual belonging) comes to mind, as does Daniel Johnston, who literally heard voices which he put to music. Jenner's project too insists on polyvocality, from his own voice that splits between utter pain and despair to almost spiraling, nectarean harmonies, to the community of family, friends and sponsors that Jenner samples and adds to the record like a church choir.

                                                                            FORMAT INFORMATION

                                                                            2xColoured LP Info: Indies exclusive yellow vinyl.

                                                                            The Soft Pink Truth

                                                                            Shall We Go On Sinning So That Grace May Increase?

                                                                              The Soft Pink Truth is Drew Daniel, who also forms one half of acclaimed electronic duo Matmos. Started as an outlet to explore visceral and sublime sounds that fall outside of Matmos’ purview, it draws on knowledge of rave, black metal, and crust punk obscurities to subvert and critique genre expectations. On this record Daniel takes a bold and surprising new direction, moving beyond simple plunderphonic sampling and opening up a genuine dialogue with other musicians, Daniel left room in his compositions for moments of genuine surprise, capturing the freeform, communal energy of a DJ set or live improvisation session more than a recording project. It feels ethereal but full, both ambiently hypnotic, and deliciously danceable. Shall We Go On Sinning… began as an emotional response to the creeping rise of fascism around the globe.

                                                                              Daniel explains: “The election of Donald Trump made me feel very angry and sad, but I didn’t want to make ‘angry white guy’ music in a purely reactive mode. I felt that I needed to make music through a different process, and to a different emotional outcome, to get past a private feeling of powerlessness by making musical connections with friends and people I admire, to make something that felt socially extended and affirming.” Those musical connections make this record what it is; vocals provided by the chorus of Colin Self, Angel Deradoorian and Jana Hunter form the foundation of most of the tracks, sometimes left unchanged as with opening line (“Shall”) or the sensuous R&B refrains on “We”, other times shrouded in effects, morphing into new forms. Stately piano melodies written by Daniel’s partner M.C. Schmidt as well as Koye Berry alongside entrancing vibraphone and percussion patterns from Sarah Hennies push tracks toward ecstatic and melodic peaks, while rich saxophone textures played by Andrew Bernstein (Horse Lords) and John Berndt are used to add color and texture throughout. The album’s overall sound was in part shaped by Daniel hosting Mitchell Brown of GASP during Maryland Deathfest. Daniel borrowed Brown’s Roland Space Echo tape unit which he then used extensively throughout to give the album a flickering, ethereal quality. The melodies, jubilance, and meditative nature of album provides a much-needed escape from the contemporary hell-scape. The process of creating Shall We Go On Sinning So That Grace May Increase?, in and of itself, is the Soft Pink Truth’s way of championing creativity and community over rage and nihilism.

                                                                              Tré Burt

                                                                              Caught It From The Rye

                                                                                Tré Burt is the newest artist to sign to John Prine's Oh Boy Records, following a serendipitous discovery, Oh Boy's Jody Whelan found Tré Burt's music and was immediately enamoured.

                                                                                Following Burt’s showcase at Americana fest in Nashville he has now become one of only two artists who have been signed to Oh Boy records in the past 15 years, both signings in 2019.

                                                                                Howling

                                                                                Colure

                                                                                  RY X and Frank Wiedemann reunite as Howling to present ‘Colure’ the sophomore full-length record from their joint musical enterprise, released via Counter Records.

                                                                                  RY X, solo alternative artist and member of The Acid, and Frank, one half of Âme, bring fans a bigger, sharper follow-up to their debut, ‘Sacred Ground.’

                                                                                  On ‘Colure’, the Berlin-based Wiedemann and Los Angeles-based RY X conjure transcendent creations out of their contrasting musical backgrounds and environments. The album is assuredly dualistic: electronic and acoustic sounds sit comfortably side-byside, and big melodic hooks are laced into hypnotic club productions.

                                                                                  RY X rose to underground-folk fame with breakthrough hit ‘Berlin’ and followed up with solo albums ‘Dawn’ and 2019’s ‘Unfurl’. His band, The Acid - a project with producers Adam Freeland and Steve Nalepa created a multimedia film, “the bomb” in 2017.

                                                                                  Wiedemann is royalty of the 4/4 scene as one half of Âme with Kristian Beyer and head honcho of Berlin label Innervisions he co-owns with Dixon & Kristian.

                                                                                  Howling took their collaboration out on the road with a mesmerising live show playing a string of sold out shows and festivals in the UK and across the world including Melt! Festival, Lovebox, Lowlands, Pukkelpop, Electronic Beats Festival, Sacred Ground Festival and more and played live at Innervisions showcase at The Royal Albert Hall (+ Live Stream) in September 2018.

                                                                                  Recommended if you like Atoms For Peace, Âme, Dixon, RY X, Tale of Us, Mano le Tough, The Acid.

                                                                                  Mohit

                                                                                  Preface

                                                                                    A deeply personal sonic exploration, the 9 tracks that make up ‘Preface’ were borne out of improvisation sessions and a shared need to create something that was both outwardly challenging yet intimate and meditative. Previous single Yoghurt showcases the raw talent and connection present from the band’s very inception – it being the first track of the album they recorded together. Many of the avenues explored in other songs on ‘Preface’ are present in this piece; the use of loops, beat-lead sections, evocative harmonies and sonic landscapes, stretching to the most intense moments. Elsewhere on the record, Reggaeezer is a song of two halves, written during an impromptu session in Whitechapel where the band were joined by a local homeless man named Marky Mark. “His lyric, “Stand alone, on my own” speaks of his life on the streets, and the melody manifests his courageous optimism. An emblem of song creation through improvised moments, ‘Steady Evil’ showcases the trio interacting with their more vulnerable side. Lyrically connecting mindless media consumption (going down a YouTube tunnel in a daze of non-eventual monotony), the song’s sonic palette drifts through lethargic spaces to mimic the sentiment. Marta Salogni’s vocals feature on I Would Never Wash My Hair in That (Water), a song that transforms from humble beginnings, peppered by coy irony, into a wet atmospheric ending.

                                                                                    Protomartyr

                                                                                    Ultimate Success Today

                                                                                      Following the release of Relatives In Descent, the band’s critically acclaimed headlong dive into the morass of American life in 2017 (featured on myriad “best of” lists, including The New York Times, Esquire, Newsweek, Loud & Quiet and more), Ultimate Success Today continues to further expand the possibilities of what a Protomartyr album can sound like. 

                                                                                      “There is darkness in the poetry of Ultimate Success Today,” says punk legend, founding member of The Raincoats, and friend of the band Ana da Silva. “The theme of things ending, above all human existence, is present and reminiscent of Cormac McCarthy’s The Road. Our world has reached a point that makes us afraid: fires, floods, earthquakes, hunger, war, intolerance…There are cries of despair. Is there hope? Greed is the sickness that puts life in danger.”

                                                                                      "The re-release of our first album had me thinking about the passage of time and its ultimate conclusion,” says singer Joe Casey of Ultimate Success Today. “Listening to No Passion All Technique again, I could hear myself hoping for an introduction and a long future, but also being cognizant that it could be ‘one and done’ for us. So, when it came time to write Ultimate Success Today, I was reminded of that first urgency and how it was an inverse of my current grapple with how terribly ill I’ve been feeling lately. Was that sick feeling colouring how I felt about the state of the world or was it the other way around?”

                                                                                      “This panic was freeing in a way. It allowed me to see our fifth album as a possible valediction of some confusingly loud five-act play. In the same light I see it as an interesting mile marker of our first decade of being a band - a crest of the hill along a long highway. Although just to cover my bases, I made sure to get my last words in while I still had the breath to say them.”

                                                                                      “There are exquisite, subtle gifts from other instruments that always heighten the guitar, instead of fighting with it,” explains da Silva. “They help to create a harmonious wall of sound all of its own. This was intentional. Greg Ahee wanted to use different textures other than pedals, and the drone quality of some of those instruments colours the guitar and the whole sound with a warm, rich in reverb, yet all-consuming landscape for Joe Casey’s voice.”

                                                                                      Protomartyr is Joe Casey (vocals), Greg Ahee (guitars), Alex Leonard (drums), and Scott Davidson (bass guitar). Ultimate Success Today was recorded at Dreamland Recording Studios, a late 19th century church, in upstate New York and co-produced by the band and David Tolomei (Dirty Projectors, Beach House) with mixing by Tolomei. Featured guest musicians on the album include Nandi Rose (vocals) a.k.a. Half Waif, jazz legend Jemeel Moondoc (alto sax), Izaak Mills (bass clarinet, sax, flute), and Fred Lonberg-Holm (cello).


                                                                                      STAFF COMMENTS

                                                                                      Barry says: 'Ultimate Success Today' is a superb, burning fire of an LP from start to finish. Dark and foreboding while somehow managing to elicit a headnod from even the most stationary of listeners, this is Protomartyr's finest moment yet. Javi is right to love it

                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: 140g transparent blue vinyl with 24"x24" poster, 'zine' booklet and download card.

                                                                                      JARV IS

                                                                                      Beyond The Pale

                                                                                        JARV IS… are pleased to announce their debut album “Beyond the Pale”. This is the first original music from Jarvis Cocker since the “Further Complications” album in 2009.

                                                                                        JARV IS… a band featuring Jarvis Cocker (vocals, guitar, percussion), Serafina Steer (harp, keyboards, vocals), Emma Smith (violin, guitar vocals), Andrew McKinney (bass, vocals), Jason Buckle (synthesiser & electronic treatments) & Adam Betts (drums, percussion, vocals).

                                                                                        JARV IS… formed to play a show at the Sigur Ros “Norður og Niður” festival in Iceland at the very end of 2017.

                                                                                        JARV IS… was conceived as a way of writing songs in collaboration with an audience. As the material they were playing was in a state of flux the band decided to record their live shows so that they could monitor how the songs were developing. After an appearance at the Desert Daze festival in California, Geoff Barrow (Portishead, Beak>) suggested that these recordings could be used as the basis for an album. Overdubs & vocals were added at Narcissus Studios in Neasden, London. Post-production work took place at Jason Buckle’s Place du Big Boss studio in Raynes Park, London. The album was mixed by Craig Silvey at Toast Studios in West London.

                                                                                        The first single from the album “Must I Evolve?” was released in May 2019 & appeared in many “Top 10 Tracks of the Year” lists.

                                                                                        JARV IS… an ongoing live experience because life is an ongoing live experience.

                                                                                        Or, to put it another way:

                                                                                        THIS IS NOT A LIVE ALBUM – it’s an ALIVE ALBUM.

                                                                                        STAFF COMMENTS

                                                                                        Barry says: Jarv Is the ever-talented ex-pulp frontman with a string of unmissable releases since then, spreading over a wide range of styles. Jarv Is returning with a brand new album and Jarv Is absolutely smashing it. It would maybe be easier to go through the things that Jarv Isn't, and he definitely isn't coming off our stereo anytime soon.

                                                                                        Lianne La Havas

                                                                                        Lianne La Havas

                                                                                          ‘Lianne La Havas’, Lianne’s third album and her first in five years and is an album of startling beauty and insight—made entirely on her own terms which has been quite a journey. In one sense, geographically: La Havas spent a lot of time moving back and forth between the UK and the States working on writing and exploring her own identity. As a result, ‘Lianne La Havas’ feels spacious and luminous. Its sunbaked sounds recall, in places, the Brazilian singer, songwriter, and guitarist Milton Nascimento (on “Seven Times”). You might also hear the curveball chords of Joni Mitchell and Jaco Pastorious’s jazz explorations (“Green Papaya”), or the puttering drums and inviting warmth of golden-era Al Green (“Read My Mind”). And throughout the record, there’s a sense of empowerment that has its roots in the crisp ‘90s R&B of Destiny’s Child.

                                                                                          ‘Lianne La Havas is ten songs that span the arc of a love relationship. The album’s opener, ‘Bittersweet’ functions as a kind of an overture, setting out what follows, before the giddy, love-struck rush of ‘Read My Mind’. If these first few songs suggest a flower opening its petals, that’s no coincidence: “What plays a big role in the album is the idea of the life cycle of plants and nature—equating this journey with a seasonal thing that blooms, thrives, goes away, and comes back even stronger,” La Havas says. Over the five years it took for the album to come together, she found herself watching the changing foliage outside her window in south London, struck by how she was growing and changing herself—not always comfortably. “A flower has to dry up and die in order to be reborn,” she says. “You have to get to the rock bottom to rebuild yourself.”

                                                                                          After relentless touring and promoting of her first two albums as well as personal and emotional events in her life, it was becoming increasingly difficult to find time, inspiration and confidence to get back in the studio for a follow up. As it came about, the recording process of album number three began in earnest by accident; returning from a glorious, sunny Glastonbury festival performance in June 2019, La Havas and her core band decided to see if they could nail their lithe live version of Radiohead’s ‘Weird Fishes’ in the studio. “I had the most wonderful, nourishing experience recording that,” she says, “And that’s where I decided: the rest of the album needs to be like this. It’s got to be my band, and I’ve got to do it in London, whenever people have time.” By October, she had all ten songs, and by December, everything was recorded—mainly in London, and also in Bath and New York. In keeping with the album’s intimate feel, everyone who contributed to the record is a trusted collaborator, including long-term songwriting ally Matt Hales, co-producer Beni Giles, and guest co-producer Mura Masa.

                                                                                          The confidence that La Havas has cultivated, both personally and creatively, is audible in the fact that ‘Lianne La Havas’ is a record that feels utterly real—a living, breathing thing. It hasn’t been polished to a squeak in favor of a “clean” recording; La Havas followed her gut on this album, going with what feels good.

                                                                                          Beauty never really goes by the book, and ‘Lianne La Havas’ is a breathtaking example of this. Now thirty years old, she is excited about playing these powerful songs live. “The best part is that I own them, and really believe in them,” she says. “And, you know, it’s me. So I can’t be afraid of doing what I do, and being who I am.”

                                                                                          ‘Lianne La Havas’—an exquisite, rich, and tender expression of love, loss, and rebirth that marks a new era for the British artist.

                                                                                          STAFF COMMENTS

                                                                                          Barry says: Rich, warm vocals meet with grooving keys and flickering guitars. Unmissable brilliant new LP from La Havas here, and the perfect counterpoint to these stressful times. A tonic if ever there was one. Beautiful stuff.

                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Indie exclusive limited mint coloured vinyl.

                                                                                          Silverbacks

                                                                                          Fad

                                                                                            With taut rhythms of 70s punk and the freak-outs of NYC no-wave, Silverbacks craft a signature sound spiked with triple guitar riffs and on-the-pulse lyrics.

                                                                                            Silverbacks are a 5-piece band from Dublin, Ireland. Taking their cues from the taut rhythms and urgent drive of late 70s punk and the discordant, unpredictable freak-outs of NYC no wave, they craft a signature sound spiked with triple guitar riffs, a motorik rhythm section and on-the-pulse lyrics.

                                                                                            The band have independently released a string of singles produced by Girl Band bassist Daniel Fox, beginning in 2018 with Dunkirk and Just In The Band, each of which drew support on both sides of the Atlantic. 2019 saw the arrival of follow-up tracks Pink Tide, and then Sirens, which was part of a double A side 7-inch released with second single Drool by UK independent label Nice Swan Records in January 2020. These single releases were backed by festival appearances at Simple Things, Swn, Eurosonic and Electric Picnic, headline shows in the UK and Ireland and supporting Girl Band on their sold-out UK tour dates.

                                                                                            Debut album Fad represents the sound of a band trying to make sense of a noisy and disjointed world - one that competes for your attention at every turn. For them, it has come to be a symbol of what it feels like to try and absorb the world through both fleeting moments in front of screens, and prolonged obsessive periods filled with focus. They pull apart pop-culture in search of new meaning, whether it’s a nod to The Simpsons (Fad 95), imagining a lost John Hughes film (Klub Silberrücken), spiralling downwards into youtube deep-dives (Pink Tide), or making sense of youth culture through The Urban Dictionary (Grinning At The Lid). Much in the same way that modern life can be defined by its unpredictability, Silverbacks colourful, vivid and exuberant songs dismantle their source material and end up in places that you don’t think they will.

                                                                                            It can be heard in the spidering guitar lines of opening track Dunkirk, or Pink Tide’s Thin Lizzy-aping riffery, Fad 95’s overt Pavement influence, Up The Nurses’ Blondie injection or Last Orders’ The Fall-inspired tale of escapism. Grinning At The Lid’s huge gang vocal chorus even recalls New Fellas-era The Cribs. Elsewhere Just In The Band draws on tales of Bowie and Iggy Pop’s friendship, and Muted Gold – having sprouted from a time spent practising Afrobeat and highlife guitar techniques – shines a light on situations in which women are continually inundated with unsolicited advice.

                                                                                            All over Fad are the fingerprints of a band clawing their way through the remains of the day, seeing what there is to uncover.

                                                                                            STAFF COMMENTS

                                                                                            Laura says: I'm loving this debut album from Silverbacks. There's a definite NYC vibe to their sound: both Television and The Strokes spring to mind as reference points, but there's more to them than just that. The interplay of their three guitarist (yes three!) creates a unique and compelling sound, that might draw on art-rock, post-punk, math-rock or whatever from the past but gives them a sound all of their own.

                                                                                            FORMAT INFORMATION

                                                                                            Coloured LP Info: Limited blue vinyl is for indies only.

                                                                                            The Blinders

                                                                                            Fantasies Of A Stay At Home Psychopath

                                                                                              The Blinders have announced their new album, 'Fantasies Of A Stay At Home Psychopath' via Modern Sky UK.

                                                                                              The follow-up to their critically acclaimed debut album, Columbia, released in 2018, the album explores existential despair, mental health and society’s ills in a time of planetary crisis, and is both a riposte to, and commentary on, the rise of populist ideology. Delivering a blistering collection of powerful tracks, Fantasies Of A Stay At Home Psychopath is imbued with the visceral energy of IDLES, the twisted melodies of solo-era Lennon and the darkness of the Bad Seeds.

                                                                                              In the shadow of Brexit and the climate crisis, The Blinders return with their unique brand of outspoken anthemicism and a sensational album to rouse awareness and inject vital energy into a bleak 2020. Combined with their blistering live energy, get ready for The Blinders to accelerate furiously into the limelight. 

                                                                                              FORMAT INFORMATION

                                                                                              Dinked Edition LP Info: Exclusive Deep Red vinyl.
                                                                                              Numbered & Signed 12"x12" Art print.
                                                                                              500 only.

                                                                                              Coloured LP Info: Clear vinyl edition.

                                                                                              Bob Dylan

                                                                                              Rough And Rowdy Ways

                                                                                                39th studio album by the legendary American singer-songwriter. It is Dylan's first album of original songs since his 2012 album 'Tempest'. The album has been preceded by the singles 'Murder Most Foul', 'I Contain Multitudes', and 'False Prophet'.

                                                                                                FORMAT INFORMATION

                                                                                                2xColoured LP Info: Olive green vinyl edition.

                                                                                                Bing & Ruth

                                                                                                Species

                                                                                                  Bing & Ruth, the ever-evolving project helmed by New York composer David Moore, has announced details of a new album, scheduled for release this summer. While on a surface level, Species is an exploration of the sonic possibilities of the Farfisa organ, aided only by a clarinet and double bass (played respectively by founding members Jeremy Viner and Jeff Ratner), the title Species is a nod to both humanity and humility – a devotion to the godly intuition with which we are all endowed, and the humbleness required of us to perceive it. It’s also about suspended time and trance; not just a steady movement from A to B, but as something that flows, meanders and eddies, like water.

                                                                                                  Species, and the transcendental state it embodies, was inspired by two recent loves of Moore’s: the desert and long-distance running. Briefly relocating from his New York base to Point Dume, between the Pacific Ocean and the desert, Moore was able to indulge in both passions, which in turn provided stimulus for new work. He says, “I’d found myself in places unfamiliar enough that I could easily lose all sense of direction, size and, more than anything, all sense of time. The music I was making became a kind of reflection of these intentional detachments - and a place to mirror that feeling of trance that had pushed them out in the first place.”

                                                                                                  STAFF COMMENTS

                                                                                                  Barry says: Shifting swathes of reverberated electronics, bright echoes and soaring synths slowly evolve into euphoric slo-mo key changes and aquatic phrases. It's an ambient lovers dream, and one that will be on my stereo for some time to come.

                                                                                                  Arca

                                                                                                  KiCk I

                                                                                                    Produced and recorded by Arca, KiCk i defines a new era of multiplex harmony for the Venezuelan artist, singer, DJ, performer and experimental music composer. With appearances from Björk, Rosalía, Shygirl and SOPHIE, this is the first time Arca has invited collaborators into her world, previously having lent her sound to some of the decades most avant-pop artists. With the release of “Nonbinary” kicking off the new era, today Arca shares the first single from KiCk i called “Time”:

                                                                                                    “Time” originally premiered in September 2019 at Arca’s Mutant;Faith, a four-part experimental performance cycle at the new NYC performing arts space The Shed. The performance “stood to prove why Arca’s work is beyond innovative, and why her vision for the future of pop is so thrilling,” declared them., with Pitchfork revering Arca’s ability to “continue to create a singular world.” Captured on the fourth-day of Mutant;Faith performance cycle, the video for “Time” was conceptualized by Arca, Carlos Sáez and MANSON, who directed the video in front of a live audience at The Shed and on the streets of NYC.

                                                                                                    KiCk i is a celebration not only of the joy Arca’s been able to find in her life, but the sometimes arduous journey it took for her to find it. Her struggles to reconcile her Venezuelan heritage and her trans Latinx identity emerge as reggaetón and pop en Español. But KiCk i isn’t just a pop record, or an experimental record, or even simply a mix between the two, but rather all of them at once- and so much more. Depending on where you drop the needle you’ll find bubblegum, harsh noise, electronic psychedelia, balladry, bangers, laughter, tears, passion, and expressions of faith - sounds and ideas that don’t simply blend together, but coexist simultaneously in quantum superposition made possible inside the sonic worlds Arca builds in her music.

                                                                                                    “I don't want to be tied to one genre,” Arca explains. “I don't want to be labeled as one thing.” Where she is now, being nonbinary doesn’t end with her gender identity. It’s become a mindset where no one thing has to be just one thing, where multiple meanings, multiple realities can coexist in superposed balance. In this space between states, where one thing is the other, Arca has discovered a vast field of untapped creative power. KiCk i is the sound of her plugging in.

                                                                                                    STAFF COMMENTS

                                                                                                    Barry says: Venezuelan sound artist and synthpop wunderkind Arca brings all of the heat from their hugely popular last two releases into the first of a quadrilogy of releases. If this is anything to go by, it's sure to take the synth world by storm. Vapourwave meets glitch via everything else.

                                                                                                    Crack Cloud

                                                                                                    Pain Olympics

                                                                                                      Like Psychic TV before them, Crack Cloud have a philosophy, and one that they are not afraid to wear on their sleeves. While their anarchic, phantasmagorical visuals, heavy use of symbology, and seemingly never-ending cast of colourful collaborators have often invited cult comparisons, this really does the collective no justice.

                                                                                                      There is no apocalyptic death drive here; no cult of personality; no hierarchy of power. While frontman and lyricist Zach Choy is in many ways the face of the group, the collective is one founded on equality, and in his cryptic lyrical blending of poetics, polemics and personal experience, Choy is truly the mouthpiece of something far larger than himself. Nowhere else is this more apparent than on the album’s first single, ‘The Next Fix.’

                                                                                                      What begins as a caustic, claustrophobic account of addiction swells into a sprawling, euphoric hymn as Choy is joined by a choir of seemingly endless celestial voices. Less a cult then; more a church. Listening to this song or watching  its accompanying self-directed video is a truly spiritual experience, and in its building, jubilant movement it offers a glimpse of Crack Cloud’s most vital message: using community to turn adversity into hope. This isn’t just bravado; its a story born of deep, personal experience. Crack Cloud operate on the frontline of Canada’s out-of-control opiate crisis, mobilising and organizing in Vancouver’s harm reduction programmes.

                                                                                                      The group themselves have had their fair share of trauma, and the collective offers its members a vital vehicle for rehabilitation and recovery. As the tagline on the album’s back cover makes clear then, this is absolutely ‘based on true shit.

                                                                                                      FORMAT INFORMATION

                                                                                                      Dinked Edition LP Info: • 180 gram dark green vinyl.
                                                                                                      • 7" of 2 unreleased tracks.
                                                                                                      • Numbered Edition.
                                                                                                      • Gatefold Sleeve.
                                                                                                      • Download Code.

                                                                                                      Kutiman

                                                                                                      Wachaga

                                                                                                        For fans of Khruangbin, Tom Misch & Yussef Dayes, Kamasi Washington, Strut Records, Analog Africa & Soundway.

                                                                                                        New eagerly awaited LP from the maverick Kutiman, based on field recordings he made in Tanzania of local musicians, then manipulated, layered and expanded in his home studio. A one of a kind opportunity for a musical trip to the motherland, through the eyes, ears and heart of one of the most fascinating and adventurous musicians in contemporary music.

                                                                                                        People have been living around the foothills of Mount Kilimanjaro for millennia. One day in 2014 another jeep pulled up, in a rural neighbourhood where many people from the Wachaga nation live, work and play. This jeep contained Ophir ‘Kutiman’ Kutiel, the producer, multi-instrumentalist and filmmaker who is get-stopped-in-the-supermarket famous in his home country despite being terminally shy of the spotlight.

                                                                                                        Kutiman carried microphones, video recording equipment and a request for creative collaboration to Tanzania – and he left Wachaga with a set of recordings. Some of these were of everyday sounds and some contained special sounds: school children from the city of Arusha playing drums or the dancers who wore bells to add a percussive element to the movement, like the metal plate in a tap dancer’s shoe.

                                                                                                        This fourth studio album is a combination of the material he collected on his 2014 trip with recordings made with saxophonist Shlomi Alon, trumpeter Sefi Zisling and trombonist Yair Slutzki, alongside his own playing and studio wizardry. He was listening to a lot of spiritual jazz during the recording, and in a departure from his usual cut and paste style, played on top of the recordings.

                                                                                                        It’s a creative push that has paid off: Horns and synth melodies spiral across borrowed rhythm patterns and chants which provide the bedrock around which Kutiman builds his own musical dwelling, creating new pathways of jazz, psychedelia and circular meditative zone-outs.

                                                                                                        Returning home from his trip to the self-organised kibbutz community where he lives in the western Negev desert, he began dipping into the recordings to see how he could use them as a starting point for his own musical and visual explorations.

                                                                                                        Fast forward six years, and we have ‘Wachaga’, an audiovisual feast which contains nine tracks and nine kaleidoscopic video pieces, named after the 2.4 million Tanzanians who live mostly on the southern and eastern sides of Mount Kilimanjaro.

                                                                                                        He made the video strand of the release over a couple of years. The films are trippy and hypnotic, reflecting the emotions he felt while recording the music. They’re made using vintage analogue techniques and gear including a rare 1980s Fairlight CVI video synthesiser, a Videonics equaliser and a Panasonic mx50 video mixer.

                                                                                                        Kutiman might be well-known at home but he’s also internet-famous thanks to his million+ viewed ThruYou series ("Top 50 Inventions of 2009" by Time Magazine) which edited together samples of bedroom YouTube videos from around the world and his Mix The City platform.

                                                                                                        He’s well known to music heads for his 2007 eponymous debut, 2016’s ‘6am’ and 2018’s ‘Don’t Hold Onto The Clouds’ alongside co-signs by the likes of Maribou State who featured one of his tracks on the most recent Fabric Live mix or the modern classical solo album he made for Greenpeace last year.

                                                                                                        Following the huge buzz built around his Anatolian rock collaboration with Turkish singer Melike Sahin in 2019 ('Sakle Beni'), and the critically acclaimed limited edition 7” record featuring the warm and brassy middle eastern ‘Saluf’ and percussive slow burner ‘Badawee’ was released in February, and another psychedelic jazz-funk EP called 'Layla' was released in April to rave reviews and support from Peter Kruder, John Gomez, Bradley Zero, Dom Servini and Toshio Matsuura to name a few.

                                                                                                        Kutiman is now in one of the greatest artistic peaks of his diverse career and Wachagga is the first in a string of releases, which explore Kutiman’s singular vision through a variety of musical lens including melodic techno, ambient electronica and sweeping, motorik jazz. 


                                                                                                        FORMAT INFORMATION

                                                                                                        Coloured LP Info: Limited edition 180 gram gatefold sleeve SPLATTER vinyl for INDIE STORES ONLY. 300 Copies.

                                                                                                        Ltd LP Info: Limited edition 180gram gatefold sleeve BLACK vinyl – 300 Copies.

                                                                                                        No Age

                                                                                                        Goons Be Gone

                                                                                                          Summer 2020, and No Age are back out on the street! 

                                                                                                          Effortlessly raw and extravagant in one practiced swoop, they set their live/bedroom internal clock and get out early into a glorious windtunnel of naked beats and sunbaked guitars, forming a wave from which they hang eleven tunes. 

                                                                                                          A perfectly balanced set, ranging from their classic punk and indie to ever-evolving soundscapes, in maybe their most direct statement yet.

                                                                                                          LA Salami

                                                                                                          The Cause Of Doubt & A Reason To Have Faith

                                                                                                            L.A. Salami is back after releasing two EPs in 2019/20 with his third album ‘The Cause of Doubt & a Reason to Have Faith’. This isn’t the music of a virtuoso: it’s explorative, daring, meditative and sometimes wild. For the first time, Lookman has embraced the world of multi-tracking, though the record still retains a raw energy and an integrity. Lookman has translated a whole album of raw emotion and philosophical musings for your delectation. As a testament to a unique and thrilling talent, this record is a beacon of hope in troubled times and L.A. Salami’s most complete vision so far. In short: We need this record right now. L.A. Salami will be embarking on a 6 date German tour in August. Previously championed by QC rising star, Sunday Times Culture, Brooklyn Vegan etc.

                                                                                                            Zombi

                                                                                                            2020

                                                                                                              Relapse Records proudly presents ZOMBI's new album, 2020. Their first new album in 5 years, 2020 showcases the songwriting prowess that has pushed the duo of Steve Moore (synthesizers, guitars, bass) and A.E. Paterra (drums) to evolve throughout their storied, 20 year career. ZOMBI has strived to build upon and expand their sound with every release. Now more than ever, the band stays true to their ethos. From the pulse-pounding, dramatic opener "Breakthrough & Conquer", to the melodic bass whirls found in "XYZT", 2020 proves to be ZOMBI's most riff-intensive album. At first a soundtrack of driving musical euphoria, 2020 takes a sharp turn into uncharted waters - "Earthscraper" is reminiscent of a space where sounds of sludge and doomlike-riff crushers dominate the soundscapes. Synthwave and neon crescendos are furloughed in favor of Blue Oyster Cult inspired progressive epics. A truly therapeutic loop of immersive instrumental rock, 2020 might just be ZOMBI's most ambitious album yet.

                                                                                                              Samantha Crain

                                                                                                              A Small Death

                                                                                                                After releasing her previous album in 2017, Samantha Crain thought she would never make music again. Instead she found herself trying to work out how to live without the use of her hands, which had become paralysed. However, with a steeliness and concrete determination to at least employ music as a pastime, if no longer professionally, she tasked herself with perseverance in finding her way back to health. And she never gave up. Somehow, the paralysis in her hands eventually abated, and Samantha was able to transfer the music that she had been able to dream up in her head to the guitar and then to record in what she describes as a miraculous “bonus round” to her career.

                                                                                                                This new found appreciation and gratitude for still being able to make music professionally can be heard throughout Samantha’s new album, A Small Death. It’s a record that brims with hope and a deft wryness, packed with the sort of melodies and stories that have been warming the hearts of those so familiar with and fond of her work over the years. There are plenty of people who know precisely what this Oklahoman is capable of and they have the records to attest to it. Samantha’s unlikely return to music has an additional chapter - in 2019, after playing a show together, Lucy Rose was so moved by the music she heard coming from Crain on stage that it inspired her to turn a long-held pipe dream into a reality: Rose would launch her own record label, with Samantha Crain’s A Small Death as the first album to be released. 


                                                                                                                Embr

                                                                                                                1823

                                                                                                                  Within the genre of heavy metal there can be an abundance of variation, color, texture and tone. There are many different shades and many different categories within that catch-all phrase. It’s not all about throat ripping vocals or Neanderthal riffage. As many who are not drawn metal’s immediate charms may perceive. Heavy music can encompass a whole panoply of sounds, moods and ambition. It can surround you with emotional elegance and distressing chaos. There can be subtleness, thoughtfulness and deep introspection even when things get exceptionally heavy. This is why NHS is thrilled to unveil our latest signing. We have partnered with 4 musically kindred spirits from Birmingham, Alabama, collectively known as EMBR.

                                                                                                                  EMBR tick all the boxes & beyond. EMBR already have 3 mighty EP’s under their belt. All 3 got them on the heavy underground radar.

                                                                                                                  “punishingly heavy with sedated slowness on a level different that most doom out there.” Metal Temple
                                                                                                                  “a heavy mixture of grunge, doom and stoner rock with a twinge of gothic style delivery” Outlaws Of The Sun

                                                                                                                  EMBR spent most of 2019 writing 7 new songs for ‘1823’. The album was recorded by Matt Washburn at Ledbelly Sound Studio (Mastodon, Royal Thunder) in Dawsonville Ga. The title ‘1823’ has special significance. It’s not just a numerical title, it has substance. Eric Bigelow (drummer) has been on the list for a kidney for around 4 years. Eric received a kidney transplant in May of 2019. This happened right in the middle of writing the album. The kidney was from a deceased donor and all Eric and Crystal Bigelow (singer and Eric’s wife) know about the donor is that it was a young woman between the ages of 18-23. The album is dedicated to the donor and the surgeons at Vanderbilt hospital in Nashville TN. And what a fine tribute it is. Musically ‘1823’ could be categorized as ‘Doom’. However, on this debut it’s obvious that EMBR have range, drive and a desire to add to the genre, to broaden it whilst staying true to its core fundamentals. Rest assured, the band have all the nuts and bolts in place. Mark Buchanan (guitar), Alan Light (bass) and Eric Bigelow (drums) keep everything tight and weighty.

                                                                                                                  Massive drop-tuned guitars, chest rattling low end, pounding drums, fuzzy distortion, it’s all there. But they also add in synths, a bit of grunge and alt rock flavors. The vocal talents of Crystal absolutely soar and strengthen the music. Her range, patterns and harmonies transport the band’s music skyward. Crystal adds soul and an air of melancholia to the musical creations. If a pointer were needed, think Mastodon meets Witch Mountain with epic sweeps and a shade of gothic drama. Tracks like ‘Prurient’ and ‘Where I’ve Been’ combine thick heavy riffs with Crystal weaving through, powerful and epic, yet soulful and intimate.

                                                                                                                  Musically, the bands core vibe is keep it slow and low’ but EMBR aren’t afraid to mix it up a bit. ‘Stranger’ takes it down, allowing Crystal’s voice to float over the softer elements and riffs in an almost folk-like manner. ‘Powder’ channels throat ripping growls and soaring clean vocals in one loping relentless journey. ‘Eyes Like Knives’ , ‘Your Burden’ and ‘Vines’ are epic doom fests, drenched in gothic veils and dripping with thick distortion. The lyrics are deep and are usually written collectively by Crystal and Eric with one of them sometimes taking the reins on certain songs that they identify with. For instance, Powder is a song Eric wrote about past struggles and trying to power through them with relentless determination and positivity. Prurient was written by Crystal and initially was based on the 2016 movie THE BOY but also was inspired by her past experiences with a haunting figure in her life. 

                                                                                                                  FORMAT INFORMATION

                                                                                                                  Coloured LP Info: First vinyl pressing is ltd to 500 copies in 2 colour blue & black cosmic swirl vinyl.

                                                                                                                  Coloured LP includes MP3 Download Code.

                                                                                                                  Oneness Of Juju

                                                                                                                  African Rhythms 1970-1982

                                                                                                                    Strut kick off a brand new deal with the seminal independent black jazz and soul label Black Fire in May with ‘African Rhythms 1970-1982’, a comprehensive 2CD / 3LP compilation of Oneness Of Juju, led by Plunky J. Branch.

                                                                                                                    Tracing their career from the band’s earliest work in 1970 with South African exiled jazzman Ndikho Xaba in San Francisco, the compilation covers the band’s journey to New York’s loft jazz scene, forming Juju and releasing two landmark albums of hard-hitting percussive jazz on Strata-East. “I saw myself as a cultural warrior,” explains Plunky. “We studied about Africa and tried to infuse our music with an African spirit.” Moving back to his hometown of Richmond, Virginia during the mid-‘70s, Plunky drew in a superb new group of musicians and vocalists and created the band’s new incarnation, Oneness Of Juju, retaining the African influence but fusing his sound with funk and R’n’B on the classic ‘African Rhythms’ album. “We realised that, if we put a backbeat to the Afro-Cuban rhythms, people in Richmond and Washington D.C. could be drawn into it; it didn’t change anything about our message.” The change would lead to a series of enduring soul-jazz classics on Jimmy Gray’s Black Fire label, including ‘River Luv Rite’, ‘Plastic’ and ‘Don’t Give Up’ and their biggest crossover international hit, ‘Every Way But Loose’ in 1982, later famously remixed by Larry Levan. The band received renewed interest in their music during the mid-‘80s as Washington D.C.’s go-go innovators cited the band as a major influence and rare groove DJs revived their albums for London dancefloors.

                                                                                                                    ‘African Rhythms 1970-1982’ reprises a compilation released on Strut in 2001 and is newly remastered by Frank Merritt at The Carvery. Both formats feature a 12” sized 4pp booklet featuring rare photos and a comprehensive interview with Plunky Branch within liner notes by Chris Menist.

                                                                                                                    Zara McFarlane

                                                                                                                    Songs Of An Unknown Tongue

                                                                                                                      Brownswood are delighted to present Zara McFarlane’s, Songs of an Unknown Tongue a masterful work that underlines her continuous growth as an artist. Zara’s fourth studio album pushes the boundaries of jazz adjacent music via an exploration into the folk and spiritual traditions of her ancestral motherland, Jamaica. The album is a rumination on the piecing together of black heritage, where painful and proud histories are uncovered and connected to the present.

                                                                                                                      Partnering with cult South London based producers Kwake Bass and Wu-lu, Zara has created a futuristic sound palate, electronically recreating the pulsing, hypnotic rhythms Kumina and Nyabinghi – and the music played at African rooted rituals like the emancipation celebration Bruckins Party, and the lively death rites of Dinki Minki and Gerreh. These richly patterned electronic rhythms are balanced throughout by McFarlane’s distinctive, clear vocal tones, and vivid song writing.

                                                                                                                      Zara’s critically acclaimed third studio album ‘Arise’ met with universal critical praise, and was supported by an impressive live tour performing at festivals such as Love Supreme, Field Day and SXSW. Zara is the winner of multiple awards including a Mobo, 2 Jazz FM Vocalist of the Year Award (2018 & 2015), an Urban Music Award, and Session of the Year at Worldwide Awards. Drawing respect from a wide range of artists, Zara has collaborated with Gregory Porter, Shabaka Hutchings, Moses Boyd and Louie Vega.

                                                                                                                      These new sonic explorations signal an exciting direction of travel for this innovative founding member of the UK’s vibrant homegrown jazz scene.

                                                                                                                      Wladyslaw Trejo

                                                                                                                      Es Una Bestia

                                                                                                                        After a productive lockdown period spent releasing 5” mailorder 45s (each of which sold out within an hour of release), Polytechnic Youth return to more widespread action now that shops and distros are slowly re-opening, and the first 2 up are absolute beauties…

                                                                                                                        First up is the riotous, whacked out synth-punk mini LP “Es Una Bestia” by Wladyslaw Trejo and follows the gold wax, split 45 w/Alexander Bazin earlier in the year. Trejo is a Spanish musician, and a key figure in the European underground electronic scene; and despite this being his first solo album since 2015’s self titled debut, he is eternally busy, especially as part of ‘avant-wave’ dueo Slovenska Televiza.

                                                                                                                        Trejo says of the record: “Es Una Bestia is a settling of personal accounts with the ghosts and fears of youth. Digging through the wounds, exploring the cursed soul, inviting his monsters to come to the surface and they do so in the form of vitriolic and hallucinated synth-punk.

                                                                                                                        For this bloody task he has aquired the best possible help, the complicity of the prestigious (and Nick Cave favourite) Polish painter Aleksandra Waliszewska, who provides vocals, as well as the director and musician Wiktor Stribog, the brain behind the ‘Kraina Grzybów’ phenomenon, who collaborates on the lyrics. In his solo project Wladyslaw reveals himself as a crooked line, a faustic anomaly that invites to a dark and psychotropic journey in the form of feverish electronics, industrial rhythms, and almost paranoid sound walls through certain life risks”.

                                                                                                                        A quite brilliant and utterly immediate record, released as an edition of 250 on red vinyl via Polytechnic Youth mid June.

                                                                                                                        STAFF COMMENTS

                                                                                                                        Barry says: It's a good week when I return to my desk after a prolonged absence and there are a couple new PY releases to get stuck into! This one is full of classic motorik beats and shadowy delayed vocals cut with a satisfying streak of post-punk synths. It's a superb return for PY and one to snap up quickly!

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Limited pressing of only 250 on red vinyl.

                                                                                                                        Yaeji

                                                                                                                        What We Drew 우리가 그려왔던

                                                                                                                          WHAT WE DREW 우리가 그려왔던 is titled intentionally; for Yaeji, the title captures the spirit of the project as a whole which she explains, "is so much about friendship, family, gratitude and support - support that I've felt, that I've given, and that we all share."

                                                                                                                          Produced entirely by Yaeji over the course of two years, she started writing the music for WHAT WE DREW with no specific narrative in mind, each track becoming a snippet of her life, a look into her diary. This total sense of freedom in her newly-built design and recording studio in Brooklyn allowed her to draw on a wide range of sounds, including the Korean indie rock and electronica that she listened to as a teenager in Seoul, and late ’90s and early 2000s hip hop and R&B she grew up listening to.

                                                                                                                          The guests featured on the project represent her community in New York City and beyond, including Brooklyn-via-Oakland rapper Nappy Nina, London performance artist Victoria Sin, London producer Shy One, and Tokyo DJ and producer YonYon; tracks like “FREE INTERLUDE,” featuring Lil Fayo, trenchcoat, and Sweet Pea, capture the open and collaborative spirit of afternoons at Yaeji headquarters. Although the mixtape is much indebted to Yaeji’s newfound laser focused creative vision and self-taught production work, it’s largely informed by her network of close-knit collaborators and friends.

                                                                                                                          Since the release of Yaeji’s 2017 EP’s (Yaeji and EP2), which broke her out as one of the most exciting new voices in dance music, she’s produced remixes for Charlie XCX and Robyn, sold out two headlining worldwide tours, and was included on the BBC’s Sound of 2018 list. In the midst of her swift rise, she has remained devoted to New York’s underground dance music scene; in 2019, Yaeji curated and organized Elancia, a massive Brooklyn warehouse rave where she gave her favorite local parties headlining slots. An artist who many pegged as the one to watch, Yaeji now aims beyond expectations, with an eye toward the worlds of music production, visual art, game design and more.

                                                                                                                          FORMAT INFORMATION

                                                                                                                          Coloured LP Info: Clear yellow vinyl.

                                                                                                                          Various Artists

                                                                                                                          Island Sounds From Japan 2009-2016

                                                                                                                            Offering a unique window into modern Japanese music, Time Capsule's latest release presents a group of artists who refuse to be bound by genre - mixing jazz, dance, reggae, psych, afrobeat, and indigenous styles into distinctly tropical fusions.

                                                                                                                            The last few years have seen an upsurge in popularity for Japanese music. From the deep grooves of 70s Japanese jazz and the funk-filled effervescence of 80’s city pop, to the zen-like ambient soundscapes of the same decade’s environmental music what unites these diverse forms is the similarity in approach of the musicians who created them. Since the first influx of pop music onto it’s shores, Japanese musicians have sought to study and master each form before creating new iterations.

                                                                                                                            The music on this compilation features a range of modern Japanese musicians who have each sought to expand genre boundaries by fusing different styles. Hailing from different musical backgrounds they are united by a common goal to deliver a distinctly tropical strain of sound, or what Time Capsule label boss and compiler Kay Suzuki refers to as Island Music. ‘Although this collection concentrates mainly on recent bands it doesn’t try to reflect what is currently popular. Instead, each artist has used a mixture of craftsmanship and their own personal experiences to experiment with styles and reshape them into new and unique forms. I feel strongly that they deserve more exposure around the world’ he says.

                                                                                                                            Speak No Evil are a perfect example of this cross-pollination of musical forms. Led by musician Akira Tatsumi, a veteran of Osaka’s verdant ska and calypso scenes, the band was formed from a regular jam session between the city’s reggae and jazz musicians to see what they might be able to create with combined forces. Their version of the same-titled classic by legendary saxophonist Wayne Shorter transports the jazz classic into new pastures, as the band takes Shorter’s sweet refrain on a reggae trip, the track finds a natural meeting point between the two genres, adding snappy riddims to jazz’s innate sense of swing.

                                                                                                                            Backpacking in India shaped the sounds of Aquatuki. Led by guitar players Taaki and Chen, they layer the trance music they discovered in Goa into psychedelic instrumental jams. The dream-like Wakanoura adds elements of surf and Hawaiian music to the mix with Taaki’s slide guitar evoking beach-side tropical sunsets, while a blues-like melancholia adds another element to a bittersweet track that refuses to be pigeonholed. Another artist whose music was shaped by travels to the subcontinent was maverick musician Altz, whose exposure to Goan psychedelia produced radically different results. Orympia Rocks, with it’s melding of punk funk basslines, echoed disco beats and southern-rock indebted slide guitar is a brilliant example of his trademark groove-heavy twisted disco sound.

                                                                                                                            Keiichi Tanaka’s story is one of the great ‘what-ifs’ of modern Japanese music. Schooled as a master-percussionist in Africa, he followed up a stint leading the renowned Japanese afrobeat band KINGDOM AFROCKS with a hugely ambitious first solo album before his life was cut tragically short after a fatal car accident. Pairing musicians from myriad musical backgrounds he created a radical new series of sounds. Written after watching news footage of the bombing in Syria alongside fellow musician OKI, City Of Aleppo captures a wonderfully natural melding of African and Asian styles, with Tanaka’s African-inspired rhythms combining beautifully with OKI’s tonkori - a stringed instrument belonging to the indigenous Ainu people of northern Japan. Taken from the same album, the final track on this compilation presents OKI’s City Of Dub remix of the track, with echoed sound effects adding another pinch of spice to this melting pot of styles.

                                                                                                                            Offering both a window into the country’s verdant underground music scene and a taste of a rarely profiled strain of tropical music, it’s a compilation that offers further evidence of Japan’s tradition of musical craftsmanship and musical innovation.

                                                                                                                            Laura Marling

                                                                                                                            Song For Our Daughter

                                                                                                                              Laura Marling’s exquisite seventh album 'Song For Our Daughter' arrives almost without preamble or warning in the midst of uncharted global chaos, and yet instantly and tenderly offers a sense of purpose, clarity and calm. As a balm for the soul, this full-blooded new collection could be posited as Laura’s richest to date, but in truth it’s another incredibly fine record by a British artist who rarely strays from delivering incredibly fine records.

                                                                                                                              Taking much of the production reins herself, alongside long-time collaborators Ethan Johns and Dom Monks, Laura has layered up lush string arrangements and a broad sense of scale to these songs without losing any of the intimacy or reverence we’ve come to anticipate and almost take for granted from her throughout the past decade.

                                                                                                                              STAFF COMMENTS

                                                                                                                              Barry says: Laura Marling returns once again for more of her unmistakeable plucked guitars and brittle, Americana-tinged folk progressions and tender, effecting vocal. Song For Our Daughter is as much a progression as it is a comforting hark back to the songwriting of the early years. Beautifully orchestrated and an enchanting journey throughout.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Coloured LP Info: Indies exclusive marble vinyl.

                                                                                                                              LP Info: Single LP, black 140g vinyl, gatefold packaging.

                                                                                                                              CD Info: Digipak CD with booklet.

                                                                                                                              The Beths

                                                                                                                              Jump Rope Gazers

                                                                                                                                Everything changed for The Beths when they released their above mentioned debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

                                                                                                                                Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

                                                                                                                                "If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

                                                                                                                                With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

                                                                                                                                “It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.


                                                                                                                                STAFF COMMENTS

                                                                                                                                Barry says: I've always liked a bit of The Beths to be honest, having heard them innocently enough in the shop some time ago, and their latest outing is even more evidence as to why. Brilliantly melodic swathes of guitar and perfectly produced percussion form a superb backdrop to the undeniably poppy-punk drive of Stokes' voice.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Coloured LP Info: First pressing on tangerine coloured vinyl.
                                                                                                                                Single sleeve jacket, inner sleeve with lyrics w/ download.

                                                                                                                                CD Info: 4 panel digipak with clear tray, 16-pg booklet with lyrics and liner notes.

                                                                                                                                Margo Price

                                                                                                                                That's How Rumors Get Started

                                                                                                                                  "Everybody wants to know / how I feel and what I think," Margo Price sings in her emotive, bittersweet twang, halfway through her third full-length record. On That's How Rumors Get Started, Price has committed her genre-bending rock-and-roll show to record for the first time, stretching out into sky-high soft-rock, burning psychedelic rock ballads, stomping road songs, and sprinkles of pop.

                                                                                                                                  Twinkle Twinkle:
                                                                                                                                  'Twinkle Twinkle' is an anti-nostalgia anthem of sorts, about the polarization of becoming a more well-known artist, and the wild ride that was Margo Price's last few years. It traces her trajectory: she gets by, gets high, racks up debt, can’t pay the rent, plays dives to stay alive. "If it don’t break you, it might just make you rich," she sings, with heroic sass.

                                                                                                                                  In fact, the song was inspired by a back-stage encounter with Marty Stuart and the Superlatives at a music festival that was otherwise pretty bleak. (Price has played with Superlatives guitarist Kenny Vaughan over the years.) After the show, in Stuart’s trailer, while he tuned his guitars, he said to Price, “So, you and the band have been on the road a lot lately, do you all hate each other yet?” As Price recalls it: “I said, ‘No, well, I mean, our marriages are falling apart and our health’s deteriorating. But other than that, we’re great.’ And he looks at me, and he gets this gleam in his eye, and he says, ‘You wanted to be a star.. Twinkle twinkle.’”


                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Barry says: One of the most pivotal figures in the new country renaissance, Margo Price impressed us all with her 2016 LP 'Midwest Farmer's Daughter' and this new outing is only going to expand upon that reputation. Modern country songs, imbued with modern techniques but never forgetting the sense of historic legacy inherent in the genre. Superb.

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  Indies Exclusive LP Info: Indies exclusive includes "Twinkle Twinkle" 7".

                                                                                                                                  The Streets

                                                                                                                                  None Of Us Are Getting Out Of This Life Alive

                                                                                                                                    TONGA, the balloon filled rap, grime and dubstep party by Mike Skinner and Murkage Dave, had been a series of shoobs to remember. Copenhagen to Manchester to Berlin. Brum to Brixton. Usually arriving with a coterie of legendary UK figureheads and gobby upcomers in tow, like Kano, Giggs, Jammer or Jaykae, the pulsating essence of the nights needed to be immortalised. The original plan had been to release a TONGA album. But as night moved to day, and day moved along to night, it… just didn’t happen. Instead, a new mixtape titled None Of Us Are Getting Out Of This Life Alive steps up to take its place. Recorded between work on his film and accompanying solo The Streets album, it is the unpredictable sonic continuation of those parties. Taking in UK Funky and twilight zone UK rap, and with guest spots ranging from Grammy nominated psychedelia sovereign Tame Impala to cult south London rapper Jesse James, as well as 2019’s key-fiend-friendly drum’n’bass collab with Chris Lorenzo, None Of Us Are Getting Out Of This Life Alive is the most eclectic and highly collaborative collection of songs from The Streets yet. Or as Mike puts it with characteristic distinction: “it’s really just a rap duets album.”

                                                                                                                                    Every track has one if not two guests, who, though underpinned by Mike’s distinctive lyrical flair, usually perform atop a genre or sound not previously explored within the realm of The Streets. “You know that thing where if you wore it the first time round, don’t wear it the second time round? I would never put on Aquascutum at this point in my life. It would be stupid, a pastiche of what I did twenty years ago. For all of us. Whereas now I’m going back and I’m picking things that I didn’t pick before.” The inclusion of, say, Mercury Prize nominated punk group IDLES (who perform what Mike describes as a sea-shanty tinged track inspired by an overnight ferry to Dover) and teenage wünderkind Jimothy Lacoste help ground things firmly in the here and now.

                                                                                                                                    But there are familiar faces of the past too. Birmingham legend, Dapz On The Map, pops up on merky rap track “Phone Is Always In My Hand”. While Rob Harvey, previously of The Music and Skinner collaboration The D.O.T, tunes into pensieve penultimate track “Conspiracy Theory Freestyle”. “The guests had to be into me, as much as I was into them,” jokes Mike, of the featured artist selection process. Really, though seemingly disparate on paper, the acts on the record are connected by their singular talent for “talking about normal stuff.” “All the different things I’ve tried to do, they’re who is doing that now.” “But instead of talking about abstract emotions on this record, I’m talking about things and objects and details.” Couched in those UK and Euro wide experiences with TONGA, this results in tales of hardly partying, but partying hard. The path to excess.

                                                                                                                                    The morning trying to climb in under the curtains as you’re busy putting the world to rights. Like anything that happens between the nightclub and the bus home, there’s as much connection as disconnection in this world; as many new relationships forged as there are trails left behind from the ghosts of previous companionships past. Communication, or lack thereof, plays a huge part in this present-day experience. “One thing I’ve ended up doing is talking about being on my phone,” says Mike. “It was very easy on my first album to say, well: where am I? I’m in a pub. I’m at home. I’m in a betting shop. I’m getting a kebab. It felt fairly straightforward and no one had really written about it. Whereas when making this record, everything now basically happens on your phone.” These dual themes of nightclub and connection land the record in the simple yet eternally complicated prism of human interaction. “You’re ignoring me but you’re watching my stories”, on “Phone Is Always In My Hand”, is a black comedy mantra of our times. Same goes for “every girl has a dude in her inbox talking to himself” on the Oscar #WorldPeace featuring “The Poison I Take Hoping You Will Suffer”. References abound to missed calls (on opening track “Waiting For It To Stop”, Kevin Parker sings, trance like, about neglecting to call someone back) and “five minute” journeys (the kind where you lie about leaving the house).

                                                                                                                                    Despite its humble mixtape beginnings,  None Of Us Are Getting Out Of This Life Alive is a precise and very human body of work from a modern UK music pioneer. Emotionally poignant, full of one liners, club ready. More than anything, it’s exciting – a call back to those fun and responsibility free evenings at TONGA. Yet “the result is much more than I thought it would be. It’s become a real album,” says Mike. And so, as the new decade begins, so too does a new era for The Streets...

                                                                                                                                    STAFF COMMENTS

                                                                                                                                    Barry says: It's been a few years since the last Streets album proper, but even though 'None Of Us...' is technically a 'Mixtape' (I still don't particularly understand that when it's neither mixed, nor on a tape), it has all of the cohesive drive and thematic intensity you'd expect from a fully formed and sequenced LP. Not to mention the host of superb guests sprinkling the credits, or the superb songwriting and groove we've come to expect from Skinner. A triumph.

                                                                                                                                    DMA's

                                                                                                                                    The Glow

                                                                                                                                      On their first two albums Aussie band DMA’s wore their love for early 90s Brit pop well and truly on their sleeve. Although they’ve dabbled with synths before, on their third album they’ve taken their love of rave to edge themselves nearer the dancefloor. They manage to combine rock’n’roll energy with a euphoric groove that nods to Primal Scream and the Chemical Brothers.

                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Barry says: Following on from last years' riotously received 'MTV Unplugged' the DMA's return with their newest LP of driven rock, catchy hooks and jangling arm-waving indie anthems. Lovely stuff.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      Coloured LP Info: RSD stores exclusive tri-coloured vinyl.

                                                                                                                                      The Vacant Lots

                                                                                                                                      Interzone

                                                                                                                                        'Interzone' is the third full-length album by New York’s electro post-punk duo The Vacant Lots, to be released via Fuzz Club. A genre-blending synthesis of dance and psych, 'Interzone' is made for secluded listeners and all-night partygoers, meant for headphones and the club. Uninhibited by the limitations of two people and continuing their mission of “minimal means maximum effect,” The Vacant Lots’ Jared Artaud and Brian MacFadyen create an industrial amalgam of icy electronics and cold beats with detached vocals and hard hitting guitars.

                                                                                                                                        'Interzone's trance-like opener ‘Endless Rain’ and the kinetic Krautrock stomper ‘Into The Depths’ are followed by scintillating dark disco anthems 'Rescue' and 'Exit’. Side 2 kicks off with 80’s synth-pop track ‘Fracture’ and haunting after-hours minimal wave ‘Payoff,’ while ‘Station’ and album closer 'Party's Over' deal with disillusionment and conquering one’s indifference to make real change. The album creates order from chaos and delves into escapism, isolation, relationship conflicts, and decay. With nods to William S. Burroughs and Joy Division’s song of the same name, “Interzone is like existing between two zones,” Jared says. “Interzone doesn't mean one thing. It can mean different things to different people depending on their interpretation. Working on this album was a constant struggle reconciling internal conflicts with all that’s going on externally in the world. Interzone, in one word, is duality."

                                                                                                                                        On Interzone, the band produced the 8 songs, 30 minutes record and teamed up with long term collaborators Ivan Liechti who designed the album artwork, and Ted Young who engineered the record. Maurizio Baggio mixed the record and contributed additional production and it was mastered by Gianni Peri. The Vacant Lots have released singles with Mexican Summer and Reverberation Appreciation Society, collaborated on their debut album 'Departure' with Spacemen 3’s Sonic Boom, their second album 'Endless Night' with Alan Vega, and most recently on their two EPs, 'Berlin' and 'Exit', with Brian Jonestown Massacre’s Anton Newcombe at his studio in Berlin. The group has toured with Black Rebel Motorcycle Club, Suicide, Brian Jonestown Massacre, The Growlers, Dean Wareham, The Dandy Warhols, and Spectrum. 

                                                                                                                                        STAFF COMMENTS

                                                                                                                                        Barry says: Sounding like an amped-up Dandy Warhols, the Vacant Lots have always perfectly toed the line between distorted, power-chord rock and hypnotic psychedelic electronica, and 'Interzone' is the indication that they've hit their creative zenith. Rich, deep and hypnotic without ever being self-indulgent.

                                                                                                                                        Pure X

                                                                                                                                        Pure X

                                                                                                                                          Pure X is the last band, has always been the last band. Not that there won’t be future acts, more that Pure X understands that all this pageantry, this civilization is wrapping up.

                                                                                                                                          It burned hot and bright like thermite used to bust a safe open, but now is the age of radiating waves, each one buckles the foundation more than the last. Recorded live in single takes in the Texas hill country by Danny Reisch (Shearwater), this is their clearest, most focused work to date. The rhythm section is locked in--a night train through the desert. There is more singing, the weary wisdom of the lyrics ringing like Tibetan bowls. In 38 minutes, Pure X weave a culmination, all the delays and distortion, the grinding mortar of touring, the low-tide pulling them out from a cult band, to a legacy band, it’s here, understood and forgiven.

                                                                                                                                          The album’s cover (designed by long time collaborator Christopher Royal King) depicts a coffin necklace set against a wide open blue sky. It’s as if we carry our mortality like a pendant on a chain. Learning to own up and accept ourselves through self reflection. It would be understandable to express such forbidden fatalism in a brittle, harsh nihilism, the stark echo of a stone rattling down an endless well. But on this album, their fourth and first in six years, there is a predawn kindness. It may be funereal, but it is a Viking pyre ablaze in the middle of a river, one of those moments when the water seems to pause and reflect the clouds blooming like smoke from an invisible glass pipe.

                                                                                                                                          STAFF COMMENTS

                                                                                                                                          Barry says: Searing walls of guitar swooning around the heartfelt vocals and slo-mo percussive stomp, Pure X is a cacophony of noise, but shifting quickly enough to form chords above the tuned dirge and heady vocal soar. Melodic shoegazing for the hypnotised.

                                                                                                                                          FORMAT INFORMATION

                                                                                                                                          Coloured LP Info: Indies exclusive coloured vinyl.

                                                                                                                                          NZCA LINES

                                                                                                                                          Pure Luxury

                                                                                                                                            NZCA LINES, aka producer and multi-instrumentalist, Michael Lovett, releases his new album Pure Luxury via Memphis Industries. His first album since 2016’s Infinite Summer, it’s funk filled and frenetic, fizzing with electricity and teeming with invention.

                                                                                                                                            Written and produced almost entirely by Lovett, yet featuring a wide range of collaborators, Pure Luxury revels in both the insular – the sound of one man processing anxiety-inducing world events - and the communal. It is a record of diverse styles, voices and textures, expanding the musical universe of Lovett’s previous albums whilst cementing his own playful voice with an inescapable sense of joy and excitement.

                                                                                                                                            Tired of the now over-familiar sound of Big Analog Synths and words like glacial, austere, and wistful, he set out with one clear intention: to be Extra. Extra is the governing musical direction on Pure Luxury, accepting that we live in a world of dwindling attention spans whilst acknowledging that traditional notions of accessible musical form are fast becoming irrelevant in a world of online streaming. Simply put, Lovett says, “I didn’t see the point in pulling punches and restraining myself. We are able to access a near-infinite stream of music that we might like based on what we already listen to; it’s an inspirational cul-de-sac. I couldn’t afford to feel like I was making something that sounded boring”.

                                                                                                                                            The notion of being Extra is perhaps best encapsulated by the frenetic title track. Written in New York during a freak February heatwave, Pure Luxury is a response to the notions of luxury, status, and the insanity of pursuing material wealth in the face of environmental catastrophe. Lovett takes us on a technicolour joyride dripping with sarcasm, a hyped-up version of 21st century excess where gold trim hides rotten plywood facades, muscle cars are bought with credit cards and barbed wire fences separate luxury resorts from the slums beyond their walls.

                                                                                                                                            Indeed, perhaps that’s what we need most when the world seems to be falling apart. Tomorrow might be scaring the hell out of us, but, as Lovett reminds us on the album’s closing track, “Tonight is all that really matters, as long as we keep dancing”.


                                                                                                                                            STAFF COMMENTS

                                                                                                                                            Barry says: NZCA Lines is the music from the scene in the movie where everyone takes loads of drugs and goes crazy, throwing up and fighting and jumping off ill-advised floors into barely-there swimming pools. It's green cocktails spilling onto a flashing dancefloor and bass drums paling in comparison to glittering arps and sidechained throbs.

                                                                                                                                            FORMAT INFORMATION

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

                                                                                                                                            Coloured LP includes MP3 Download Code.

                                                                                                                                            Julianna Barwick

                                                                                                                                            Healing Is A Miracle

                                                                                                                                              Four years on from the release of her last, critically acclaimed LP, Julianna Barwick returns with “Healing Is A Miracle”.

                                                                                                                                              A distinctive meditation on sound, reverb and the voice, “Healing Is A Miracle” is a record built on improvisation and a close affinity to a couple of trusted items of gear, from which she spins engrossing, expansive universes. Additionally, Barwick draws on the input of three collaborators with whom she has nurtured deep friendships with over the years: Jónsi (Sigur Rós), Nosaj Thing and Mary Lattimore; who each gently nudge out at the edges of her organically-evolved sound.

                                                                                                                                              Recorded in the wake of a seismic shift in her life following a move from New York—where she had lived for 16 years—to Los Angeles where she is now based, the title of the record came to her after thinking about how the human body heals itself, of the miraculous processes we pay little attention to: “You cut your hand, it looks pretty bad, and two weeks later it looks like it never happened… That’s kind of amazing, you know?” It’s a sentiment that feels particularly apt for the moment. From there, she conceived of the record’s simple statement title, ran it past a couple of friends, and it was settled. Like with the record itself, and all of her work, it’s about following her gut, and seeing where it takes her.

                                                                                                                                              “Healing Is A Miracle” began life in spring of last year, when Barwick sat down with her vocal looping set-up and began sketching out some ideas for new solo material. “It had been so long since I had done that,” she recalls, “making something for myself, just for the love of it… it was emotional, because I was recording music that was just from the heart, that wasn't for an 'assignment' or project… it brought me to tears a little”.

                                                                                                                                              Part of the joy also came from a small but significant switch up to her recording process: the addition of some studio monitors—a birthday gift from Jónsi and Alex (Somers)—having previously recorded all of her music on headphones. “The first song I remember making with those was the first song on the album, Inspirit.” she explains, “When I added the bass I really felt it in my body, you know, in a way you just wouldn’t with headphones… it was kind of euphoric and fun. I got really excited about making the record in that moment, and I think that really had an impact on the sounds I ended up making.”

                                                                                                                                              Excitement too came from the chance to work with three dream collaborators. Her connection to Jónsi began via producer Alex Somers, when Barwick flew to Reykjavík to record some sessions with him for her 2013 record “Nepenthe”, a trip which would begin a long-standing affinity with Iceland and the people she connected with there. “I think he has the best voice in the world,” she says, “and hearing my voice with Jonsi's is one of the joys of my life.” Nosaj Thing—the highly respected electronic producer and stalwart of the LA scene who has worked with the likes of Kendric Lamar—had gotten in touch to express his affection for her 2011 album “The Magic Place”, and they’d since been trying to find a way to work together. Barwick and Lattimore had struck up a friendship over many years performing live together, and had moved to LA around the same time. Finding herself in the same city as all three for the first time, it felt natural to include them in her process, and added to the feeling of newness, support and friendship she had while producing the record.

                                                                                                                                              Beyond her records, Barwick’s impressive live shows have gained incredible praise over the years from the likes of The Guardian—who described her performance as “exquisite in its eloquence, reflection and compassion” in their 5* review—The New York Times, NPR, and more. She has also supported and performed with an amazing array of artists including Bon Iver, Grouper, Explosions in the Sky, Sigur Rós, Sharon Van Etten, Angel Olsen, Perfume Genius, Mas Ysa, and Nat Baldwin.

                                                                                                                                              Barwick has additionally been involved in some head-turning collaborations over the years. In 2015 she took part in The Flaming Lips’s Carnegie Hall show, performing music from their reimagining of “Sergeant Pepper's Lonely Hearts Club Band”, alongside Phillip Glass, Debbie Harry, Laurie Anderson and Pattie Smith. That same year she was invited to play two shows with Yoko Ono, one at MoMA (“my favorite thing ever”) and one in Central Park. In 2012 she released a collaborative album with Helado Negro as OMBRE, and has also released a collaborative single with Rafael Anton Isarri, on the super-limited Thesis label, and most recently, the “Command Synthesis” EP, on RVNG Intl. sub-label Commend There, which employed AI to build five tracks that responded to the airborne environment outside a hotel room. In 2019 she teamed up with Doug Aitken on his nomadic art project, and created stunning performances in the Massachusett wilderness.

                                                                                                                                              STAFF COMMENTS

                                                                                                                                              Barry says: 'Healing Is A Miracle' is an absolute triumph of majestic instrumentation, perfectly balanced atmospherics and tasteful collaboration. 'In Light' with Jónsi couldn't have been a more perfect fit, with both of their voices coalescing into one grand, sonic gesture. Stunner.

                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              Ltd LP Info: Limited edition first run includes a 12"x12" signed artboard print.

                                                                                                                                              Lightning Orchestra

                                                                                                                                              Source And Deliver

                                                                                                                                                Lightning Orchestra is the creative conduit for multi-instrumentalist Travis Murphy, bolstered by a rotating, elastically-numbered backing band of like-minded souls inspired by legends from Jimi Hendrix to Fela Kuti. The outfit’s debut album Source and Deliver is released on neon yellow vinyl, containing the monstrous ‘White Tiger’. 

                                                                                                                                                Mr Ben And The Bens

                                                                                                                                                Life Drawing

                                                                                                                                                  After the celestial adventures of Mr Ben and the Bens’ previous issue, band-leader Ben Hall finds all the magic he needs on earth with his new album, Life Drawing. On 2019’s Who Knows Jenny Jones?, Hall plotted the story of a young, shy Pitsmoor woman who returned from an alien encounter newly armed with serious disco-dancing know-how. Life Drawing, meanwhile, looks closer to home for its inspiration – Sheffield and thereabouts – for twelve brightly plaintive, character-driven vignettes, set to warm, acoustic, indie-folk-pop backdrops after its predecessor’s close encounters of the synth-driven kind.

                                                                                                                                                  A “cloudy thread of narrative” is present, Hall explains, but this time it’s left open for listeners to map routes through it. “The idea with the title is that the songs are character sketches, and their stories coalesce in a place that has a bit of all the towns in the North of England I’ve lived in. Bits of myself in the stories came out unintentionally, so I’d like it if the listener could find those semi-truths from the songs and place them into their own experiences.”


                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                  Barry says: Mr Ben moves himself and all of his Bens to Bella Union! It's a fitting home really, as they are well heeled with this sort of jangling, melodic optimism and off-kilter classic psychedelia. It's lovely stuff, and a superb whimsical counterfoil to the drags of day-to-day life.

                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                  Coloured LP Info: White vinyl.

                                                                                                                                                  Coloured LP includes MP3 Download Code.

                                                                                                                                                  The Wolfhounds

                                                                                                                                                  Electric Music

                                                                                                                                                    Having now been recording and gigging for longer than their original 1980s incarnation, The Wolfhounds continue to hone the blade of their sound to outclass their whippersnapper competitors on Electric Music.

                                                                                                                                                    From the desperate narrator of the opening anthem ‘Can’t See The Light’, unable to see an end to his descent into darkness to the sad urban reminiscences of the rural immigrant in ‘Song Of The Afghan Shopkeeper’ and the unwilling draftee in ‘Pointless Killing’, to the powerlessness of people tossed around on the waves of history and progress in ‘Like Driftwood’ – Wolfhounds ask where our emotional and actual lives are heading, as the world seemingly freefalls into barbarism. With the dreaded feeling that ‘Lightning’s Going To Strike Again’, we lack even the appealing soundtrack to the catastrophe of the past described in ‘… and Electric Music’, and the band ask will ‘The Roaches’ once more rule the world (if they ever stopped)? Is the solution to ‘Stand Apart’ from the chaotic crowd or admit, cynically, that ‘We Don’t Believe Anything’ and roll with the movements of the masses?

                                                                                                                                                    Featuring the glowing sleeve notes of comedian Stewart Lee, and a new expanded line-up including electric violin and bassoon (from Scritti Politti’s Rhodri Marsden), and peppered with the barbed lyrics and stinging guitar of David Lance Callahan and the home-made hybrid stringed instruments of guitarist Andy Golding, Wolfhounds have never sounded more alive, energetic and contemporary.


                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                    Barry says: Part post-punk, part rock and with a healthy dose of electronic influence chucked in there too, the Wolfhounds soar effortlessly between swooning, instrumental soundscapes and driven fist-pumping groove. Top stuff.

                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                    Coloured LP Info: Limited yellow splatter vinyl in gatefold sleeve.

                                                                                                                                                    Surprise Chef

                                                                                                                                                    All News Is Good News

                                                                                                                                                      There is something simultaneously both brand-new and retro about ‘All News Is Good News’ - the debut album from Melbourne’s instrumental soul group Surprise Chef.

                                                                                                                                                      It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity. There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of ‘All News Is Good News’ was released on the band’s own ‘College Of Knowledge’ imprint in November 2019.

                                                                                                                                                      It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process. We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo.

                                                                                                                                                      The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way”.

                                                                                                                                                      The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone’s fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      Barry says: Wow! Surprise chef have all the groove you'd expect from good old 1960's soul, mixed with the sort of plunderphonic hiss of modern soundtracks and sleazy lounge. An intoxicating mix indeed.

                                                                                                                                                      Polypores

                                                                                                                                                      Azure

                                                                                                                                                        • British synthesist, Stephen James Buckley returns to Castle in Space for the release of a brand new Polypores record.
                                                                                                                                                        • Azure is a beautiful new age symphony of blissed out water music.
                                                                                                                                                        • It’s his first full length LP since the release of last year’s “Flora”, which is also reissued in a stunning new two coloured ”earthtones” edition.
                                                                                                                                                        • Flora was included in several end of year best of charts last year including Electronic Sound and Norman Records best of 2019.

                                                                                                                                                        Stephen explains the genesis of Azure:
                                                                                                                                                        “As with a lot of my music at the moment, the original inspiration from Azure started out with the music itself, rather than an initial concept. That is, it came through playing. I noticed that a lot of what I was writing seemed to lend itself to water imagery. It was flowing, fluid, bubbling. The album was written late 2019, when it seemed to be perpetually raining, so that might have been a factor.

                                                                                                                                                        I was also listening to a lot of new-age music at the time. Whilst I didn’t purposely set out to do a "new-age" album as such, I think a lot of that crept in there - but with it's own Polypores-esque twist. Rather than working in a specific genre, I much prefer to take elements and signifiers from a genre, and warp them into my own vision.

                                                                                                                                                        Once I'd decided to go down this route the writing became more focussed, and I was also able to immerse myself in various books, films, and documentaries related to the ocean, particularly the mythology and lore surrounding it. I imagined this to be the music that the sunken stone heads from Easter Island would have on their record players. A relaxation tape for dolphins.

                                                                                                                                                        The album was created with a modular synthesizer, which was still fairly new to me at the time. As with most of my music, it was a fairly quick process, as I tend to record live rather than overdubbing/multi-tracking. I find this way of writing more immediate, it gives me a more direct link to my creativity, without too much thought or analysis getting in the way. I used a lot of New-Age type sounds, and one of the tracks uses a Gamelan scale. I made heavy use of granular synthesis on the human voice, to create the choir sounds.
                                                                                                                                                        I think I did subconsciously want to create something similar to Flora. Not sonically (as it's a very different sound palette) but more the idea of it being an exaggerated, almost fantastical response to an environment. So whilst Flora takes place in the forest, Azure takes place in the ocean, but both focus on the fantasy elements, as opposed to the mundane or harsh reality. I wasn't going to do an album about overfishing or something. It's a form of escapism I suppose.

                                                                                                                                                        Some interesting facts about the album are:
                                                                                                                                                        - One of the tracks has a short sample from the soundtrack to a well known 1990s point-and-click adventure game, set deep in the Caribbean,
                                                                                                                                                        - I was listening to Rime Of The Ancient Mariner by Iron Maiden a lot around the time of writing.”
                                                                                                                                                        Castles in Space presents ”Azure” in a deluxe azure blue vinyl pressing in a full gloss varnished sleeve and foldback tabs. The LP includes a beautiful art print designed by the sleeve designer, Nick Taylor. French comic book legend Moebius was an inspiration for Nick along with taking direction from the luxurious flow of the music.

                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                        Barry says: Another beautiful suite of aquatic bubbling synthesis from Stephen Buckley here, trading out the desktop synths for the endless patchable joy of the eurorack. Brittle arpeggios, swooning heavenly echoes and life-affirming ambience.

                                                                                                                                                        Paint

                                                                                                                                                        Spiritual Vegas

                                                                                                                                                          Having first made his mark as a songwriter and guitarist for Los Angeles’ Allah-Las, Pedrum Siadatian has etched out a place of his own with his solo work as PAINT. What started as modest 4-track experiments quickly took on a life of their own as Pedrum began distilling his musical and lyrical inspirations into something both timeless and new. His miniature menagerie of light-psych and proto-punk gems had outgrown their cassette cage and were now ready to be heard.

                                                                                                                                                          PAINT’s eponymous debut (Mexican Summer, 2018) appeared out of the ether, fully formed. It was praised for its originality and drew favorable comparisons to the likes of Kevin Ayers, Lou Reed and Julian Cope. The mess was the message and the decidedly mid-fi production found Siadatian both honoring and eschewing tradition. The album was accompanied by videos for the singles “Daily Gazette” and “Moldy Man,” both directed by Sam Kristofski (Connan Mockasin, Pond), with select performances in North America, UK, and Europe.

                                                                                                                                                          This year sees PAINT returning with the release of the ambitious Spiritual Vegas. While Ray Davies-smirks and Kevin Ayers-wit abound, Siadatian’s singular touch is unmistakable. Joined once again by producer / engineer Frank Maston at the helm, Spiritual Vegas features a rogue’s gallery of players with performances by Jackson Macintosh (TOPS, Sheer Agony) on bass and guitar, Nick Murray (White Fence, Oh Sees) on drums, and brothers-in-Las Spencer Dunham and Matt Correia on bass and percussion respectively.

                                                                                                                                                          The production is a clear departure from PAINT’s debut- with an increased clarity and tonal variety, drawing inspiration from 80’s/90’s art-rock like The Meat Puppets and The Magnetic Fields.

                                                                                                                                                          “Ta Fardah” (Til Tomorrow) is an early standout. Sung in Farsi, a nod to Siadatian’s Iranian heritage, it’s a crate digger’s dream — channeling 70’s Persian funk melodrama that might have been a nightclub dancefloor hit in pre-revolution Tehran. On “Landman” we hear Siadatian protest all things aquatic, despite social pressures to the contrary. He sings “I’m no Toucan Sam-man, in some guitar jam band” on this Kinks-y ode to land-locked life, complete with “bah bah bah” harmonies and a tropical marimba line.

                                                                                                                                                          The record closes with the minimalist jazz of “Impressions.” It centers on a moody keyboard figure as lazy jazz guitar, sax, and flute solos weave in and out. Both melancholy and triumphant, “Impressions” is a fitting end to an album that explores both feelings and posits they might actually be the same.

                                                                                                                                                          The title Spiritual Vegas was inspired by a visit to Bali, Indonesia, where Siadatian was struck by the juxtaposition of tourists seeking either Instagram enlightenment or Vegas-like debauchery. Is there really a difference? Awakening comes in many forms and as Siadatian intones on opener “Strange World,” “the moment you find laughter’s the key/ the sooner you’ll be free” — a fortune cookie philosophy for both the record and the world at large.

                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Barry says: Paint are an entrancing proposition, a mid-heavy juxtaposition of psychedelic jangling and hypnotic repetitive art-rock. Brilliantly absorbing, and comfortingly odd.

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          LP includes MP3 Download Code.

                                                                                                                                                          The Jayhawks

                                                                                                                                                          XOXO

                                                                                                                                                            Attempts to pigeonhole The Jayhawks have long been fruitless, as any longtime fan or fellow musician knows. The band habitually transcends any label - Americana, Roots Rock, or Alt-Country: you name it - with great songs, musical adventure and sheer derring-do.

                                                                                                                                                            'XOXO' is the latest addition to the band's varied catalog. While still very much a true Jayhawks record, this newest offering finds other band members exercising their songwriting prowess and sharing in on vocal duties alongside Gary Louris.

                                                                                                                                                            Asher Gamedze

                                                                                                                                                            Dialectic Soul

                                                                                                                                                              On The Corner Records is delighted to announce the release of Dialectic Soul, the debut album from one of Cape Town's most cuttingedge, visionary artists and musicians, the drummer Asher Gamedze.

                                                                                                                                                              This is Jazz at its most spiritual, most progressive and most appealing form. As Asher himself says: Dialectic Soul is about motion and a refusal to remain static or stay still. It’s the commitment to be continually moving’.

                                                                                                                                                              Recorded live over two days at the Sound and Motion Studios in Cape Town with renowned musicians (Thembinkosi Mavimbela (bass), Buddy Wells (tenor sax), Robin Fassie-Kock (trumpet) Nono Nkoane (voc)), Dialectic Soul is breathtaking in its musical vitality and expression of soul seeking truth. By incorporating the concept of the Total Art for this project, it fits perfectly within On The Corner's aesthetic of music, art and vision for creative innovation. Label art director Victoria Topping created the sleeve design working with Asher's drawings and concept.

                                                                                                                                                              Asher continues: "My composition "state of emergence" introduces the themes that constitute the album; free drums representing autonomous African motion, the saxophone reflecting deeply and honestly on colonialism, the teachings of Coltrane, Steve Biko, Makeba and Malcom X and positive manifestations of resistance."

                                                                                                                                                              "Fundamentally, it is about the reclamation of the historical imperative. It is about the dialect of the soul and the spirit while it moves through history. The soul is dialectic. Motion is imperative. We keep moving."

                                                                                                                                                              Woo

                                                                                                                                                              Arcturian Corridor

                                                                                                                                                                The premise for Quindi Records is simple – to represent music with a universality at its core. Without adhering to specific genre tropes, the releases are intended to have a meaning and purpose in all kinds of situations – a social soundtrack as much as a stimulating experience, feeding emotions and the psyche with a sentimental palette of sounds. Lovers’ music, loners’ music, music for friends and family alike.

                                                                                                                                                                Woo makes for a perfect choice to meet this loose concept head-on – the music of Clive and Mark Ives straddles disparate worlds and finds its own peculiar balance. On one hand it’s delicate synthesizer music with a minimalist bent, while on the other their joyous, twinkling harmonies have an immediacy that speaks to the soul. You can detect privacy in their craft – the brothers originally recorded their music in relative isolation in London in the 70s, 80s and early 90s. It’s only in recent years their sublime work has enjoyed a wider audience through an extensive run of reissues.

                                                                                                                                                                Arcturian Corridor presents a rare, previously unreleased piece of music from Woo – the expansive suite of the title track that unfurls across five parts. It’s an enchanting listen that shows a new breadth and depth to the duo – detailed drum programming and a broader palette of synth tones cascading in elegant unison. The name refers to Arcturus, the fourth brighteststar in the night sky. As Woo themselves explain, “The Arcturian Corridor is said to be a channel of light that brings.


                                                                                                                                                                Peter Broderick & Friends

                                                                                                                                                                Play More Arthur Russell

                                                                                                                                                                  This is a short live record made up of Arthur Russell covers which were not included on the first album of of Arthur covers. Recorded throughout various performances in the UK (and one track in Ireland) with a wonderful band of Scots.

                                                                                                                                                                  Big thanks to the crowd at The Blue Arrow (Glasgow) in early 2019 . . . it was the energy of these fine folks that inspired this record. The room was on fire while we performed 'Go Bang!' . . . such an explosively fun moment -- and luckily it as recorded -- I thought it deserved to go on a record!

                                                                                                                                                                  Peter Broderick

                                                                                                                                                                  One Hear Now

                                                                                                                                                                    This is one 35-minute piece in 11 parts, commissioned to accompany a series of murals by the brilliant Brian O'Doherty. The original art exhibition was called One Here Now: The Ogham Cycle, so I decided to call my piece ONE HEAR NOW.

                                                                                                                                                                    This music was composed in a very systematic way, by turning the murals into a score, assigning different notes to different colors, different instruments to different shapes, etc. It was written so that it could be performed solo with the help of a loop pedal, but for this recorded version there were no loops used. All parts were performed fully through. There's also no artificial reverb on this recording. A microphone was placed in the middle of the gallery with the paintings, and the instruments were recorded at varying distances from the mic, allowing the natural reverberation of the room to be captured.

                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                    Barry says: In what must be a record, the second of Peter Broderick's albums to hit the (virtual) shelves this week couldn't be any different. Violin and piano brought together to accompany a series of murals by Brian O'Doherty. Beautiful stark, sometimes hopeful modern classical.

                                                                                                                                                                    The Midnight

                                                                                                                                                                    Monsters

                                                                                                                                                                      ‘Monsters’ is the new album from US-based duo The Midnight.

                                                                                                                                                                      Having gone from online cult fascination to selling out London’s Roundhouse in 2019 the album finds the duo (lyricist, guitarist Tyler Lyle and instrumentalist and producer Tim McEwan) creating a sweeping sound that fuses Americana archetypes with an evocative electronic palette referencing synth-driven film scores, deep house, pop, and rock.

                                                                                                                                                                      ‘Monsters’ (released via Counter Records, home to Maribou State, Odesza, Chrome Sparks) sees a continuation of The Midnight’s immersive worldbuilding that has attracted a rabid fanbase.

                                                                                                                                                                      From the album artwork to the song titles, the record excavates teenage emotions through nostalgic touchstones — the early internet, VHS tapes, Playstations, movie posters — to recreate the thrilling and crushing experiences of those tumultuous years.

                                                                                                                                                                      Recommended if you like: Stranger Things OST, The 1975, M83, Kavinsky, Chromatics, Hot Chip, Gesaffelstein, Chvrches.

                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                      2xColoured LP Info: 140g limited purple swirl vinyl in a gloss varnished, gatefold sleeve with printed inners.
                                                                                                                                                                      Download code included.

                                                                                                                                                                      Mooring the 'Train Of Thought' at Hamburger Hafen, Latvia's R_R_ delivers aquatic ambience, buoyant electronics and tidal rhythms on the Growing Bin. Hold this shell(ac) to your ears and you’ll hear the sea…

                                                                                                                                                                      As we hasten towards the inevitable Waterworld of the next century, Latvian composer, sound artist and lecturer Reinis Semēvics charts our safe passage to dry land with his debut album 'Train Of Thought'. Inspired by the rhythmic movement of water and how its rippled reflections bend our perception, Reinis sculpts an immersive sound collage - a precise mixture of field recordings and self-made sounds which swell and swirl as we bathe in their beauty.

                                                                                                                                                                      Bookended by the Baltic's roar at the Bay of Rīga, 'Train Of Thought' drifts from the harbour to the open sea, conveying the restful calm and frenetic power of a body of water throughout. Misty pads and delicate piano conjure lapping waves and blue skies, bubbling sequences ripple up from the deep and cascading melodies fall around hypnotic rhythms, each distinct droplet offering a different feeling and mood. One moment flows into the next, nine rivers pouring into a single ocean of sonic bliss.

                                                                                                                                                                      The alias R_R_ is a tribute to his grandfather, the composer Ģederts Ramans, whose influence helped set Reinis' sonic journey in motion. We're very happy he's decided to stop off in the Growing Bin, and we're sure you will be too.

                                                                                                                                                                      Sergeant Buzfuz

                                                                                                                                                                      Fox Pop

                                                                                                                                                                        Since writing the last Sergeant Buzfuz album, 2015's "Balloons For Thin Linda", songwriter Joe Murphy has lost both parents, got married, been a victim of a smear campaign (as a whistleblowing union rep), co-founded charity QQF (a theatre company for adults with special needs) and relocated to his native Sheffield. Joe has also continued to co-run Blang, the DIT* label he started in 2005 (including working on the first album from ex-Fall members Brix & The Extricated) and has worked part-time in special needs schools in London and Sheffield to fund the recording of "Fox Pop".

                                                                                                                                                                        "Balloons For Thin Linda" received positive press but life events got in the way of much live promotion. The band recruited Joss Cope on bass, Stu Crane on slide guitar and Polly MacLean on backing vocals and released the "Humble Pie" EP in 2017. The debut album from the new line-up is finally here. It's the seventh Buzfuz album. It's got tunes bursting out all over the place, lyrics from the head, heart and fist and is rich in variety with two-minute pop songs, ballads, post-punk, freakbeat and strands of the band's Celtic DNA.

                                                                                                                                                                        Opening track ‘There’s Idiots, Then There’s Idiots With Money’ “is about me imagining I'm attending one of those Mansion House dinners where the Chancellor gets summoned to report to the City.” Says Joe. It’s a stomping working class anthem that quickly gets under the skin with intricately woven shuffling guitars and percussion that make way for a psychedelic flute solo. Second track ‘Theresa McKee’ is a refreshing lively blast of pop peppered with mandolin and acoustic guitar, showing off the band’s more folky roots with finesse. Other album highlights include ‘Who Art In Seven Hills’, a clever and humorous re-work of The Lord’s Prayer replacing names and places with those of Joe’s native Sheffield (a la Ian Dury's Bus Driver's Prayer). The interlude makes way for the jollity off-kilter harmonies of quirky ‘Rare & Racy’, a busker-esque jam about a second hand record/book shop in Sheffield which had to close when the Council, having to obey new Tory Government planning laws, approved the property owner's plans to turn the building into flats. ‘Fill In The Blanks’ and ‘Rear View Mirror’ are other great moments of raw and instantly familiar catchy classic punk on this album which celebrates real lives and real musicianship through the band’s own unique lens. The album, with its Squeeze & Kinks like anti-folk chant singalongs and storytelling is a perfectly crafted antidote to chart pop, Brexit and the current state of the world. It’s fun and meaningful and a constantly surprising delight from this band who are well sewn into the fabric of the UK music scene.

                                                                                                                                                                        Buzfuz have played three live 6 Music sessions for Marc Riley and Tom Robinson and had lots of radio support from Gideon Coe as well as press acclaim across the board including from the likes of NME who described them as ‘Universally Charming’. There will be full band shows and solo shows from Joe to come around the album release where you can rest assured Buzfuz will fill you up with ‘Fox Pop’. *DIT = do it thissen, when Yorkshire people do things themselves. Joe promotes his own gigs (Blang emerged from live nights he ran at London's now sadly defunct 12 Bar Club), runs his own label and started his own charity.

                                                                                                                                                                        Ice

                                                                                                                                                                        The Ice Age

                                                                                                                                                                          As Riding Easy Records’ highly successful Brown Acid series (now at 10 volumes and counting) proves, there is a massive amount of incredible heavy psych and proto-metal music that has been lost to the sands of time. Case in point, the astoundingly great 50- year-old album The Ice Age by Indianapolis quintet ICE was never even released upon its completion.

                                                                                                                                                                          In 1970, the band recorded 10 original songs at 8-Track Studios in Chicago, only to break up shortly thereafter. Two of the tracks were eventually released as a 45 in 1972, but confusingly under a different band name, Zukus! The A-side of that single was featured on Brown Acid: The Ninth Trip, which led RidingEasy Records to discover when licensing the track that an entire album had been languishing in obscurity all of this time. The 2-inch master tapes had been shelved and forgotten until recently when The Ice Age tracks were converted to digital and remixed, preserving the sounds of the original vocals & instruments. Finally, half a century later, this 10-song album of radioready rock will finally see light of day.

                                                                                                                                                                          The Ice Age is an exceptional archive of hard edged rock with serious pop hooks akin to something like Grand Funk Railroad meets The Guess Who and The Move. It rocks hard, but is also interlaced with glorious melodic hooks. Had fate been less fickle, this album would’ve long been a classic rock radio staple. Album opener “Gypsy” is a chiming Byrds-like rocker, with glistening 12-string guitar, organ and somewhat over-zealous vibra-slap. “Satisfy” and “3 O’Clock In The Morning” nicely pair up as the most pop friendly tunes, but with very clever melodies and structures sounding ahead of their time, the latter with an extended entrancing and droning refrain led by shimmering organ run through a Leslie speaker. “Running High” and “Catch You” were the two tracks released in ’72 under a different band name, which received considerable local radio airplay. And, for good reason: Their nice balance of wayward psychedelic pop and troglodyte thunder is exactly what makes The Ice Age so captivating. Album closer “Song of The East” shares the growling glissando and orchestral style that made Vanilla Fudge and The Moody Blues household names.

                                                                                                                                                                          In the late 1960’s five young men formed a rock & roll band on the west side of Indianapolis, Indiana. They chose the coolest name possible: ICE. The group consisted of vocalist/keyboardist Barry Crawford, lead vocalist/ bassist Jim Lee, drummer Mike Saligoe, lead guitarist John Schaffer and rhythm guitarist/vocalist Richard Strange. They was among the first bands to perform an all original set throughout the Midwest at high schools, colleges & concert venues. They opened for national acts like Three Dog Night, SRC, Kenny Rogers & the First Edition, The Nitty Gritty Dirt Band and others in arenas and theaters. The Ice Age is truly an incredible and unprecedented find, particularly when we’d all thought the glorious history of rock’n’roll had long ago been written and sealed as complete.

                                                                                                                                                                          Various Artists

                                                                                                                                                                          Love Saves The Day: A History Of American Dance Music Culture 1970-1979 Part 2

                                                                                                                                                                            For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world.

                                                                                                                                                                            Having conducted the first and set of major interviews with David Mancuso of the New York City Loft, Lawrence started to host Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In February 2004 he published the first of three published three pioneering histories that have excavated and championed the previously overlooked foundations of contemporary party culture: Love Saves the Day: A History of American Dance Music (1970-79), Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene (1973-92), and Life and Death on the New York Dance Floor (1980-83). Since 2018 Lawrence has hosted and DJed at the community audiophile party "All Our Friends. Paper Magazine describes him as the “reigning authority on the history of dance music in New York”.

                                                                                                                                                                            With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

                                                                                                                                                                            "I feel like 'Home' is a second part of the same book, that the start was in 'Esja', a musical prelude to a real plot. I feel Home is a story with an ending, so the next book can tell a totally different one. I am constantly looking for new ways of expression. I am curious where 'Home' will lead me and my music". — Hania Rani

                                                                                                                                                                            Hania Rani is a pianist, composer and musician who, was born in Gdansk and splits her life between Warsaw, where she makes her home, and Berlin where she studied and often works. Her debut album 'Esja', a beguiling collection of solo piano pieces on Gondwana Records was released to international acclaim on April 5th 2019 including nominations in 5 categories in the Polish music industries very own Grammys, the Fryderyki, and winning the Discovery of the Year 2019 in the Empik chain's Bestseller Awards and the prestigious Sanki award for the most interesting new face of Polish music chosen by Polish journalists. Rani also composed the music for her first full length movie "I Never Cry" directed by Piotr Domalewski and for the play "Nora" directed by Michał Zdunik. Her song "Eden" was used as a soundtrack of a short movie by Małgorzata Szumowska for Miu Miu's movie cycle "Women's Tales"

                                                                                                                                                                            If the compositions on Esja were born out of a fascination with the piano as an instrument, then her follow-up, the expansive, cinematic, 'Home', finds Rani expanding her palate: adding vocals and subtle electronics to her music as well as being joined on some tracks by bassist Ziemowit Klimek and drummer Wojtek Warmijak. The album reunites her with recording engineers, Piotr Wieczorek and Ignacy Gruszecki (Monochrom Studio) and the tracks were again mixed again by Gijs van Klooster in his studio in Amsterdam and by Piotr Wieczorek in Warsaw ( Ombelico and Come Back Home). Home was mastered by Zino Mikorey in Berlin (known for his work on albums by artists such as Nils Frahm and Olafur Arnalds).

                                                                                                                                                                            For Rani, 'Home', is very much a continuation of the work she started on 'Esja', "the completion of the sentence" as she puts it. The album offers a metaphorical journey: the story of places that become our home sometimes by chance, sometimes by choice. It is the story of leaving a place that is familiar and the journey that follows it. Home opens with the fragment of the short story "Loneliness" by Bruno Schulz, which can be seen as a parable of a journey that does not necessarily mean going beyond the physical door but can signify going beyond the symbolic limits of our knowledge and imagination.

                                                                                                                                                                            "One can be lost but can find home in his inner part - which can mean many things - soul, imagination, mind, intuition, passion. I strongly believe that when being in uncertain times and living an unstable life we can still reach peace with ourselves and be able to find 'home' anywhere' This is what I would like to express with my music - one can travel the whole world but not see anything. It is not where we are going but how much we are able to see and hear things happening around us". — Hania Rani

                                                                                                                                                                            Home is also about the inevitability of change. We never find places exactly how we left them. Time flies and life with it. Just like art and music. Once you started the trip, you will never be back really to the place where you started with. It is a sentiment that is at the heart of Home, not just its themes, but at the heart of Rani's music too. Following the success of Esja it would have been easy for her to stick to the same solo piano formula, but while Rani expresses her surprise and gratitude for the success of Esja, "I wasn't sure how this album - based on Piano and silence - will be received by the audience. The reception was a big surprise to me" it has also given her the confidence to express more of herself as an artist. On Home Rani steps into more of a producer's role, adding strings, bass and drums where needed, exploring the sounds of synths and electronica, but also creating textured layered songs made from acoustic samples, mostly from piano recordings. "I try to explore new genres and discover new artists, I don't want to be stuck in things that I know, I want to learn about things that are still new to me". But perhaps most notable is her singing, Rani has a fragile, beautiful voice, both pure and expressive. Long a feature of her live shows she uses it as another instrument, adding extra layers of melody and emotion to her already deeply expressive music.

                                                                                                                                                                            "I consider voice as another instrument. Maybe if I wasn't so often alone on the stage, I would take another instrument to play the melody that I have in my mind. But while I am alone, singing allows me to have more possibilities at the same time. The human voice has a real magic, nothing carries emotions as easily and powerfully as the voice, and I think being able to bring this atmosphere on stage opens up new possibilities of expression for me". — Hania Rani


                                                                                                                                                                            Home also features Rani's new band, bassist Ziemowit Klimek and drummer Wojtek Warmijak who appear on some of the albums stand out tracks, the beguiling single 'Leaving', the title track 'Home', atmospheric 'Tennen' and the beautiful 'I'll Never Find Your Soul'. After working and touring alone Rani begin to feel stuck with her own ideas and thoughts, and sounds. It was a prolific period for her compositionally, writing the music on Home, but also a film score and music for the theatre, but she felt that someone else's vision might bring new ideas to things that she already knew. Shortly before she was about to record Home she attended a concert of the young Polish jazz trio, Immortal Onion, in Gdańsk, her hometown. She liked what she heard and sked the double bassist and a drummer if they wanted to meet and something clicked. They spent most of the next week improvising and jamming on her music. This gave a whole new insight for some of the songs and brought new ideas for arrangements. And having enjoyed working together on the album Rani is looking forward to touring with the boys.

                                                                                                                                                                            "Touring with band is a totally different thing, way more challenging technically, but it also brings a new energy and new sound possibilities. I am very curious how we will manage to bring the album to life. I would like to keep the show balanced - mixing the new textures of Home with the atmosphere of minimalistic songs from Esja." — Hania Rani

                                                                                                                                                                            For Rani, this sense of exploring is a key part of her art. But it isn't only the music, Rani is keenly interested in art and architecture (as anyone who follows her exquisitely curated Instagram feed will know) and how her music works in the wider world.

                                                                                                                                                                            "I try to keep my eyes and ears wide open. What I want to master in my art is how to build the right atmosphere on stage, in recordings. To do this you need to be aware of many aspects - not only music, but also the full range of gestures, acoustics, visual aspect. I want to learn how to bring particular atmosphere and bring people to a specific space. I observe how music works in different contexts, how the feeling of sound changes in different acoustics, space, light conditions. The same thing happens with artwork that I share. I feel like everything of what I am bringing to the the world and sharing with others has an impact of reception my music. If we are an inseparable part of the ecosystem, then the music should be considered similarly." — Hania Rani

                                                                                                                                                                            The album's distinctive cover artwork was designed by the architect Łukasz Pałczyński, who combined his sketches with the stills from the music video for the song Leaving shot by her regular collaborators Mateusz Miszczyński and Jakub Stoszek in Greece and together with Rani's music and vision it is this sense of collaboration that gives Home it's power as Rani starts to give full expression to her own unique vision and perhaps the most exciting thing is that it is just another step on her journey, one that we are all lucky to be a part of!

                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                            2xColoured LP Info: Limited 500x only edition on Clear vinyl, printed in reverse board wide spine sleeve with printed insert

                                                                                                                                                                            2xLP Info: Double black vinyl, printed in reverse board wide spine sleeve with printed insert

                                                                                                                                                                            Greg Foat

                                                                                                                                                                            Symphonie Pacifique

                                                                                                                                                                              Foat has become a versatile mainstay in UK jazz through an acclaimed series of albums on Jazzman and Athens Of The North, moving from soul-jazz workouts to library music to cinematic, haunting compositions and pastoral acid folk. ‘Symphonie Pacifique’ goes expansive and widescreen, building a lush soundscape using choral textures, harp and tubular bells on the atmospheric ‘After The Storm’ alongside sensual groove-based tracks like the undulating ‘Anticipation’, the album title track and Groove Merchant-channelling ‘Nikinakinu’, all driven by Phil Achille on bass, Eric Young on congas and Moses Boyd’s crisp, flowing breakbeats. Other tracks include a moving tribute to KPM library legend Duncan Lamont on the reflective ‘Lament For Lamont’ and the languid, simmering ‘Island Life’.

                                                                                                                                                                              The album is a truly international collaboration, recorded analogue and produced by Greg Foat at London’s Fish Factory studios with strings recorded in Edinburgh and choir in Gothenburg. The album was mixed by Mattias Glava at Kungsten Studios in Gothenburg. Cover artwork is based on a painting by early 20th Century Algerian / Parisian artist Henry Valensi.

                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              2xLP includes MP3 Download Code.

                                                                                                                                                                              Dream Wife

                                                                                                                                                                              So When You Gonna....

                                                                                                                                                                                Dream Wife’s rise has been swift and steep from the start. Their self-titled debut album – an 11-track collection of heavy garage-punk riffs and dance party pop, out January 2018 – was released to widespread critical acclaim (five stars and a cover in the NME, positive coverage across BBC Radio 1, The Guardian, The Fader, Dazed, Nylon and more). They soundtracked shows like Orange is The New Black and Trinkets. Supported bands such as Garbage, The Kills and Sleigh Bells. Toured with Sunflower Bean across North America. And during all of this, took their explosive live show and pushed it out further, to an already eager, international audience.

                                                                                                                                                                                Now the band – vocalist Rakel, guitarist Alice, bassist Bella – are back with their second album, So When You Gonna… out July 3, 2020. Just like the title suggests, this is a record brimming with adrenaline and playful excitement (“It’s an invitation, a challenge, a call to action,” says Rakel). From the jagged, CSS-like guitar of “So When You Gonna…” to the hooky brightness of album opener “Sports!” and the whip-smart lyrical asides of “Validation”, these are moreish, pumped up, sparkling tracks that feel like newer, dynamic evolutions of debut standouts, like “F.U.U.” and “Hey Heartbreaker.”

                                                                                                                                                                                But they often lean into sweeter, softer, more emotional moments too. “With every loss how do you carry through / Know you’re brave to jump back into,” sings Rakel on “Temporary”, her voice floating over melodic, honey-sweet guitar like an indie lullaby. “There are so few songs about miscarriage,” Rakel says, speaking about the lyrics. “People don’t talk about this. And then to not have this as a conversational topic in our society among womxn... you realise, in your later twenties, probably every other one of your friends has experienced an abortion or miscarriage. I think that’s something that needs to be spoken about.”

                                                                                                                                                                                Dream Wife have always been outspoken about holding up other womxn and non-binary people in the creative industries, but these aren’t just words or sentiments. With a gender divide in music production currently estimated at around ninety-five percent male to five percent female, the band are proud to have worked with an all-female recording team for So When You Gonna..., including producer and mixer Marta Salogni (Björk, Holly Herndon, FKA Twigs) engineer Grace Banks (David Wrench, Marika Hackman) and mastering engineer Heba Kadry (Princess Nokia, Alex G, Beach House).

                                                                                                                                                                                “It was a way of us practicing what we preach,” says Alice, “It felt like an honour to be able to deliver this baby with these three amazing midwives.” “Put your money where your mouth is!” adds Rakel, quoting the lyrics of “Sports!”

                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                Coloured LP Info: Indies exclusive neon pink vinyl.

                                                                                                                                                                                Various Artists

                                                                                                                                                                                Martin Freeman And Eddie Piller Present Jazz On The Corner Two

                                                                                                                                                                                  A follow up to 2018’s Jazz On The Corner which has now sold over 10,000 copies, and last year’s equally successful Soul On The Corner, this compilation see Martin and Eddie return to the world of jazz for another bite at the cherry after Volume one was declared to be “the best jazz compilation of the last 20 years” by Jazz FM’s Chris Phillips.

                                                                                                                                                                                  The concept came from a radio show that Freeman and Piller put together for BBC Radio 6 Music which was so well received that the pair decided to dig deep into their record collections and build a double album of some of their favourite tracks.

                                                                                                                                                                                  The concept is simple: an album packed full of jazz gems which they hope are slightly off the beaten track. This year we have hidden gems from Nina Simone and Nicola Conte, classics from Roberta Flack, Roy Ayers and The MJQ, whilst the new British jazz generation is represented by Emma Emma-Jean Thackray. Running the gamut from hard bop, to progressive fusion via Latin beats, it’s an exhilarating listen from start to finish.

                                                                                                                                                                                  BDRMM

                                                                                                                                                                                  Bedroom

                                                                                                                                                                                    Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It’s a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year’s If Not, When? EP. Musically, there are nods to The Cure’s Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints’ The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. “The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs… basically every cliché topic that you could think of,” reveals frontman Ryan Smith. “But that doesn’t mean they ever stop being relevant. It’s a fucker growing up, but I’m lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I’ve ever met.”

                                                                                                                                                                                    And that band name, in case it needs explaining, is pronounced the same way as the album title. “I never thought I’d get to the stage where I would have to explain it so much,” says Ryan. “We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We’re all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title.” He’s right. The perfect title for the perfect debut album.

                                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                                    Javi says: Brilliant and building post-punk that touches on everything from goth to shoegaze to post-rock. A real grower

                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                    Coloured LP Info: Exclusive red vinyl edition.

                                                                                                                                                                                    Little Kid

                                                                                                                                                                                    Transfiguration Highway

                                                                                                                                                                                      After six days Jesus took with him Peter, James and John the brother of James, and led them up a high mountain by themselves. There, he was transfigured before them. His face shone like the sun, and His clothes became as white as the light.”(Matthew 17:2).

                                                                                                                                                                                      Based out of Toronto, Little Kid’s Kenny Boothby finds himself inspired by this idea of transfiguration - a complete change of form or appearance into a more beautiful or spiritual state. Far-ranging in both its sonic palette and its subject matter, the band’s forthcoming album, Transfiguration Highway is a record of unusual depth and clarity from a songwriter who has spent the better part of a decade honing his craft and a lifetime building the perspective his songs so deftly express. These are personal songs that look outward, that seek to tie together the bigness of the world and the smallness of the everyday with both subtlety and humility. For years Boothby and Little Kid have been quietly building a devoted following, but their Solitaire debut is a beautifully formed introduction to the wider world for an artist who will undoubtedly be recognized as a uniquely gifted songwriting voice.

                                                                                                                                                                                      Operating since 2011, and now joined by Megan Lunn (banjo, keys, vocals), Paul Vroom (bass & vocals), Liam Cole (drums) and Brodie Germain (drums, guitar, percussion), Little Kid has built a cult audience with a series of idiosyncratic home recordings, self-released in short cassette runs that range from more traditional albums and EPs, to 2019’s Botched Restorations - on which Boothby sold out a run of one-of-a-kind 60 minute cassettes that each contained 10 songs from his discography, chosen by the purchaser and recorded live to tape in his bedroom.


                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      Dinked Edition LP Info: • 180g Clear with Baby Blue, Opaque Orange and Opaque Gold Splatter Vinyl*
                                                                                                                                                                                      • Foil numbered sleeve*
                                                                                                                                                                                      • ‘Le Cycle Liturgique’ A3 folded poster*
                                                                                                                                                                                      • Dinked orange obi-strip*
                                                                                                                                                                                      • Download card
                                                                                                                                                                                      *Exclusive to Dinked Edition

                                                                                                                                                                                      Ltd LP includes MP3 Download Code.

                                                                                                                                                                                      Paul Weller

                                                                                                                                                                                      On Sunset

                                                                                                                                                                                        With a creative peak that continues to shoot skyward, Paul Weller releases his 15th studio album “On Sunset” on June 12th on Polydor Records.
                                                                                                                                                                                        On Sunset features ten classic yet modern Paul Weller songs. On Sunset is a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s. 

                                                                                                                                                                                        Weller started work on “On Sunset” soon after finishing 2018’s masterpiece “True Meanings”. Opening track “Mirror Ball” was from the TM sessions and originally slated as a b-side. Thankfully it was rescued for On Sunset as it’s shimmering opener. 

                                                                                                                                                                                        As ever, Weller retains a rigorous forward-looking focus when it comes to seeking out the best contemporary sounds and music. But lyrically, Weller – back on his old home, Polydor Records for the first time since the Style Council days – is also starting to look back on the past with the insight of age especially on songs like “Old Father Thyme”.

                                                                                                                                                                                        Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band - Ben Gordelier appears on all tracks and Andy Crofts on most whilst Steve Cradock pops up with his guitar on 4 songs. An eclectic and sometimes surprising gathering of guests appear on On Sunset including Slade’s Jim Lea contributing violin to the Bonzos-esque “Equanimity”, and Paul’s old Style Council chum Mick Talbot adds his signature Hammond Organ sound to 3 tracks. The beautifully lush “More” features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019) as well as the return of The Strype’s guitarist Josh McClorey. English folk trio The Staves contribute backing vocals for 3 tracks. Once again Hannah Peel sprinkles her magic over the album with string arrangements and The Paraorchestra were invited to add their expertise to 4 tracks.

                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                        2xLP Info: Heavyweight gatefold double vinyl.

                                                                                                                                                                                        Deluxe CD Info: Hardback book version with additional tracks.
                                                                                                                                                                                        *Please note additional tracks in Deluxe tracklisting below.

                                                                                                                                                                                        Holy Wave is an experimental dream-pop band originally from El Paso, Texas. After seeing a life-altering performance by My Bloody Valentine in 2008, the band moved to Austin to pursue their own vision of Texas psych, their sweet melodies dyed in carefully constructed noise.Over the course of four albums, the band have cemented themselves as a staple force in the international indie scene, with key performances at Levitation, Desert Daze, and nearly every psych gathering on the planet. They’ve toured the world, and shared the stage with heroes such as Slowdive, Spiritualized, Hope Sandoval and The Black Angels. Their body of work has received critical acclaim from Pitchfork, Consequence of Sound, Paste Magazine and countless others, and in 2020 they are prepared to release their latest body of work.

                                                                                                                                                                                        Interloper sees the band adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on their most esoteric and thought-provoking themes. “I’m Not Living in the Past Anymore” is a mantra about breaking the cycle of the mundane, “Escapism” is a dream-like meditation. “Interloper” serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward, to blissed-out moments on album opener “Schmetterling”, the saccharine haze of “R&B”, and the freak-out catharsis of live favorite “Buddhist Pete”.

                                                                                                                                                                                        With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

                                                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                                                        Mine says: Holy Wave have done it again. Our favourite psych-pop Texans deliver another hazy, reverb laden trip. One for the dreamers!

                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                        Coloured LP Info: White vinyl edition.

                                                                                                                                                                                        Coloured LP 2 Info: Indies exclusive tangerine vinyl.

                                                                                                                                                                                        Sparks

                                                                                                                                                                                        A Steady Drip, Drip, Drip

                                                                                                                                                                                          Brothers Ron and Russell Mael are releasing their 24th studio album ‘A Steady Drip, Drip, Drip’. Since storming into the charts, minds and airwaves in 1974 with “This Town Ain’t Big Enough For Both of Us” from their 3rd album ‘Kimono My House’, the musically vital pop pioneers have created a unique legacy both on record and in their live performances. ‘A Steady Drip, Drip, Drip’ follows Sparks’ 2017 album ‘Hippopotamus’, an extraordinary record which saw them return to the Top 10 and was universally acclaimed with many critics declaring it to be one of the finest albums of the year and the pinnacle of the band’s career - until now.

                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                          2xPicture Disc Info: Picture Disc 2LP + 12” Booklet.

                                                                                                                                                                                          Deluxe CD Info: Casebound book CD edition.

                                                                                                                                                                                          Melt Yourself Down

                                                                                                                                                                                          100% YES!

                                                                                                                                                                                            After a few years out to perfect their jaw-dropping new album 100% YES,  Melt Yourself Down are back. Thanks to collaborations with production legends Youth and Ben Hillier, the band have reimagined themselves and  created a bruising re-up of their signature sound with added synths, lyrics, anthems and epic joyrides. They took their sweet time crafting this new sound and it was worth it - 100% YES is the band at their finest.

                                                                                                                                                                                            Ray Lamontagne

                                                                                                                                                                                            Monovision

                                                                                                                                                                                              Grammy Award winning artist Ray LaMontagne is set to release his eagerly anticipated, eighth studio album 'MONOVISION' via Columbia Records.

                                                                                                                                                                                              The 10 track album sees Ray not only writing and producing the album once again but also includes added duties of engineering as well as performing all the instruments for the tracks. 

                                                                                                                                                                                              A. A. Williams

                                                                                                                                                                                              Forever Blue

                                                                                                                                                                                                Making her stage debut in April 2019 and selling out her first headline show at London’s prestigious Southbank Centre less than a year later, A.A. Williams has hit the ground running. Similarly, the acclaim for her performances and her music has been unanimous from the start. After one self-titled EP and the 10” vinyl collaboration Exit in Darkness with Japanese post-rockers MONO, the London-based singer-songwriter has signed to Bella Union and made a stunning debut album, Forever Blue.

                                                                                                                                                                                                A rapturous blend of post-rock and post-classical, Forever Blue smoulders with uncoiling melodies and haunted atmospheres, shifting from serenity to explosive drama, often within the same song. Williams is a fantastic musician as well as songwriter, playing the guitar, cello and piano, and her voice has the controlled delivery of a seasoned chanteuse whilst still channelling the rawest of emotions.

                                                                                                                                                                                                Forever Blue is named after a song that didn’t make the album’s final cut, “but it still encapsulated these songs,” Williams explains. “It sounded timeless and in the right place.” The album’s threads encapsulate the anxieties and addiction of love and loss with haunting detail, for example ‘Glimmer’(“I wasn’t meant to see the sun washed out and pale / I wait undone / I wasn’t meant to be the one hollow and hurt and meant for none”), though Williams admits the theme was shaped more by her subconscious than any grand plan.

                                                                                                                                                                                                “The lyrics come at the end, they fall into place, rhythmically, and link together,” she explains. “And then it’s my job to decipher what I’ve written! I want the words to get my point across but still let the listener map on their own experiences. I find it really therapeutic.”

                                                                                                                                                                                                Therapy is intrinsic to Williams’ approach: to not just express and unpick her feelings of longing and loss but to work through them. “Verbalising something, you feel a weight has been lifted,” she says. The transition can be mirrored in the dynamic shift from ‘quiet’ to ‘loud’, as on ‘Glimmer’ and arguably at its most euphoric on ‘Melt’. “There’s something very satisfying and elating about songs that have that drop in them, to stomp on the guitar pedal on and let it all out.”

                                                                                                                                                                                                It’s testament to Williams’ skills, and those of husband and bassist Thomas Williams, that Forever Blue’s commanding sound was largely captured at the couple’s two-bedroom flat in North London. Drums by Geoff Holroyde were added at engineer Adrian

                                                                                                                                                                                                Hall’s studio in South London, with guest vocals from Johannes Persson (Cult Of Luna), who adds his deep-trawling growl to ‘Fearless’ (“he sounds like Tectonic plates moving” Williams feels), Fredrik Kihlberg (Cult Of Luna) on ‘Glimmer’ and Tom Fleming (ex-Wild Beasts) on ‘Dirt’.

                                                                                                                                                                                                Williams can scarcely believe she’s in such exalted company, or that her band has toured with Cult Of Luna, Russian Circles, Explosions In The Sky, Nordic Giants and Sisters Of Mercy, whilst performing with MONO at their 10th anniversary show. It’s not because she doesn’t trust her own worth but that Williams only became a singer-songwriter by chance.

                                                                                                                                                                                                Having taken music lessons from the age of six and been immersed in classical music, Williams’ life was forever changed when she discovered Deftones in her mid-teens, “and after them, all things heavy,” she recalls. “It was music that made me feel included, that tapped into me.”

                                                                                                                                                                                                Yet it was only years later, when she found a guitar in the street with a note attached, “please take me, just needs work,” that Williams started playing guitar, and only started writing songs as a way of learning how to play. “I wrote in different styles to find a sound I was comfortable with,” she says. “Likewise, with singing. I’d never before thought of singing with a microphone in front of other people. It’s been quite a journey.”

                                                                                                                                                                                                That journey was thrown off course by the Coronavirus lockdown, but Williams’ response has been the ‘Songs From Isolation’ video project, solo renditions of songs suggested by her fans. At the time of writing, she has performed Radiohead’s ‘Creep’ (“to take on a song like that, you either have to be brave or dumb, and I thought, let’s be brave!”), Gordon Lightfoot’s ‘If You Could Read My Mind’ and Nick Cave’s ‘Into Your Arms’.

                                                                                                                                                                                                As ‘Songs From Isolation’ keeps posting intimate messages from a place of solitude, Forever Blue will spread the news of A.A. Williams’ extraordinary talent far and wide - and once lockdown is over, she and her band will be taking the next steps on her journey by touring the record. She’s already come so far but this story is only just beginning. 


                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                Coloured LP Info: Silver vinyl.

                                                                                                                                                                                                Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                Polly Scattergood

                                                                                                                                                                                                In This Moment

                                                                                                                                                                                                  Following two critically acclaimed solo albums and an exciting side project collaboration entitled ‘onDeadWave’… Polly Scattergood is returning with her fourth studio album in early 2020, entitled ‘In This Moment’. Sonically, the album is powerful and cinematic, scattered with moments of raw intimacy and delicate soundscapes. Encompassing grief and joy in equal measure, the album documents various snap shots of life including her journey towards motherhood.  Each song is a snapshot of a moment in time. Like a soundtrack to a compendium of photographs, it is a collection of experiences that come together to create an album. In part documenting Polly’s journey towards motherhood, encompassing grief and joy in equal measure, some moments are older than others, but all are now reflected upon from a slightly new perspective.

                                                                                                                                                                                                  Polly began recording this album shortly after having her first child, and on a very human level felt this massive sense of freedom, peace, and also wonderment which opened her up artistically to writing again. Sonically, she loves music which feeds her, hearing new things on each listen, and so tried to create many layers and textures within the sounds…fires crackling…breathing. She even had a few field recordings of bells and the sea from time living in Fuerteventura a few years ago. Polly and her producer, Glenn Kerrigan, weaved them into the soundscape very subtly, so occasionally you will catch glimpses of them. Worlds within worlds.


                                                                                                                                                                                                  A O Gerber

                                                                                                                                                                                                  Another Place To Need

                                                                                                                                                                                                    "To me, this record is about fantasy," explains A.O. Gerber of her debut LP, Another Place To Need. "It’s about fantasy and loneliness, and about how living in the fiction of your own head can make you lonely." The Los Angeles-based artist will peak interest from fans of Angel Olsen and Big Thief thanks to her thought-provoking songwriting, as punchy and inspiring as it is intimate and deft. The A.O. Gerber story is just beginning and with Another Place To Need she is aligning herself as one of the most captivating indie newcomers to appear this year.

                                                                                                                                                                                                    Mulatu Astatke & Black Jesus Experience

                                                                                                                                                                                                    To Know Without Knowing

                                                                                                                                                                                                      ‘To Know Without Knowing’, Mulatu Astatke and Black Jesus Experience’s 2019 album is their second together. A grooving transcontinental gem, recorded in Melbourne, Australia and Addis Ababa, Ethiopia. Filled with the warmth of the mentorship and friendship of their creative partnership honed over a decade of performing together in Africa, Australia and UK/Europe.

                                                                                                                                                                                                      Mulatu Astatke is the Father of Ethio-Jazz and one of Africa's most influential and enduring musical figures. Black Jesus Experience is a community of artists, centred around a twelve piece global-funk-machine born of Australia's vibrant multiculturalism. Mulatu and Black Jesus Experience met in Addis Ababa in 2009, embarking on both a musical relationship and a friendship that has led Mulatu Astake to describe Black Jesus Experience as, "My favourite backing band" and, “...they’re family.”

                                                                                                                                                                                                      Mulatu's great contribution to music has been to to combine Jazz and funk grooves with Ethiopia's distinctive pentatonic scales. His musical genius is the sensuality and sophistication with which Mulatu contrasts these minimalist scales with richly chromatic harmony. But Mulatu’s equally great contribution has been to share both his enduringly unique modernity and Ethiopia’s timelessly spiritual music with the world. Black Jesus Experience treasure the special relationship of generosity, mentorship and collaboration they have been privileged to share with this master musician. ‘To Know Without Knowing’ is the product of this gift.



                                                                                                                                                                                                      Grey Dogs

                                                                                                                                                                                                      Outlaw King - A Netflix Original Soundtrack (Love Record Stores Edition)

                                                                                                                                                                                                        OUTLAW KING is the soundtrack album from the intense Netflix medieval action drama ‘Outlaw King’, composed and performed by Grey Dogs with a host of Scotland’s musical talent.

                                                                                                                                                                                                        Grey Dogs is acclaimed producer Tony Doogan (Belle and Sebastian, Mogwai) and the film’s director David Mackenzie (Hell or High Water, Starred Up). Mixing simple beautiful period music with moody atmospheres, plaintive soundscapes and high intensity action score, this is a journey through the misty glens, dark castles and bloody battlefields of Robert The Bruce’s Scotland (whom the film is based on) which somehow sounds both ancient and modern.

                                                                                                                                                                                                        Grey Dogs is an umbrella collective designed to pull in diverse talent for making film soundtracks and other sonic landscape work. Tony Doogan and David Mackenzie are the core and a variety of top musicians come in and out including violinist Greg Lawson (Grit Orchestra) Barry Burns (Mogwai), the Scottish Session Orchestra and sax genius Raymond MacDonald.

                                                                                                                                                                                                        For the end of the film, Tony and David decided to work with the wonderful Kathryn Joseph for her contemporary take on two folk classics - the tragic Land O’ The Leal and the rousing Scots Wha Hae (about Robert the Bruce and his army on the morning of the Battle of Bannockburn).


                                                                                                                                                                                                        Bill Nace

                                                                                                                                                                                                        Both

                                                                                                                                                                                                          With a requisite crackle, hum and drone, you’re fixed to slide into the disrupture in stereo that is guitarist Bill Nace and — well, THIS is a nice surprise — Bill’s got his own record out this time.

                                                                                                                                                                                                          Sweet — in the past 15 years or so, Bill’s been a trusty improv partner to so many: Steve Baczkowski, Chris Corsano, Paul Flaherty, Greg Kelly, James Twig Harper, Samara Lubelski and Thurston Moore, plus - with Kim Gordon – in Body/Head, to name but a handful.

                                                                                                                                                                                                          Bill’s appeared on probably more than 50 albums — but other than a few solo cassettes way back in the day, Both is his actual solo LP debut. It’s been a long time coming, and just like we hoped, with the Nace approach to electric guitar waxing front and center, sound and countersound, it’s a blast.

                                                                                                                                                                                                          Working with producer Cooper Crain, Bill constructed Both with the ribs of composition protruding from his improvisational electron pool, pulsing with energies black and shiny, finding lots of sound and music in the process. The listening experience is only faux-monolithic — you can take it all in as a big noise thing if you want, but it’s much more rewarding to lean in and observe the variety of colors and spaces in the playing, how it breaks along discrete lines into alternating currents. The small details, like the crunch of contact between fingers and strings, the hum of the amp in a resting moment, the rhythm implied in a waveform and then pursued, all build up into melodies, climatic detours and underlying emotional expression before wiping into silence again. A real encompassing vision of what to do with a guitar in this day and age. Plus, you got cover artwork by Daniel Higgs.

                                                                                                                                                                                                          Lithics

                                                                                                                                                                                                          Tower Of Age

                                                                                                                                                                                                            RIYL: Deerhoof, Bush Tetras, Kleenex/Liliput, Delta 5, Pylon, Y Pants, Liquid Liquid, Sex Clark Five, Grass Widow, Palberta. After introducing themselves to the world with 2016's "Borrowed Floors" (Water Wing) and throwing down the gauntlet with 2018's "Mating Surfaces" on Kill Rock Stars, Lithics make the jump to Trouble In Mind for "Tower of Age". "Tower of Age" bristles with invention, wedging lyrical Dadaism into right angles of rhythmic minimalism. This is music in ellipses. A circular communication and a fusion of decades worth of musical insight into a singular refraction of thought & sound. Guitars plunk and scratch, and rhythms pulse and syncopate tightly wound around an imagist's philosophy to "use absolutely no word that does not contribute to the presentation." The band's austere approach to composition and wordplay elevates them above and beyond bands seeking similar sounds; it's not that they use less; it's HOW they use less. 

                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                            Coloured LP Info: Limited white, black & yellow “tri-color” vinyl version is for Indies only.

                                                                                                                                                                                                            Denai Moore

                                                                                                                                                                                                            Modern Dread

                                                                                                                                                                                                              Denai Moore is a British- Jamaican artist who rose to prominence as a guest vocalist on SBTRKT's 2014 album ‘Wonder Where We Land’. Moore was born in Spanish Town, Jamaica, where she started to learn to play keyboard from her father. Her family moved to Stratford, London when she was 10. 

                                                                                                                                                                                                              Clams Casino

                                                                                                                                                                                                              Moon Trip Radio

                                                                                                                                                                                                                New Jersey-native Clams Casino stands amongst the most respected hip-hop producers in the game today. After several years of underground notoriety, Clams became widely known after producing several of the standout tracks on A$AP Rocky’s monolithic debut mixtape Live. Love. ASAP and has received widespread critical acclaim for his collaborations with Lil Peep, Vince Staples, Lil B, Mac Miller, The Weeknd, Joji amongst others. Clams released his hugely anticipated instrumental album Moon Trip Radio late last year, a stunning collection of tracks that showcase his immense talent as both a composer and producer. 

                                                                                                                                                                                                                Keleketla!

                                                                                                                                                                                                                Keleketla!

                                                                                                                                                                                                                  Keleketla! is an expansive collaborative project, reaching outward from Johannesburg to London, Lagos, L.A. and West Papua, “Keleketla!” started as a musical meeting ground between Ninja Tune cofounders Coldcut and a cadre of South African musicians (introduced by the charity In Place Of War), including the raw, South African-accented jazz styles of Sibusile Xaba, and rapper Yugen Blakrok (Black Panther OST). From those initial sessions, the record grew to encompass a wider web of musical luminaries, including Afrobeat architects Tony Allen and Dele Sosimi, legendary L.A. spoken word pioneers The Watts Prophets, and West Papuan activist Benny Wenda.

                                                                                                                                                                                                                  Album collaborators include South Africa sessions with Yugen Blakrok, Nono Nkoane, Thabang Tabane, Tubatsi Moloi, Gally Ngoveni, Sibusile Xaba, Soundz of the South Collective, DJ Mabheko and London sessions with Tony Allen, Shabaka Hutchings, Dele Sosimi, Ed ‘Tenderlonious’ Cawthorne, Tamar Osborn, Miles James, Joe Armon-Jones, Afla Sackey, Wenda Family, Eska Mtungwazi, Jungle Drummer, DeeJay Random.

                                                                                                                                                                                                                  Additionally, The Watts Prophets (Los Angeles) and Antibalas (New York) have contributed to the album.

                                                                                                                                                                                                                  You know we are in for a treat when Luke Vibert, exponent of electronic beats and breaks since the dawn of rave, delivers not one, not two, but three new album projects, each with a specific musical theme and thread. A set of three long players, collect them all like bubble gum stickers and annoy your neighbours by playing at high volume!

                                                                                                                                                                                                                  Vibert’s previous album projects for Hypercolour, both as Kerrier District, and under his own name, have always excelled, not to mention his groundbreaking and brain scrambling long players for Warp, Rephlex, Rising High Records, Planet Mu and Ninja Tune.

                                                                                                                                                                                                                  Vibert revives his Amen Andrews moniker after over a decade lying dormant. Squarely aiming the sound at the ‘Amen break’, ‘Luke Vibert presents Amen Andrews’ brings together 14 slabs of raucous breakbeat bangers, riddled with cool as fuck samples and bass bin shattering sub!

                                                                                                                                                                                                                  Luke Vibert

                                                                                                                                                                                                                  Presents Modern Rave

                                                                                                                                                                                                                    Part two in his trilogy of what seems like an aural romp through dance music’s key components, Luke Vibert follows up his ode to the ‘Amen break’ on the sumptuous ‘Luke Vibert presents Amen Andrews’, with a pretty damn thorough modelling of rave roots, in ‘Luke Vibert presents Modern Rave’.

                                                                                                                                                                                                                    When it comes to bashing out creative, highly complex, yet seemingly simplistic rave bangers, Luke Vibert certainly has the chops for delivering the goods in spades. As an innovator in the field for labels like Ninja Tune, Warp and Rephlex, Vibert digs deep into his floppy disc collection for a glorious ride through familiar samples and hooks, breakbeats and funky basslines and earworm melodies for an indispensable collection of feel good modern rave.

                                                                                                                                                                                                                    Gary Bartz & Maisha

                                                                                                                                                                                                                    Night Dreamer Direct-to-Disc Sessions

                                                                                                                                                                                                                      The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration.

                                                                                                                                                                                                                      Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike.

                                                                                                                                                                                                                      Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, “There Is A Place” on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz.

                                                                                                                                                                                                                      Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman. Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame.

                                                                                                                                                                                                                      Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding postproduction embellishments and retaining the purity of the performance lost in modern recording techniques.

                                                                                                                                                                                                                      This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

                                                                                                                                                                                                                      Etuk Ubong

                                                                                                                                                                                                                      Africa Today - Night Dreamer Direct-To-Disc Sessions

                                                                                                                                                                                                                        Hailed by none other than Seun Kuti as “one of the best things to come out of Lagos”, Nigerian trumpeter, composer and bandleader Etuk Ubong has developed an original style he calls “Earth Music”.

                                                                                                                                                                                                                        Weaving together a unique combination of not only afrobeat, highlife and jazz, but also the ritualistic drumming of Ekombi, the result is urgent and highly energetic, yet spiritual; his compositions reflecting his heritage and life philosophy of goodwill, peace and love for humanity. Ubong’s music is so vibrant and propulsive that one can easily make comparisons with leading lights of the UK scene, such as the Shabaka Hutchings-led Sons of Kemet, but at the same time it is distinctly Nigerian.

                                                                                                                                                                                                                        Ubong was invited by Night Dreamer to record at Haarlem’s Artone Studio, home to an enviable collection of vintage mastering and recording equipment and situated right above a pressing plant. He assembled an international ensemble of the highest calibre to record his compositions direct-to-disc, avoiding the interference created by widely adopted recording techniques and capturing his enigmatic live performance in its most natural and explosive form. Ubong is joined by another Lagos-based musician, Michael Awosogo, also on trumpet, and a hand-picked group of UK and Netherlands-based musicians who finally after an impromptu show the night before, recorded the whole album in just one sitting on the last day of the five-day session.

                                                                                                                                                                                                                        Much of the music is incredibly fast-paced, and politically charged, particularly on titles such as “African Struggle” and “Mass Corruption'', with Ubong featuring on both trumpet and lead vocal, leading a five-piece brass section over the percussion-heavy rhythm section and soulful keys supplied by Vels Trio’s Jack Stephenson-Oliver. Etuk uses music to address not only injustice but also humanity and spirituality, most notably on “Spiritual Change”, a deep cut on which Etuk reflects on Africans need for internal change before they can address the problems around them, stands-out among the rest of the album.

                                                                                                                                                                                                                        Born in the Akwa Ibom State in southern Nigeria, but raised in Lagos, Ubong picked up the trumpet at the age of 14 and never looked back. He went on to study at the Peter King College of Music, Muson School of Music and the University of Cape Town, and aged just 16 was recruited to join the band of the late-great and recently passed highlife musician Victor Olaiya, through whose ranks also passed a young Fela Kuti & Tony Allen before inventing afrobeat. This led to him joining and touring with reggae sensation Buchi, before a fruitful stint with Femi Kuti’s Positive Force, performing frequently at the New Afrika Shrine in Ikeja, and dates with the visionary South African pianist and composer Nduduzo Makhathini, recently signed to Blue Note Records.

                                                                                                                                                                                                                        Already greatly in-demand at home in Lagos, and across Nigeria and Africa, he has launched his own venue, “The Truth”, the most prolific in the Nigerian capital since Fela Kuti’s Shrine, performing himself three nights a week. At the same time, Etuk’s following in London & the UK has exploded after numerous performances including a mesmerising and widely-discussed session with acclaimed London-based artist collective, event and music community Steam Down, residencies at Jazz re:freshed & the Royal Festival Hall and a storming set at the inaugural edition of Gilles Peterson’s We Out Here Festival. Ubong’s connection to the UK scene, particularly Steam Down and musicians such as Theon Cross from Sons of Kemet, draws attention to exciting parallels. The intensity, the political edge, the crossing of barriers and pursuit of spirituality.

                                                                                                                                                                                                                        Night Dreamer has captured Etuk Ubong, live-and-uncut, at a pivotal point: a highly accomplished musician who has absorbed his home’s musical heritage, created his own sound and already made an impact not only in Lagos but also within the exciting UK and South African jazz scenes. An essential record that transcends the labels of jazz or afrobeat. Let’s call it earth music.

                                                                                                                                                                                                                        Khruangbin

                                                                                                                                                                                                                        Mordechai

                                                                                                                                                                                                                          Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it’s finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it. And it all started with them coming home.

                                                                                                                                                                                                                          By the summer of 2019, the Houston group—bassist Laura Lee Ochoa, guitarist Mark Speer, drummer DJ Johnson—had been on tour for nearly three-and-ahalf years, playing to audiences across North and South America, Europe, and southeast Asia behind its acclaimed albums The Universe Smiles Upon You and Con Todo El Mundo. They returned to their farmhouse studio in Burton, Texas, ready to begin work on their third album. But they were also determined to slow down, to take their time and luxuriate in building something together. Musically, the band’s ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night.

                                                                                                                                                                                                                          In those years away from home, Khruangbin’s members often felt like they were swimming underwater, unsure of where they were going, or why they were going there. But Mordechai leads them gently back to the surface, allowing them to take a breath, look around, and find itself again. It is a snapshot taken along a larger journey—a moment all the more beautiful for its impermanence. And it’s a memory to revisit again and again, speaking to us now more clearly than ever.

                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                          Coloured LP Info: Limited edition translucent pink coloured vinyl.

                                                                                                                                                                                                                          Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                          Coloured LP 2 Info: Limited edition clear vinyl.

                                                                                                                                                                                                                          LP includes MP3 Download Code.

                                                                                                                                                                                                                          Pottery

                                                                                                                                                                                                                          Welcome To Bobby's Motel

                                                                                                                                                                                                                            Who is “Bobby,” you ask?

                                                                                                                                                                                                                            Enter Pottery. Enter Paul Jacobs, Jacob Shepansky, Austin Boylan, Tom Gould, and Peter Baylis. Enter the smells, the cigarettes, the noise, their van Mary, their friend Luke, toilet drawings, Northern California, Beatles accents, Taco Bell, the Great Plains, and hot dogs. Enter love and hate, angst and happiness, and everything in between. Beginning as an inside joke between the band members, Bobby and his “motel” have grown into so much more. They’ve become the all-encompassing alt-reality that the band built themselves, for everyone else. So, in essence, Bobby is Pottery and his motel is wherever they are.

                                                                                                                                                                                                                            But really, Bobby is a pilot, a lumberjack, a stay at home dad, and a disco dancer that never rips his pants. He's a punching bag filled with comic relief. He laughs in the face of day-to-day ambiguity, as worrying isn’t worth it to Bobby. There’s a piece of him in everyone, there to remind us that things are probably going to work out, maybe. He’s you. He’s him. He’s her. He’s them. Bobby is always there, painted in the corner, urging you to relax and forget about your useless worries. And his motel? Well, the motel is life. It might not be clean, and the curtains might not shut all the way. The air conditioner might be broken, and the floors might be stained. But that’s okay, because you don’t go to Bobby’s Motel for the glamour and a good night’s sleep, the minibar, or the full-service sauna. You go to Bobby’s Motel to feel, to escape, to remember, to distract. You go for the late nights and early mornings, good times and the bad. You might spend your entire life looking for Bobby’s Motel and just when you think you will never find it, you realize you’ve been there all along. It’s filthy and amazing and you dance, and you love it.

                                                                                                                                                                                                                            The 11 songs on ‘Welcome to Bobby’s Motel’ don’t just invite you to move your body; they command you to. Fusing reckless, manic energy with painstaking precision, the record is part post-punk, part art-pop, and part dance floor acid trip, hinting at everything from Devo to Gang of Four as it boldly careens through genres and decades. The music is driven by explosive drums and off-kilter guitar riffs that drill themselves into your brain, accented with deep, funky grooves and rousing gang vocals. The production is similarly raw and wild, suggesting an air of anarchy that belies the music’s careful architecture and meticulous construction. The result is an album full of ambitious, complex performances that exude joy and mayhem in equal measure, a collection that’s alternately virtuosic, chaotic, and pure fun." 

                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                            Coloured LP Info: 'Hot Dog yellow' vinyl.

                                                                                                                                                                                                                            Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                            Bananagun

                                                                                                                                                                                                                            The True Story Of Bananagun

                                                                                                                                                                                                                              Hailing from Melbourne, but with a sound stretching from 60s and 70s afrobeat and exotica to Fela Kuti-esque repetition, the proto-garage rhythmic fury of The Monks and the grooves of Os Mutantes, there’s an enticing lost world exoticism to the music of Bananagun. It’s the sort of stuff that could’ve come from a dusty record crate of hidden gems; yet as the punchy, colourfully vibrant pair of singles Do Yeah and Out of Reach have proven over the past 12 months, the band are no revivalists. On debut album The True Story of Bananagun, they make a giant leap forward with their outward-looking blend of global tropicalia.

                                                                                                                                                                                                                              The True Story of Bananagun marks Bananagun’s first full foray into writing and recording as a complete band, having originally germinated in the bedroom ideas and demos of guitarist, vocalist and flautist Nick van Bakel. The multi-instrumentalist grew up on skate videos, absorbing the hip-hop beats that soundtracked them -taking on touchstones like Self Core label founder Mr. Dibbs and other early 90’s turntablists. That love of the groove underpins Bananagun - even if the rhythms now traverse far beyond those fledgling influences. "We didn't want to do what everyone else was doing,” the band’s founder says. “We wanted it to be vibrant, colourful and have depth like the jungle. Like an ode to nature."

                                                                                                                                                                                                                              Van Bakel was joined first by cousin Jimi Gregg on drums–the pair’s shared love of the Jungle Book apparently made him a natural fit – and the rest of the group are friends first and foremost, put together as a band because of a shared emphasis on keeping things fun.

                                                                                                                                                                                                                              Jack Crook (guitar/vocals), Charlotte Tobin (djembe/percussion) and Josh Dans (bass)complete the five-piece and between them there’s a freshness and playful spontaneity to The True Story of Bananagun, borne out of late night practice jams and hangs at producer John Lee’s Phaedra Studios.

                                                                                                                                                                                                                              “We were playing a lot leading up to recording so we’re all over it live”, van Bakel fondly recalls of the sessions that became more like a communal hang out, with Zoe Fox and Miles Bedford there too to add extra vocals and saxophone. “It was a good time, meeting there every night, using proper gear [rather than my bedroom setups.] It felt like everyone had a bit of a buzz going on.”

                                                                                                                                                                                                                              Tracks like The Master and People Talk Too Much bounce around atop hybrid percussion that fuses West African high life with Brazilian tropicalia; the likes of She Now hark to abmore westernised early rhythm ‘n’ blues beat, remoulded and refreshed in the group’s own inimitable summery style. Freak Machine is perhaps the closest to those early 90’s beats, but even then the group add layers and layers of bright guitars, harmonic flower -pop vocals and other sounds to transmute the source material to an entirely new plain.

                                                                                                                                                                                                                              Elsewhere there’s a 90 second track called Bird Up! that cut and pastes kookaburra and parrot calls as there’s a 90 second track called Bird Up! that cut and pastes kookaburra and parrot calls as an homage to the wildlife surrounding van Bakel’s home 80 kilometres from Melbourne. Oh, and there are hooks galore too–try and stop yourself from humming along to Out of Reach’s swooping vocal melody.

                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                              Coloured LP Info: Indies exclusive clear vinyl.

                                                                                                                                                                                                                              Coyote / Buzzard Country A bird shrieks. This is Buzzard Country after all. Two wise old balearic owls rub the sandman from their peelers, and cast their gaze upon a new day. Stretching to greet the Sun, giving thanks, and remembering all those lucky years that went before. All the long journeys into night, days of altered states, and morning-afters staring out to sea. Veterans at this game, fixed on the horizon. Cosmic synths purr over a sleepy Rave baseline. Sparse, spare piano, and woodwinds pick out a path, to help you wind your way home. Around the houses, down forgotten roads. A Spanish guitar plays in the harbour, and the memory of yesterdays parties' 4 / 4 boom sparks a slow, easy Acid flashback. Echoes of 90s IDM, Intelligent Dance Music, clever beats for stoners, mixing with the faded, but not jaded, vision of an introspective White Isle sunrise. There's the spectre of a spine-tingling rush. The keys kick it off. Percussion rattling, a breakbeat shuffling, as you recall the dancers. Flamenco's shout, stamp and clap, the songs of passion, songs for heroes, while lives less ordinary screen inside your head. Movies of your own making muddling up the photo-album snapshots, and the make-believe. Tabla touches, marimba tones, and Eastern drone adorn an oasis of Dub. Conjuring a psychedelic North Africa. A mirage where Tuareg nomads cross the Sahara, accompanied by tasikisikit and prayer. Then the backing track's spinning in reverse, to score a coastal drive. Wayfarers on, as clouds caught in time-lapse charge against the blue

                                                                                                                                                                                                                              Woods

                                                                                                                                                                                                                              Strange To Explain

                                                                                                                                                                                                                                “Dreaming doesn’t come easy these shadowed days, which is why Strange To Explain by Woods is such a welcome turning of new colors. It presents an extended moment of sweet reflection for the 15-year-old band, bouncing back to earth as something hopeful and weird and resolute. Like everything else they’ve recorded, it sounds exactly like themselves, but with subtly different shades and breaths and rhythmic feels and everything else that changes, the natural march of time and the intentional decisions of the musicians moving in what feels like an uncommonly organic alignment.

                                                                                                                                                                                                                                “Strange To Explain trades in a different kind of dependability, maintaining a steady connection to the voice on the other side of the record needle. After quickly recording and releasing 2017’s Love Is Love in response to the tumultuous events of their (and our) 2016, Jeremy Earl and company took their time with what came next. Parenthood arrived, as did a short songwriting pause. The band went bicoastal when Jarvis Taveniere headed west. And when they returned to their posts, there on the other side of this particular mirror, they made this, an album that not only catches and holds and shares the light in yet another new way, but recognizes that there’s still light to be caught, which is also no small thing.

                                                                                                                                                                                                                                “A bend beyond the last bend beyond, Woods keep on changing, thoughtfully and beautifully. The colors were always there, like trees blossoming just slightly differently each season, a synesthetic message coded in slow-motion. Recorded in Stinson Beach, the kind of place that seems like an AI simulation of an idyllic northern California coastal escape, the familiar jangling guitars recede to the background. John Andrews’s warm keyboards and twining Mellotron rise around Earl’s songs and dance across the chord changes like warm sunlight off the Pacific. The music feels a karmic landmass away from the creepiness of the uncanny valley.” - Jesse Jarnow.

                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                Coloured LP Info: Indies exclusive coloured vinyl, limited to 400 copies.

                                                                                                                                                                                                                                Nadine Shah

                                                                                                                                                                                                                                Kitchen Sink

                                                                                                                                                                                                                                  Kitchen Sink follows up Shah's Hyundai Mercury Prize nominated 2017 album Holiday Destination which received critical acclaim including AIM Awards 'Independent Album of the Year', a #7 'Album of the Year' from BBC 6 Music and #5 from The Quietus as well as prominent positions in lists from Loud and Quiet and The Line of Best Fit.

                                                                                                                                                                                                                                  With the same ferocious determination and distinct voice Shah now turns her sights closer to home with an album that explores her own story as a woman in her 30's and the societal pressures and expectations that come with that. Jovial and playful at times, unblinkingly daring at others - Kitchen Sink is bursting with Shah’s beloved personality while simultaneously refusing to compromise on the social commentary that she continues to deliver so fearlessly. Once again produced by Shah’s long time collaborator Ben HillIer.

                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                  Indies Exclusive LP Info: RSD Stores exclusive Orange LP.

                                                                                                                                                                                                                                  Deerhoof

                                                                                                                                                                                                                                  Future Teenage Cave Artists

                                                                                                                                                                                                                                    Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the FTCA. Faithful listeners will recognize a certain alienated but transformational figure who shows up in Deerhoof songs going back to their earliest days. Take the narrator of "The Perfect Me" from 2007's Friend Opportunity: an orphaned but eager soul attempting to entice other wounded wanderers who might lack a home, a clan, a family, a history.

                                                                                                                                                                                                                                    But on FTCA our protagonist is threatened by terror lurking around every corner. Add to that the fact that our 'cast-off queen,' our 'maniac,' our 'terrible daughter' is watching themselves get orphaned in real time, by an older generation in power that would seemingly rather see life on Earth destroyed than let go of archaic systems of capital. Like a lot of the music they have released over the last quarter-century, the Deerhoof of FTCA (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy, the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies.

                                                                                                                                                                                                                                    In this sense, FTCA inverts the formula of Deerhoof's last album, Mountain Moves, which invited a wide community of collaborators to band together in an open celebration of solidarity. The new one, on the other hand, is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis. Guitar pedals malfunction mid-take, reverbs chop off mid-tail, drum fills get abandoned mid-phrase. Some musical moments, as gorgeous and touching as anything Deerhoof has ever written, stop short for no apparent reason, giving way to queasy smudges of sound.

                                                                                                                                                                                                                                    Many of the instruments and voices were recorded with nothing more than the built-in mic of a laptop. Harsh splices make no effort to hide the seams. In this way FTCA joins a long and storied lineage of pop records that expose the insular and reclusive nature of the recording process itself. Like Let It Be, There's a Riot Goin' On, or Sister Lovers, this record is its own "making-of." Absence is a central character in the drama. For every heartwarming melody or pile-up of parade drums or shard of loopy guitar noise, there is musical acknowledgement of the toll that constant threat of cataclysm takes on mental health. All funerals remind us that life goes on, somehow. In that time after the end times, it's not only the food systems, energy systems, and political systems that will have to be rebuilt. Myths, stories, and rituals we use to make sense of the world are up for revision, too. This is a record about resilience and the persistence of hope in a future beyond any reasonable justification for it. Like so many young people today, Deerhoof seems to be already living in that future.

                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                    Coloured LP Info: LP on limited Blood Vinyl

                                                                                                                                                                                                                                    Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                                    Haim

                                                                                                                                                                                                                                    Women In Music Pt. III

                                                                                                                                                                                                                                      Haim return with their third album Women In Music Pt. III. The album was produced by the trio’s frequent collaborators Rostam Batmanglij and Ariel Rechtshaid. Standout tracks include The Steps which pushes guitar to the forefront in a way the band has not done before. Clean, chorused electric guitar, overdriven lead lines, and strummed acoustic 12-Strings lock in together to generate what feels like an endless chug. The result is one of Haim’s fastest and heaviest songs to date. The breezy and beautiful Summer Girl, poignant reflective ballad Hallelujah and emotionally charged Now I'm In It are all gems.


                                                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                                                      2xColoured LP Info: Indies Exclusive Vinyl. Yellow Double Vinyl Gatefold with Printed Inner Bags.

                                                                                                                                                                                                                                      2xLP Info: Black Vinyl with Gatefold and Printed Inner Bags.

                                                                                                                                                                                                                                      Coriky

                                                                                                                                                                                                                                      Coriky

                                                                                                                                                                                                                                        For anyone who’s been hoping Washington DC's post-hardcore legends Fugazi might at some point emerge from their long haitus, this might well be the next best thing.
                                                                                                                                                                                                                                        Coriky is a trio consisting of Amy Farina on drums, Joe Lally on bass and Ian MacKaye on guitar, with all of them sharing vocal duties. Formed in 2015, Coriky didn’t play their first show until 2018 and now finally, they release their debut album.

                                                                                                                                                                                                                                        As you’d expect, it’s the perfect mix of melody and intensity. Lally’s dubby basslines, rumble over rattling snares and although all three share the mic, it’s MacKaye’s distinctive vocal that gives them their edge.

                                                                                                                                                                                                                                        Idles might have borrowed the politically charged punk mantle for a while, but MacKaye and co are here to win it back.

                                                                                                                                                                                                                                        Erik Hall

                                                                                                                                                                                                                                        Music For 18 Musicians (Steve Reich)

                                                                                                                                                                                                                                          A re-interpretation so often comes from an impulse, even if subliminal, of oneupmanship - let me do better, wait 'til you hear it my way. Sometimes though, and it happens too rarely, the cover is an act of devotion in which a musician's humility produces something more beautiful than bravura could. When Erik Hall undertook his painstaking reconstruction of Steve Reich's 1976 masterpiece of minimalism, Music for 18 Musicians, it was as much an exercise in modesty as ambition. With its repetitions and complex constructions, the piece makes great demands on stamina and concentration, and Reich himself advised that these challenges meant it should probably be performed with more than eighteen musicians. Hall, however, recorded every part himself in his small home studio, playing instruments he had on hand, in live, single takes. Here, then is the ambition. But here too is the modesty: by doing one section a day, one instrument at a time, he made his way through this monumental piece, building a faithful and loving re-creation, one sonic brick at a time. Xylophone becomes muted piano, violin becomes electric guitar and so it is that music for eighteen becomes music for one. "I didn't want the differences to be distracting, or gimmicky," says Hall, who's loved the piece for as long as he can remember. "I wanted it to be true to the timbre and spirit of the original recording," and he thought a great deal about, "how I would shape the tone of each instrument, to come across with the same impact that we know the piece to have." His methodology, as with Reich's piece itself, is workmanlike, and it's from this humble and steadfast undertaking that something honest and radiant emerges.

                                                                                                                                                                                                                                          Jessie Ware

                                                                                                                                                                                                                                          What's Your Pleasure

                                                                                                                                                                                                                                            Fourth studio album by the English singer-songwriter, featuring collaborations with Shungudzo Kuyimba, Kindness, Clarence Coffee Jr., Metronomy and former Badbadnotgood sound whiz Matthew Tavares.

                                                                                                                                                                                                                                            Bo Ningen

                                                                                                                                                                                                                                            Sudden Fictions - Tote Bag Edition

                                                                                                                                                                                                                                              Sudden Fictions is an ambitious attempt to present musical history as open structure in the simple form of a rock band; a “rock band” questioning itself as to what it can do, in this time of bedroom producers.

                                                                                                                                                                                                                                              “If this apparent history of music has its root somewhere, and that root leads to a present where rock bands are being pushed away,” explain BO NINGEN,

                                                                                                                                                                                                                                              “we thought we could dig deep enough to the root, and re-write the present finding a new path leading through an alternative history as a rock band...

                                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                                              LP Info: Comes in a limited edition tote bag while stock last.

                                                                                                                                                                                                                                              CD Info: Comes in a limited edition tote bag while stock last.

                                                                                                                                                                                                                                              Mystery Jets

                                                                                                                                                                                                                                              A Billion Heartbeats

                                                                                                                                                                                                                                                All great albums start from a unique perspective. But try a window on the Strand, in an abandoned office block, overlooking the kind of political upheaval London hasn’t seen in a generation. Blaine Harrison was living as a property guardian right around the corner from Trafalgar Square when he found himself witness to an entire year of protests. Every weekend from January 2017 on, people were marching for a different cause: "In the space of six months it was Black Lives Matter, the huge ‘Our NHS’ march, Unite for Europe," he recalls. "Then the solidarity sleep-out organised by Help Refugees, where we slept in Whitehall for the night... The protestors would wake me up in the morning. I’d just walk down and join in.”

                                                                                                                                                                                                                                                Over the course of that year, Mystery Jets' sixth long-player, A Billion Heartbeats, was born. "This album wasn’t about making pointed opinions,” says Blaine. “It was about being a mirror for what’s going on, reflecting back the way people are feeling.” By turns tender and fierce, abstract and full of classic rock energy, A Billion Heartbeats achieves a balance of passion, fear and hope. Amid the colourful cavalcade of rich harmonies, heavy guitars and rallying cries, the album’s essential message - about personal responsibility, and the power in becoming engaged. In a sense, it's not just their "state of the nation” record but their “state of a generation” record too.

                                                                                                                                                                                                                                                We increasingly hear from musicians that music should be an escape these days - that there’s enough suffering in the world, enough misery on the news, without writings songs about it too. A Billion Heartbeats makes all that sound like a bit of a cop-out. These are songs of protest that get the heart racing in joy; high on hope, and serious in their message. Proof, basically, that music speaks louder than words.


                                                                                                                                                                                                                                                Becca Mancari

                                                                                                                                                                                                                                                The Greatest Part

                                                                                                                                                                                                                                                  Born on Staten Island to an Italian/Puerto Rican family with strict religious beliefs, Becca Mancari spent much of her childhood wrestling with issues of identity and belonging. When she set out on her own, Mancari followed the wind from Appalachia to Arizona, from south Florida to India, drifting in search of purpose and community. She eventually found both in East Nashville, where she garnered widespread acclaim for her strikingly honest songwriting and moving performances. Her debut Good Woman was a critical smash, praised by NPR and hailed as one of 2017’s best by Rolling Stone. Her songs racked up millions of streams, which helped land Mancari dates with the likes of Margo Price, Natalie Prass, and Julien Baker, among others. On top of her solo work, Mancari also teamed up with Alabama Shakes frontwoman Brittany Howard and songwriter Jesse Lafser to form Bermuda Triangle, which earned similarly glowing reviews as they performed sold-out headline shows across the country.

                                                                                                                                                                                                                                                  Despite all her success, the relentless pace of life on the road left Mancari little time to grapple with the trauma of her past, nor absorb any new challenges arising in her present. So, in 2019, Mancari decamped to friend and producer Zac Farro’s home studio to set about constructing her sophomore album, a record that would balance unflinching self-examination with intoxicating grooves and infectious instrumental hooks. The two worked to capture the vast majority of the album themselves in Nashville before relocating to Los Angeles for finishing touches with GRAMMYwinning engineer/producer/mixer Carlos de la Garza (Paramore, Tegan and Sara).

                                                                                                                                                                                                                                                  The result is The Greatest Part. Propelled by an airtight drum groove and lacerating guitar line, hypnotic opener “Hunter” finds Mancari singing to a ghost from her past, promising, “You’re never gonna track me down / You’re never gonna find me out,” her crystalline voice floating effortlessly above the distorted maelstrom brewing below it. Like much of the album, it’s a song of defiance and self-assurance that’s streaked with loneliness and regret. To that end, earworm “Lonely Boy” reflects on the ways that fear can hold us back from human connection, while the bittersweet “First Time” reaches out to a younger self, asking “Hey, did you find your way out?”

                                                                                                                                                                                                                                                  Yet, as much as The Greatest Part is a vehicle for examining Mancari’s past, it’s also a lens through which she makes sense of her future. Perhaps it’s bare-bones album closer “Forgiveness” that best ties together all of the record’s loose threads. Searching for mercy in the midst of lingering anger and grief, the hushed, intimate track locates the beauty in letting go, in accepting ourselves for all our flaws and baggage, in walking forward boldly into the unknown.

                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                  Coloured LP Info: Coke bottle clear vinyl.

                                                                                                                                                                                                                                                  Noveller

                                                                                                                                                                                                                                                  Arrow

                                                                                                                                                                                                                                                    Creating what Iggy Pop described to Jim Jarmusch as “symphonies for people that don’t have a lot of time,” Sarah Lipstate has emerged as an innovative and defining voice in the world of music under the name Noveller. Wielding a guitar as her main instrument, Lipstate has pioneered a transcendent approach to composition through her mastery and integration of effects pedals and technology. Forming unexpected sonic routes, her songs are vivid and cinematic, telling intricate tales with each tone and swell.

                                                                                                                                                                                                                                                    Raised on a strict piano technique, the discovery of the guitar late in her teens allowed for an escape from formalism and unlocked the hidden realms of her creativity. Taking an antitheoretical approach, suddenly music was no longer a series of notes, rests, and time signatures, but a means of intuitive expression. Her deepened interest in experimental music, fuelled by the discovery of the bold noise of Sonic Youth, the epic scope of Glenn Branca, the delicate formularies of Brian Eno and the no wave discordance of Teenage Jesus & The Jerks, only furthered to inspire.

                                                                                                                                                                                                                                                    A yearning to explore and feed that creativity took her from Louisiana to Austin, then Brooklyn to LA. Arrow is her first album since the move to the edge of the canyons of Los Angeles, and one can hear the destabilizing effect this had on her in the music. Out of her comfort zone in a new city, with a rolling expanse in front of her and an urban sprawl over her shoulder, Lipstate built her new album as she contemplated this change in her life.

                                                                                                                                                                                                                                                    With her ability to add such unique sounds and textures, Lipstate has been sought out as a frequent collaborator, recently writing songs with Iggy Pop and performing as a member of his band on his worldwide tour. Past partners in crime have ranged from JG Thirlwell to Lee Ranaldo and she has performed as part of Rhys Chatham’s Guitar Army, Nick Zinner’s “41 Strings”, Ben Frost’s “Music for 6 Guitars”, and Glenn Branca’s 100 guitar ensemble. She has also toured in support of big fans in St. Vincent, Wire, U.S. Girls, The Jesus Lizard and Helium.

                                                                                                                                                                                                                                                    Whitmer Thomas

                                                                                                                                                                                                                                                    Songs From The Golden One

                                                                                                                                                                                                                                                      When asked to describe himself, Whitmer Thomas—comic, musician, skateboarder, infamous Blink182 fan—will tell you, “I’m always gonna be the one whose mom called him ‘the Golden One,’ right before she died.” This is where his debut HBO comedy special, The Golden One, finds Whitmer: age thirty, investigating this sense (curse?) of destiny-as-identity. It’s been thirteen years since he left Alabama for LA, becoming a linchpin for LA’s young, independent comedy scene with Power Violence, the monthly show he hosted with friends. But he became haunted by the question: had he already peaked, just like his mom, singer in a local band with big ambitions that never made it out of the Flora-Bama Lounge in Gulf Shores? Rather than shy away from all that messy self-mythology, Whitmer tapped the source of it all through writing this one-man show featuring his own original music. Songs from The Golden One, a companion album of songs from the special, features Whitmer’s darkwave bangers, synthesizing relatable content: millennial anxieties, therapy-speak jokes, and the annals of his own childhood tragedies.

                                                                                                                                                                                                                                                      Songs from The Golden One feature ten cuts of borderline-John Maus cosplay with spasms of pop-punk absurdity. Thomas uses the gothy, nasal vocal drone as a tool of comic detachment to cover the funny-’cause-its-true territory of awkward sex, crippling insecurity, the shame of ambition, and the long tail of abandonment traumas. Each song is a capsule of initial therapy breakthroughs: those realization zingers where suddenly it all makes sense how each fucked variable from then makes up the weird shit of now. When you see it all for what it is, it looks like some sick, clever joke from the universe, driving you desperate to revise the comedy so that if you have to be reality’s punchline, at least you can write the jokes. Original tracks from the special include the shimmering, synthy euphoria of “Eat You Out,” a glorious admission to performance anxiety and the ol’ magician’s cloak of cunnilingus move. There’s “The Codependent Enabler,” a whole jungle gym of toxic relationship rationale where “I can only get it up if you are down,” and the sadboy sobriety anthem “Partied to Death,” about when you’re young in LA and you have to tell people that you’re not “Cali sober for wellness,” you’re sober because your mom actually died from addiction. At first pass, Whitmer’s special and album make a relevant, hilarious articulation of one tragic childhood, of the messiness of masculinity, of the timeless qualms of being broke with a dream in Los Angeles, and the humiliation inherent in having “a dream” at all. But in flashes of unexpected weirdo wisdom, Whitmer weaves a deeper story of a person finding reconciliation and forgiveness while finding his own self and voice. He faces his darkness with darkwave, writing the story of his objectively insane youth through a Venn diagram of cool guy music, goofy dude jokes, and sensitive boy reflections that hit in a way that feels bigger than the sum of its parts. Whitmer will say that he made The Golden One out of desperation, but there’s something about it that feels a lot more like destiny. 

                                                                                                                                                                                                                                                      Gordi

                                                                                                                                                                                                                                                      Our Two Skins

                                                                                                                                                                                                                                                        Losing someone close to you creates an almost phantom limb-like effect. Often, it feels like they’re a phone call away. But that instant between when you reach for the phone and when your brain delivers the new reality to you is a strange, momentary eternity. It’s both an uncompromising void and maybe as close as you’ll ever come to communing with that loved one again. On her new song “Sandwiches,” Gordi harnesses all the sadness and glory of this feeling into a soaring, post-new wave anthem. One of the first true Gordi “guitar songs,” it shimmers with the lush-yet-fragile momentum of The Cranberries’ classic “Dreams.” Gordi wrote “Sandwiches” as a tribute to the matriarch of her family. Her late grandmother was, in Gordi’s words, “a great feeder of people.”

                                                                                                                                                                                                                                                        So when she fell ill, Gordi and her mother took it upon themselves to nourish the visitors gathered around her hospital bed. As they passed around sandwiches, “someone called out that she was gone.” The gravity of the moment was poignant for its softness and mundanity. Gordi approaches the totality of a loved one’s life as measured in the small memories that stay with us. She sings, “When I think of you a movie-reel of moments plays / We’ll be in the car or after mass on Saturdays / You’ll be walking down the driveway, you’ll be in your chair / You’ll say ‘See you round’ or ‘Say your “Three”’ / And now you’re everywhere.” Gordi called on long-time collaborators and Bon Iver production duo Chris Messina and Zach Hanson to make “Sandwiches” at her family home in Canowindra, Australia — an old cottage littered with some of Sophie’s favorite pieces of musical arsenal combined with some flown in from Eau Claire, Wisconsin. The tiny farm town where her family has lived for over a century, Canowindra, and the heart of the matriarch, is embedded in this song. “Her whole life was in Canowindra…we made it in a house that’s a hundred meters from her house.”

                                                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                                                        Coloured LP Info: Limited edition 'Crisp White' vinyl.

                                                                                                                                                                                                                                                        Vibration Black Finger

                                                                                                                                                                                                                                                        Can You See What I'm Trying To Say

                                                                                                                                                                                                                                                          Lascelle 'Lascelles' Gordon - the driving force behind Vibration Black Finger – astonishes us yet again with a magnificent second album. Once more his inspiration is drawn from the obscure spiritual jazz collectives of the 1970s where he employs a vast array of like-minded collaborators to create a listening experience infused with an ever-present undercurrent of personal expression and cultural empowerment that's as enriched with ideas as it is progressive in its form.

                                                                                                                                                                                                                                                          Having earned his chops as founding member of the Brand New Heavies, Campag Velocet and Heliocentric World, Lascelle's latest album Can You See What I'm Trying to Say bursts with energy and vivid contrasts, flowing effortlessly between beat-laden grooves, oscillating improvisations, soulful recitations, audio verité and moody atmospherics. The album drops like a post-hip-hop reimagining of foundational genres, with a prayer to the future.

                                                                                                                                                                                                                                                          ''Can You See What I'm Trying to Say' is a quote from Marion Brown, the great alto saxophonist' explains Gordon. 'The album was put together over the last three years, not in the conventional way of going into the recording studio with musicians, but starting from ideas I had on various formats (cassettes, mini disc, DATs & reel to reel). I also used field recordings. I did a lot of home recording with long time musical friends Ben Cowen & Diana Gutkind, some of them going back 20 years. The voices of my nieces (heard on Law of the Universe) were recorded 25 years ago. 'Only in a Dream' and 'Empty Streets' are the only songs that were recorded live in the studio.'

                                                                                                                                                                                                                                                          'I was blown away by the New Life Trio 'Empty Streets' (from 1978) and was fascinated by the vocals' continues Lascelles. 'I always thought it would be great to cover this tune'. Such is the power of this song, it's used to open the album, with vocalist Ebony Rose turning in a thoroughly haunting vocal performance. While not a concept album as such, Lascelles has nonetheless conceived and presented Can You See What I'm Trying to Say to be heard as a complete listening experience, with each track blending into the next, resulting in a seamless expression of music.

                                                                                                                                                                                                                                                          Following 'Empty Streets', some instrumental interludes segue into a dimensional drift of beats, space synths, horns and electronics; there's a vocal reprise of 'Acting For Liberation', sung with gusto by Maggie Nichols, and then there's the album's momentous finale, 'Only In A Dream', which takes off as an ominous drone before a delicious bassline from the late Ken Kambayashi transforms it into an intense, soaring epic which finally descends onto another world.

                                                                                                                                                                                                                                                          In a career spanning several decades, Lascelle Gordon remains an omnivorous musical force, whether as DJ, collaborator or radio broadcaster. As amply demonstrated on Can You See What I'm Trying to Say, he refuses to rest on his laurels and continues to impress with music that is as rich, vital and contemporary as anything he's done before, covering an incredible amount of musical ground in the process.

                                                                                                                                                                                                                                                          Soulstatejazz

                                                                                                                                                                                                                                                          Annwn

                                                                                                                                                                                                                                                            The 4th LP from Banoffee Pies Records comes in the form of a debut album from Tom Ellis' new live ensemble, Soulstatejazz. The release titled "Annwn", is the result of a 3 day improvisation at Malt Barn studio, in the beautiful Nanerth Valley in mid Wales, forming a 6 track album of hybrid live/electronic jazz-house. The group, who first performed at Freerotation Festival as a morning journey, soon evolved into a flowing ensemble of musicians brought together by one of the core residents at the festival. With Tom Ellis (Bass, Drums, Percussion & Production), Mark Hand (Fender Rhodes & Moog), Michiel Renger (Tenor Sax) and Dave Elson (homemade Reaktor & Ableton instruments & FX) as the main backline of the band, the LP also features artists and residents connected to Freerotation and Malt Barn studio.

                                                                                                                                                                                                                                                            In Welsh folk law it was said "Annwn" [an:un] - "The Otherwold", was a world of delights and beauty located on an island or beneath the earth. A place of eternal youth and good, where food and fair health remained ever abundant as the wage of death and disease fell to it's way side. Commonly identifying in Welsh mythology as an afterlife of paradise.

                                                                                                                                                                                                                                                            Kansas Smitty’s

                                                                                                                                                                                                                                                            Things Happened Here

                                                                                                                                                                                                                                                              As the London Jazz Scene moves more and more towards the dancefloor, Kansas Smitty’s is the cinematic and meditative side of instrumental music. The new record from Kansas Smitty’s “Things Happened Here” is a modern classic. It’s a concept album who’s sole concept is to capture the complexity of the age we live in; lamenting its hardships and reflecting its beauty. Whilst their own-operated venue and bar was one of the conception points for the current jazz boom, Smitty’s have developed a musical voice wholly unique from what’s happening around them.

                                                                                                                                                                                                                                                              "Things happened here" is the feeling you get when you walk into an old house, an abandoned factory, or an ancient temple. It is that feeling that some combination of great and terrible things have occurred on the ground on which you now stand. It is rare, profound, and humbling. And most of all, it brings our significance or lack thereof into perspective. Because, where things happened, things will happen again.

                                                                                                                                                                                                                                                              Almost entirely written and produced by Giacomo Smith, the band leader who is at the centre of this seven piece band, and featuring nine original compositions “Things Happened Here” is the snapshot of a band reaching artistic maturity.

                                                                                                                                                                                                                                                              Kansas Smitty’s formed in 2013, have sold out Ronnie Scotts multiple times along with headline sell out shows at Jazz Cafe, Alexandra Palace Theatre, Shoreditch Town Hall, Cheltenham Jazz festival, Rochester Jazz (NY), North Sea and Love Supreme.

                                                                                                                                                                                                                                                              They launched their own bar, of the same name, on Broadway Market Hackney in 2015 which now promotes seven nights a week of live music and has hosted performances from artists as varied as Johnny O’Neil to Louis Cole. As well as international acts the venue is much more active as a hub for like minded local musicians to connect and create it has been not far from the centre of the london jazz explosion with Femi Koleso, Moses Boyd performing often and Theon Cross was an active member of Kansas Smitty’s the band until 2018.

                                                                                                                                                                                                                                                              It is a key space for the band to write and record new material. The band is composed of Giacomo Smith on alto, clarinet and bass clarinet Dave Archer on guitar, Ferg Ireland (Ashley Henry, Ruby Rushton) on double bass, Will Cleasby (Judi Jackson, Kurt Elling) on Drums, Joe Webb (Hailey Tuck) on piano, Alec Harper on Tenor and Mark Kavuma on trumpet.


                                                                                                                                                                                                                                                              JK Group are a powerhouse nu-jazz band fronted by Melbourne saxophonist Josh Kelly, best known for his work with future soul-jazz collective, 30/70, and being the 2019 PBS Young Elder of Jazz. They sit in the crossover of raw, live jazz and electronic/danc production. At times synth-heavy, effected and soundscapey, while at other times hard hitting groove laden with spiritual jazz overtones and no-holds-barred improvising. Their sound nods respectfully to classic jazz traditions, whilst carving a path that unashamedly looks towards the future, embracing modern influences and production techniques. The album received a 5* review from Melbourne's own Mike Gurrieri, and has garnered radio play on PBS, RRR, Worldwide FM, NTS and more.

                                                                                                                                                                                                                                                              Ahwlee

                                                                                                                                                                                                                                                              VII

                                                                                                                                                                                                                                                                Just in time for the remake of arguably the most iconic and influential turn based role playing video game of all time, Ahwlee drops VII; a seventeen track album sure to stir up the nostalgic memories of boxy and pixelated 32 bit goodness that inspired many of us in the 90's all the way up to now. Ahwlee tastefully presents us this tribute album as a testament of the weeks of his life spent beating this game countless amounts of times. With a large portfolio of work and ties with artists such as Pink Siifu (as B. Cool Aid), Earl Sweatshirt, MNDSGN, Maxo, Navy Blue, and many more emerging names/future gatekeepers in the art-form, this particular vinyl will be an absolute essential to any collectors out there. Multiple pieces of artwork for the record and tape were created by the ever so talented Kikkujo, really piecing this album into a masterpiece of its own. The cassette tape also contains bonus material not found on the record or digitally. You really gotta buy both, don't sleep

                                                                                                                                                                                                                                                                Various Artists

                                                                                                                                                                                                                                                                Early Works: Funk, Soul & Afro Rarities From The Archives

                                                                                                                                                                                                                                                                  ATA Records is pleased to announce the release of Early Works: Funk, Soul & Afro Rarities From The Archive, a compilation of tracks that were recorded at the very outset of the label and haven't been available since the initial limited run (Released as Funk, Soul & Afro Rarities: An Introduction To ATA Records on Here and Now Recordings) sold out 5 years ago.

                                                                                                                                                                                                                                                                  Since 2013 label founders and musicians Neil Innes & Pete Williams have been tirelessly fulfilling their shared dream of making the records they weren't hearing. Having spent years working in various bands both players felt the desire to break free of the constraints of working within another band and started on the slow path to creative autonomy by starting to work on the 12 tracks presented on this compilation.While deliberating their next steps they were approached by Here & Now records who licensed the 12 tracks and released them under the titleFunk, Soul & Afro Rarities: An Introduction To ATA Recordsin 2014 as a limited run of 300 copies that sold out within weeks of release.

                                                                                                                                                                                                                                                                  Now in 2020, celebrating their 5th year of running successfully as a label in their own right, ATA are re-releasing these 12 tracks on a new vinyl pressing under the titleEarly Works: Funk, Soul & Afro Rarities From The Archivewith new artwork and liner notes that detail the labels birth.

                                                                                                                                                                                                                                                                  The compilation features 12 tracks that include the very first 3 tracks from The Sorcerers that led to their self-titled debut LP & the first proper release on ATA, as well as the first recordings by The Mandatory Eight and The Yorkshire Film and Television Orchestr

                                                                                                                                                                                                                                                                  Various Artists

                                                                                                                                                                                                                                                                  Inner City Review

                                                                                                                                                                                                                                                                    A songwriter and studio musician behind troves of soul, rock and R&B records from the late ‘50s onwards, it shines a fresh light on Semper’s influential behind-the-scenes role. He was the creative force behind Hammond organ classic “Makin’ Waves”, the cult 1977 Bay Area funk record “The Perfect Circle”, and a collaborator with the likes of Donny Hathaway, Jimmy Smith and Brenton Wood. It’s the third release on the “reissues and oddities” imprint launched last November by Peterson.

                                                                                                                                                                                                                                                                    On “Inner City Review”, Semper is backed by his killer "The" George Semper Orchestra players comprised of the core Merry Clayton band members, as a showcase for their distinctive cosmic funk sound (including two of only three tracks credited to them as a standalone group), featuring drummer Ollie Brown, who would later work with the likes of Minnie Ripperton, The Temptations and Stevie Wonder. Originally released on the obscure SECO Records Hollywood label, only 100 copies were pressed. Gilles bought the record some years ago at Groove Merchants in San Francisco, but only recently posted it on Instagram where it was spotted by George Semper’s son and archivist Joel S. Brockman. The record has been re-mastered directly from the original analogue tapes, and includes new sleeve notes from Brockman. A multi-instrumentalist, composer and producer, acclaimed for his innovative funky organ sound, Semper’s Hammond-playing style was an influence on The Doors and The Rolling Stones. His career saw him cross paths with the likes of Charles Stepney, and – as the co-owner of several influential San Diego venues – presented Frank Zappa’s first professional show, booking him to open for Little Richard and Jimi Hendrix.

                                                                                                                                                                                                                                                                    The record features a stellar cast of vocalists, spanning from the then established Jimmy Hayes (of The Persuaders), who graces the uptempo ‘Goody Goody Gumdrops’ and plaintive ‘Queen For A Day’, to the Semper-discovered Lewis Flournoy (aka Robinhood), Flouroy’s stunning, graceful falsetto first featured on a Semper’s 45 by Capitol Records - the the B Side of that 45 "Let's Live and Let Live" (Extended Version) is on ‘Inner City Review.’ These entries are some of the only material Flouroy ever recorded all co-written with Semper and Basey Green. Likewise, Troy "Troiel" Raglin, who features in "The Love Affair" on two romantic soul entries co-written with Semper and Marshal McQueen Jr., was a Semper collaborator who went on to lead the wildly successful Spaceark band three years later. Marshall McQueen, Jr. who wrote the track "You're So Good To Me" recently passed in April 2020. He's most known as writer of Miles Graysons "Stuck In The Mud" but has thousands of compositions and is popularly known.

                                                                                                                                                                                                                                                                    Recorded after a formative stint in Las Vegas, where Semper backed the likes of Ray Charles, James Brown and Sammy Davis Jr, “Inner City Review” opened the door for his later work with his Inner City Records label. It was through his years in Vegas that he met some of the players who would go on to feature on the record, including tenor sax player David ii Majall (Parliament, SOS Band, Pointers Sisters) and bass percussionist Basey Green (Nancy Wilson, Carol King, Charles Wright & The Watts, 103rd Street Rhythm Band, Pure Funk).

                                                                                                                                                                                                                                                                    An independently-produced and recorded album, in keeping with Semper’s many other small-run private pressed records, Semper used his day-job as a musician to get precious studio time, bagging time in the A&M Hollywood lot for the album’s recording sessions. (At the time, he was playing with Merry Clayton, a singer who – after her solo career declined – became a backing singer and would go on to feature in the 2013 film 20 Feet From Stardom.)

                                                                                                                                                                                                                                                                    An all-killer, rarely heard collection of music, documenting an important moment in Semper’s career, as he laid the foundations for the independent-minded Inner City Records label, as well as the game-changing Bay Area funk sound that has made “The Perfect Circle” a sought after cult classic.

                                                                                                                                                                                                                                                                    Various Artists

                                                                                                                                                                                                                                                                    Typical Girls Volume Five

                                                                                                                                                                                                                                                                      "Who invented the Typical Girl?" The Slits gleefully proclaimed as they attacked sexual stereotypes way back in 1979. There are no typical girls. Just remarkable women making remarkable music, as this compilation highlights. VOLUME FIVE of the ever popular series, featuring 16 of the worlds greatest current female fronted punk and indie bands from around the globe.

                                                                                                                                                                                                                                                                      Various Artists

                                                                                                                                                                                                                                                                      Louis Wayne Moody High

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

                                                                                                                                                                                                                                                                        The lost yearbook from Louis Wayne Moody High’s graduating class of 1967, chronicling the peaks and valleys of teenage angst, lost loves, and life after summer vacation. Fourteen moody melodies of surf kings, guitar Bettys, talent show psychers, and pre-S.D.S. soft- poppers. Walls of jangly guitars, maudlin organs, and melancholy harmonies deliver the bummer to ring in the summer.

                                                                                                                                                                                                                                                                        Phoebe Bridgers

                                                                                                                                                                                                                                                                        Punisher

                                                                                                                                                                                                                                                                          Phoebe Bridgers doesn’t write love songs as much as songs about the impact love can have on our lives, personalities, and priorities.

                                                                                                                                                                                                                                                                          Punisher, her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. The arrival of Punisher cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era.

                                                                                                                                                                                                                                                                          Bridgers is the rare artist with enough humour to deconstruct her own meteoric rise. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others, Bridgers herself is more interested in discussing topics on Twitter, deadpanning meditations on the humiliating process of being a person, she presents a sweetly funny flipside to the strikingly sad songs she writes. Fittingly, Punisher is fascinated with, and driven by, that kind of impossible tension. Whether it’s writing tweets or songs, Bridgers’s singular talent lies in bringing fierce curiosity to slimy and painful things, interrogating them until they yield up answers that are beautiful and absurd, or faithfully reporting the reality that, sometimes, they are neither.

                                                                                                                                                                                                                                                                          Bridgers pulls together a formidable crew of guests, including the Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst as well as Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys). The album was mixed by Mike Mogis, who also mixed Stranger In The Alps. On the album’s epic, freewheeling closer, “I Know The End,” Bridgers orchestrates wails and horns, drums and electric guitar into a sumptuous doomsday swirl, culminating in her own final whispered roar.

                                                                                                                                                                                                                                                                          This is Punisher in a nutshell: devastating elegance punctuated by a moment of deeply campy self-awareness.

                                                                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                                                                          Coloured LP Info: Blue green swirl vinyl.

                                                                                                                                                                                                                                                                          Various Artists

                                                                                                                                                                                                                                                                          The Ladies Of Too Slow To Disco Vol. 2

                                                                                                                                                                                                                                                                            On Volume 2 of The Ladies of Too Slow to Disco, DJ Supermarkt has brought together 16 compelling tunes and hidden gems from 1974-82 that tell a deeper, more political story, while taking the suave sounds you love into new territory: soul, gospel and jazz. The songs on this compilation are from women who were taking control of their own careers, making an independent stance in the some of the most trying years for women in the history of the recording industry. In an effort to tell the often untold, yet deeply influential, stories of this delicious period of music, Volume 2 highlights songs from players who broke through the machismo that sat upon the glass ceiling before them to create classics.

                                                                                                                                                                                                                                                                            As with every TSTD release, you will uncover lost classics and should-have-been-hits into the overdue limelight. You’ll find confessional funk and sultry disco, 5th Avenue flounce and soulful midnight aching. You will discover artists here who were movers and shakers from the 1970s Women’s Music movement, artists determined to fashion a music industry that worked for them. You’re in the company of musical royalty. The Ladies of Too Slow to Disco 2 brings you the smartest writers and singers, Grammy winners and unforgettable performers, all at the peak of their powers.

                                                                                                                                                                                                                                                                            Sébastien Tellier

                                                                                                                                                                                                                                                                            Domesticated

                                                                                                                                                                                                                                                                              An electronica album that buzzes with humanity, his most melodically refined work to date and a joyous Franco-pop fantasia.

                                                                                                                                                                                                                                                                              The parisian pop genius took one of his famous leaps into the unknown with the release of his recent single ‘a ballet’. Sonically it was full of the character you’d hope for him to deliver - dreamy French electronica, classic pop songwriting and yacht rock-style sax. Thematically, however, it played with the unlikely parallels between music and the never-ending routine of domestic life. As he questions, “maybe the key to happiness is there, hidden under a dirty laundry basket?” setting himself apart from an ocean of beat-makers, Tellier wrote the vocal melodies first and then arranged the instrumentation around them. His surge of inspiration was such that he wrote 200 songs for the project, yet he also possessed the discipline to keep the final album to a taut and concise eight tracks.

                                                                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                                                                              Coloured LP Info: Yellow translucent vinyl.

                                                                                                                                                                                                                                                                              Darkstar

                                                                                                                                                                                                                                                                              Civic Jams

                                                                                                                                                                                                                                                                                Darkstar announce their fourth album ‘Civic Jams’ for release on Warp.

                                                                                                                                                                                                                                                                                On their most personal record to date, Darkstar counterbalance observations of their home with those of the community surrounding it. ‘Civic Jams’ is a photonegative of a dance record shaped by a dialogue between shoegaze atmospherics and UK bass music’s ‘hardcore continuum’. Darkstar find themselves at once looking homeward and venturing further into their own psychic hinterland with each record.

                                                                                                                                                                                                                                                                                They’ve covered a lot of ground from the introspective expanse of their debut ‘North’ [2010], to utopian visions of society in ‘News From Nowhere’ [2013] and the unique dynamics of a pre-Brexit northern England on ‘Foam Island’ [2015]. On their latest offering, home is within reach.

                                                                                                                                                                                                                                                                                Inspired by the intervening years, Darkstar (aka Aiden Whalley and James Young) show how the personal can be political and reveal more of themselves than they’ve ever done before. Imagine emotional realism built from spectral rave echoes, anchored in timeless songs of love and loss in the digital now and you’ve got it. Patterns of isolation are increasingly easy to fall into, especially when public spaces where people play, socialise, dance and protest are closed. ‘Civic Jams’ is about reminiscing over loss, whilst moving forward with those we love. It offers an abstract look at life’s nuances and the search to find something to hold on to and enjoy.

                                                                                                                                                                                                                                                                                Ancient rites of witchcraft and wisdom are the theme for Red Laser's 2nd release of 2020, with chief sound sorcerer Kid Machine consulting the eight schools of magic to create a spellbound opus of Manctalo mystery.

                                                                                                                                                                                                                                                                                Across the 8 defined classes: Divination, Abjuration, Enchantment, Necromancy, Illusion, Conjuration, Evocation & Transmutation; Kid Machine renders these archaic energies into reactive musical matter. Much like mages and hierophants have kept centuries-old traditions and processes; the studio wizardry of Kid Machine reflects the various epochs of electronic music preceding it: the wistful yearning of vintage Italo coalescing with the charged energy of Northern English dance music and crafted via a meticulously sourced array of esoteric sound tools.

                                                                                                                                                                                                                                                                                Side A's 'Magico', schooled in Divination, opens the LP.
                                                                                                                                                                                                                                                                                A rugged rhythmic synth line nicely tweaked and with tasty clavs it's further expanded with glassy keys and a vocal refrain reminding us of its future-predicting powers.
                                                                                                                                                                                                                                                                                'Make Me Feel Alright', protecting us with Abjuration, employs both squelchy and staccato synthesizer functions to construct its impenetrable gilded fortress. Banishing its foes to far-away lands with classico leads and a chord progression steeped in Italian nostalgia.
                                                                                                                                                                                                                                                                                Snappy freestyle beats, galloping arps and searing melodies enchant 'S.D.M', an alchemical hybrid of electro-disco and pulsating EBM that would surely convince plenty, previous, non-compliers to frequent the poppers-drenched dark rooms of Europe's nocturnal underbelly.

                                                                                                                                                                                                                                                                                Meanwhile, channelling dark necromancy, 'You're Love' closes off disc one with some of the most authentic, Italo-inspired keyboard interchanges and spirit-raising sequences available on the album.
                                                                                                                                                                                                                                                                                Next come the winds & tides of Illusion and Conjuration. 'NGAFFS's' anthemic licks emanate off the wax. Broken down to 'not giving a flying fuck', it's Kid Machine's most spine-tinglingly epic track to date; uniting all under its Tesla-like harnessing of zero-point energy. Add coital thrust and you find us physically trying to grab the holographic, multi-dimensional synth fractals from the air in front of us upon first listen!

                                                                                                                                                                                                                                                                                'Muszic' continues with another grandiose Manctalo coup de grace, full of sentiment and yearning.

                                                                                                                                                                                                                                                                                Inviting Evocation through smokes & strobes, 'Modera' sees amyl nitrates recklessly thrown into the cauldron, tantalizing arpeggios stroking our most erogenous zones with abandon.
                                                                                                                                                                                                                                                                                Finally, 'The White Hotel', assigned: Transmutation - is a tribute to the infamous nightspot contained within Red Laser's immediate territory, and home for the crew's many spectacular parties.
                                                                                                                                                                                                                                                                                It's a fitting homage as galloping analogue sequences march over sensual strings and moody chord progressions; evoking that irreplaceable feeling of being surrounded by your favourite homo sapiens in one of the most hedonistic locations on planet Earth.

                                                                                                                                                                                                                                                                                "Those who don't believe in magic, may never find it...".

                                                                                                                                                                                                                                                                                Ron Sexsmith

                                                                                                                                                                                                                                                                                Hermitage

                                                                                                                                                                                                                                                                                  The first new album from the Canadian songwriting legend since his move from his longtime home of Toronto to a more bucolic life in Stratford, Ontario. Ron worked with producer Don Kerr to create this album; the two set up in Ron’s living room to record where Ron played all the instruments for the album, with the exception of the drums.

                                                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                                                  Coloured LP Info: Indies exclusive pink vinyl.

                                                                                                                                                                                                                                                                                  Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                                                                                  Diet Cig

                                                                                                                                                                                                                                                                                  Do You Wonder About Me?

                                                                                                                                                                                                                                                                                    They’ve been compared to tornadoes, firecrackers, and lightning storms, and described as genuine, unapologetic, and down-to-earth. And today Alex Luciano and Noah Bowman of gutsy rock duo Diet Cig are excited to announce their sophomore full-length, Do You Wonder About Me? 

                                                                                                                                                                                                                                                                                    Do You Wonder About Me? Is the follow-up to 2017’s Swear I’m Good At This. The new record marks a more intentional, self-assured Diet Cig; not only in Luciano’s radically intimate, acerbic lyrics, but in the duo’s sound as well. Luciano and Bowman moved to Richmond, VA in the summer of 2017 as a place to “hide out and make music,” and it was there that they wrote Do You Wonder About Me?, Diet Cig’s ode to growing up.

                                                                                                                                                                                                                                                                                    “We spent a lot of time after the first record growing as people, being humans outside of tour for a little bit, and trying to shed the imposter syndrome.” Luciano says. Spending the time to make the kind of music they really wanted to make and making sure they felt good about it was crucial to the success of tracks like “Night Terrors.” It’s a slower-paced song than Diet Cig’s usual, but just as biting; a song about reckoning with all the past versions of yourself. As Luciano puts it, “Am I still these people, or have I shapeshifted?” It’s essentially the thesis of Do You Wonder About Me?, considering and accepting the embarrassing aspects of your identity, and how they’re just as much a part of you as the good stuff.

                                                                                                                                                                                                                                                                                    “When we made our first record we almost felt like we had something to prove,” Luciano says. Much of it was written on tour—the kinks in the songs worked out by playing them live. But the writing and recording of Do You Wonder About Me? was imbued with more freedom. Diet Cig had the sense that they could make whatever they wanted. Luciano and Bowman, instead of practicing live to an audience, worked on their songs over the course of a year in their practice space, and ended up finishing tracks with their longtime producer Chris Daly at Headroom Studios in Philadelphia, PA, and back in New Paltz, NY at Salvation Recording. Instead of making sure they’d fit their live show, Diet Cig tinkered with songs until they felt right to them. As a result, Do You Wonder has a freshness, a gleaming new direction. Fewer boundaries. More truth, more honesty.

                                                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                                                    Coloured LP Info: Glow in the dark green vinyl.

                                                                                                                                                                                                                                                                                    Indies Exclusive LP Info: Baby pink vinyl.

                                                                                                                                                                                                                                                                                    Wire

                                                                                                                                                                                                                                                                                    10:20

                                                                                                                                                                                                                                                                                      Originally scheduled for RSD 2020 Pink Flag have decided to make 10:20 a regular LP/CD release. A glimpse into Wire’s working practices, when Wire play live there are different 3 classes of pieces that are performed, new songs, old songs and “new old” songs. The latter often involves taking something that existed on a previous release and re-working it, very often evolving a stage highlight from it. There also pieces that have never seen a major release but for some reason never fitted on an album. The best of these ideas were recorded in 2 sessions - one relating to Red Barked Tree but recorded in 2010 and another relating to Wire’s latest album Mind Hive released in 2020. Incidentally celebrating the decade Matt Simms has been with the band.

                                                                                                                                                                                                                                                                                      The album divides in to two halves - the 2010 side & the 2020 side - hence the title.

                                                                                                                                                                                                                                                                                      Tracks 1 to 4 were recorded in the latter part of 2010 and feature contributions from both Margaret Fielder (of Laika) – who had been performing guitar duties with Wire on live dates the previous year – and Simms, who was on the point of becoming an official member of the band.

                                                                                                                                                                                                                                                                                      Track 1 ‘Boiling Boy’ first appeared on 1988’s A Bell is a Cup… Until it is Struck. ‘Boiling Boy’ has gone on to become perhaps the most played Wire song ever. Throughout the ’00s, it became one of the acknowledged highlights of Wire’s live sets.

                                                                                                                                                                                                                                                                                      Track 2 ‘German Shepherds’ is another late ’80s Wire song that has developed a second life on stage. The recording is also notable in that it includes vocal contributions from Newman, Lewis and Fielder.

                                                                                                                                                                                                                                                                                      Track 3 ‘He Knows’ was developed back in 2000 when Bruce Gilbert was still with the band. It emerged in a reinvigorated form in 2008 when it became a staple of Wire’s live show. This is the only studio recording to have surfaced.

                                                                                                                                                                                                                                                                                      Track 4.’Underwater Experiences’ was demoed for the band’s sophomore album Chairs Missing, but in the end was omitted. Having lay dormant for a couple of years, the song later appeared in two fast, abrasive, contrasting versions on Wire’s notoriously confrontational live album Document And Eyewitness, and a fifth iteration surfaced on 2013’s Change Becomes Us. However, the song has never sounded quite as it does here .

                                                                                                                                                                                                                                                                                      Tracks 5 to 8 were recorded more recently with the long-established line up of Newman, Lewis, Grey and Simms.

                                                                                                                                                                                                                                                                                      Track 5 . ‘The Art of Persistence’ arrived fully formed when Wire reconvened in 2000. But it was previously only available as a rehearsal room run-through on long deleted EP The Third Day or as a live version on Legal Bootleg album Recycling Sherwood Forest.

                                                                                                                                                                                                                                                                                      Track 6 ‘Small Black Reptile’ originally appeared on the band’s 1990 album Manscape. Of all the reimagined songs on 10:20, this is the one that has traveled the furthest. Whereas the original was a skeletal and arch computer-driven pop song, this new version sees the composition retooled as a piece of melodic rock.

                                                                                                                                                                                                                                                                                      Track 7 ‘Wolf Collides’, with its warm synth tones and spindly lead lines, sounds as if it deserves to be sitting regally on side two of 1978’s Chairs Missing. In actual fact, it was written in 2015 and became a stalwart of that year’s live set. This version was recorded for inclusion on 2017’s Silver/Lead but was omitted due to lack of space.

                                                                                                                                                                                                                                                                                      Track 8 ‘Over Theirs’ is the climax of the continuing reassessment of Wire’s 1980s output. Although the song appeared on The Ideal Copy and has been an intermittent component of the group’s live shows since 1985, its true power had never been properly harnessed in the studio – until now.

                                                                                                                                                                                                                                                                                      10:20 is that rare thing: an album that not only serves as a must-have for long-term fans and completists, but paradoxically also the perfect introduction for anyone new to the band.

                                                                                                                                                                                                                                                                                      Melodien

                                                                                                                                                                                                                                                                                      Apeiron

                                                                                                                                                                                                                                                                                        Liverpool’s Harry Sumnall has been creating his beautifully melodic kosmische / kraut themed electronica for several years now; with 3 full lengths previously for both PY and sister label Deep Distance. Each sells out in super quick time and all have attained rave reviews, 6 music plays and so on….

                                                                                                                                                                                                                                                                                        To quote Harry himself on the record: “Apeiron is the boundless infinite- overwhelming, interwoven and repetitive creation and destruction of thought. Drawing inspiration from Peter Michael Hamel, Jonathan Fitoussi, and Suzanne Doucet, ‘Apeiron’ blends minimalism, sequenced primitive percussion, kosmische strings and new age tintinnabulation”. To these ears there is also a distinct tip of the hat to the work of Richard Pinhas solo and with Heldon and Cluster and is strongly recommended to fans of present day heroes like Emeralds and on / off label mates Timothy Fife, Polypores, Panabrite and Umberto.

                                                                                                                                                                                                                                                                                        A lovely record, presented in reverse board sleeves with fabulous sleeve art from Mike McKenney; the record is rich, exploratory and ambitious- and one which isn’t expected to hang around long…

                                                                                                                                                                                                                                                                                        This one is an example of the co-operative kind of nature PY actively seeks to promote- as the release is almost a private press of Harry’s alone, (whilst PY battles the huge timescaled backlog on promised releases made worse by the lockdown) but when a record is this good it’s never a problem to assign it a PY release / cat no. etc, even if you’re all getting it from a different source than usual….

                                                                                                                                                                                                                                                                                        Skinshape

                                                                                                                                                                                                                                                                                        Umoja

                                                                                                                                                                                                                                                                                          Fifth studio album featuring Malcolm Catto, D'Alma, Idd Aziz and Modou Touré. Includes the singles Sua Alma, In The End and Afande. His most accomplished album to date Will Dorey aka Skinshape moved out of his comfort zone to create a new sound while retaining his trademark feel. While Skinshape has often been influenced by African music ‘Umoja’ directly incorporates styles and rhythms from the continent. Drawing on London’s vast talent pool from across the globe collaborators bring the essence of Senegal, Portugal, Ghana and Kenya via Norway no name but a few.

                                                                                                                                                                                                                                                                                          The initial plan was to travel to various African nations to record ‘Umoja’. This proved to be an unnecessary step because Skinshape's hometown of London ended up bearing many fruits. It was a challenging project for Dorey taking a year and a half of dedicated work to complete with many ideas left unfinished along the way. The album has a very global feel which was enhanced at the end of the process by a collaboration with Japanese painter Ken-ichi Omura. Fans of Skinshape’s distinctive voice will not be disappointed as he features on ‘In The End’ and ‘Sun’. Long-time friend and collaborator Jon Moody (from the band Franc Moody) wrote the album’s horn parts. 

                                                                                                                                                                                                                                                                                          MJ Cole

                                                                                                                                                                                                                                                                                          Madrugada

                                                                                                                                                                                                                                                                                            Madrugada is the Spanish word for those strange, seductive hours before sunrise. A familiar stretch of time for the seasoned raver – and for MJ Cole, an artist who’s spent much of his career exploring those magical moments. Yet despite so many nights in the clubs, some of his most powerful memories of the madrugada hours have nothing to do with dancefloor euphoria.

                                                                                                                                                                                                                                                                                            “I've experienced a lot of early mornings, but having been up from the night before,” he says, remembering one special morning on the Severn Bridge, driving home from a solo gig and watching the sun come up. “For me, the early morning is a significant period.” With MJ Cole presents Madrugada, he sets out to capture that special feeling with an album unlike anything he’s done before.

                                                                                                                                                                                                                                                                                            Holy Hive

                                                                                                                                                                                                                                                                                            Float Back To You

                                                                                                                                                                                                                                                                                              Big Crown Records is proud to present Float Back To You, the debut full length album from Holy Hive. Homer Steinweiss, the Brooklyn based soul/funk drummer, always had a soft spot for folk music. Paul Spring, a young idealist folk singer traveling the country with his guitar, always had a beautiful falsetto in his back pocket. A family introduction would lead to Homer producing a few solo records of Paul's, which would eventually lead to the creation of Holy Hive. The two enlisted Joe Harrison on bass and started out 2 recording their first tunes as a group. A tour with soul legend Lee Fields would turn out to have an unexpected effect on their sound as they played their material to crowds of soul fanatics looking to dance. It was this realization that forced the next step in their evolution and gave birth to a sound unique to Holy Hive, a sound that walks a line so perfectly it necessitated a new genre, Folk Soul.

                                                                                                                                                                                                                                                                                              Homer has been drumming professionally since 2000 and has provided the back beat to records by Amy Winehouse, Bruno Mars, The Jonas Brothers, and Lady Gaga to name a few. He has toured the world over with soul acts like Sharon Jones & The Dap Kings and The Arcs. With all of that under his belt, Holy Hive is the first band that is truly his own and you can hear that it is close to his heart. Paul is from a small town in Minnesota where he spent his formative years studying Ancient Greek mythology and practicing classical guitar. He toured the states for years with only the company of his guitar, playing solo shows to make ends meet and occasional library gigs promoting his self released children's record, Home Of Song.

                                                                                                                                                                                                                                                                                              Listening to their debut album, their different experiences and influences have all shown up. From the heavy downbeat of the lead single "Broom" to their intimate cover of Honeybus' "Be Thou By My Side," Float Back To You showcases their songwriting prowess as well as their impeccable musicianship. Spring's fondness for ancient mythology shows up in a few places on the album as well adding another level to their work. They adapt the Greek poet Sappho's "Fragment 31" to music on "Embers To Ash" and completely rework the Irish folk tune "Red Is The Rose" into a modern day two stepper. Another standout track is the already classic "Oh I Miss Her So," which first showed up on their 2018 Harping EP and features accomplished harpist Mary Lattimore and trumpet by Dave Guy of The Roots. The symbiotic relationship of Homer and Paul has been likened to that of an oxpecker and a black rhino.

                                                                                                                                                                                                                                                                                              Paul's delicate falsetto and fluttering guitar rests atop Homer's brawny drums in perfect harmony. There are many levels to Holy Hive, some of them show up on the surface, but some of them are like the album's title track; you listen to a gorgeous love song only to find out later it is about coming home to your cat. This is perhaps the most telling of Holy Hive, they are easy to like on first listen but spending time with their music will reveal a much deeper experience.

                                                                                                                                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                                                                                                                                              Coloured LP Info: Blue Seafoam Wave vinyl.

                                                                                                                                                                                                                                                                                              Jennifer Touch

                                                                                                                                                                                                                                                                                              Behind The Wall

                                                                                                                                                                                                                                                                                                Equally at home on and off the dancefloor, it’s wave-kissed dreariness dripping with cold sensuality is both vibrant and brooding. Showcasing her unique sound in the saturated world of electronica, Touch successfully draws from electropop and disco influences, combining 80’s vintage synths with industrial soundscapes, delivered with a visceral post-punk snarl. Introduced to 80’s pop and new wave via her father’s extensive collection of Human League, Karat and Duran Duran, she honed her trademark sound with the likes of The KLF, Karen O and PJ Harvey motivating her early productions. The results led to releases on Catz ‘N Dogz’ Pets Recordings and Lunatic Records, as well as making regular appearances on Riotvan, the Leipzig-based record label run by Peter Invasion and co-owned by Panthera Krause. ‘Behind the Wall’ opens with the dark and powerful ‘Imaginary Boys,’ a soundtrack to Touch’s long journey through the city to the studio each day. It is followed by ‘Attic,’ which she describes as the “driving point of the whole album.” It’s an invitation to dance with me, a lullaby, a consolation,” she says. “Like a mantra.” And that is exactly what this record feels like.

                                                                                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                Coloured LP Info: Translucent Red Vinyl.

                                                                                                                                                                                                                                                                                                Poolside

                                                                                                                                                                                                                                                                                                Low Season

                                                                                                                                                                                                                                                                                                  Poolside’s first new full-length LP in three years. 'Low Season' marks the first Poolside album to be wholly produced by founding member and visionary Jeffrey Paradise following the departure of co-founding member Filip Nikolic in 2017.

                                                                                                                                                                                                                                                                                                  The album – which follows 2017’s breakthrough second LP, 'Heat' - showcases Poolside’s classic daytime disco sound with a wider array of producers, songwriters and musicians. Paradise collaborated with Panama, Ben Browning (Cut Copy), Amo Amo, Psychemagik and various others on crafting the album.

                                                                                                                                                                                                                                                                                                  He was also joined in the studio by members of the extraordinarily powerful Poolside live band, including drummer Vito Roccoforte (The Rapture), bassist/vocalist Mattie Safer (The Rapture), percussionist Brijean Murphy (Toro Y Moi, U.S. Girls) and saxophonist/keyboardist/multi-instrumentalist Casey Butler (Pharaohs). 

                                                                                                                                                                                                                                                                                                  The Spitfires

                                                                                                                                                                                                                                                                                                  Life Worth Living

                                                                                                                                                                                                                                                                                                    Fronted by creative lynchpin Billy Sullivan, this startling three-piece – augmented by three other musicians when playing live - have cemented a loyal fanbase since their inception some five years ago and alongside Sam Long, bassist and drummer Matt Johnson whilst initiating album sales in excess of 20k and a tour itinerary approaching nearly three hundred gigs.

                                                                                                                                                                                                                                                                                                    Life Worth Living is a contrasting melting pot of unadulterated joy and melancholy, laughter, tears, frustration and peacefulness. Quiet and introspective moments collide with loud and angry times and no less powerful. At its heart is a sense of hope that things can be better, the title reflects that aspiration.

                                                                                                                                                                                                                                                                                                    Produced by Simon Dine, who was behind the desk for Paul Weller’s 22 Dreams and Wake Up The Nation amongst a varied CV - has harnessed the undoubted vibrancy and swagger of the band’s live show helping create an ambitious album – a vehicle for the talents of Sullivan, Long and Johnson.

                                                                                                                                                                                                                                                                                                    From the infectious brass-infused opener, Start All Over Again, the Nutty Boys-esque title track Life Worth Living to Tear This Place Right Down bathed in soul overtones, the ballad-like wonder of How Could I Lie To You? to the ska riffage of single (Just Won’t) Keep You Down and the magnificent finale of Make It Through Each Day.

                                                                                                                                                                                                                                                                                                    Various Artists

                                                                                                                                                                                                                                                                                                    Dr Packer: Different Strokes Vol.2

                                                                                                                                                                                                                                                                                                      One of Australia’s finest musical exports, Dr Packer returns to Glitterbox for Different Strokes Volume 2 after the incredible three-part first edition of the series. Ahead of the full-length album, this first sampler highlights three stellar cuts from the forthcoming LP, showcasing Dr Packer’s expert abilities to produce soulful versions of house and disco essentials. If this sampler is anything to go by, Different Strokes Volume 2 is set to be a stunning album from one of disco’s brightest stars.

                                                                                                                                                                                                                                                                                                      Various Artists

                                                                                                                                                                                                                                                                                                      High Fidelity

                                                                                                                                                                                                                                                                                                        Mondo in partnership with Hollywood Records and HULU are proud to present the soundtrack to the HULU Original series HIGH FIDELITY.

                                                                                                                                                                                                                                                                                                        Based on the novel and film of the same name, the all new 10 episode series (premiering this Valentine's Day) reimagines the story of our music obsessive, perpetually heartbroken record store owner Rob (Zoe Kravitz) in 2020 Williamsburg, Brooklyn.

                                                                                                                                                                                                                                                                                                        Naturally, the show has stellar music and we are proud to present the soundtrack to the series on vinyl — as Rob would've wanted it. Featuring classic tracks by the likes of Ann Peebles, Darando, William Onyebor, Blondie, as well as several original songs and covers from the series itself.

                                                                                                                                                                                                                                                                                                        Various Artists

                                                                                                                                                                                                                                                                                                        Kiwi Animals: Future / Primitive Aotearoa

                                                                                                                                                                                                                                                                                                          Strangelove’s personal Inventory of NZ 1980’s odd pop; ‘Kiwi Animals’ recasts the local charts in a parallel universe of misfit melodics, gonzo-tronics & strange waves. Channelling South Pacific voodoo and edge of world melancholia, the album highlights electronic tangents from iconic NZ groups Blam Blam Blam & Headless Chickens. It dredges the cassette revelations of art avante-gardists’ Drone & Kim Blackburn, alongside bittersweet moments from Rupert & Norma O’Malley. There’s the infectious minimal wave of Ballare and a reprised electro-boogie dance suite (?!) from Tom Ludvigson & Graeme Gash. The furthest depths of Flying Nun’s catalog are also plundered- a brilliant earworm from Stiff Herbert and a mysterious “Roger” Knox birthday promo. Mining disparate seams of a local indie label awakening, the various tangents of ‘Kiwi Animals’ congeal with a future/primitive sensibility and an underlying Antipodean mischievousness…

                                                                                                                                                                                                                                                                                                          Various Artists

                                                                                                                                                                                                                                                                                                          Love Saves The Day: A History Of American Dance Music Culture 1970-1979

                                                                                                                                                                                                                                                                                                            For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world.

                                                                                                                                                                                                                                                                                                            Having conducted the first and set of major interviews with David Mancuso of the New York City Loft, Lawrence started to host Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In February 2004 he published the first of three published three pioneering histories that have excavated and championed the previously overlooked foundations of contemporary party culture: Love Saves the Day: A History of American Dance Music (1970-79), Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene (1973-92), and Life and Death on the New York Dance Floor (1980-83). Since 2018 Lawrence has hosted and DJed at the community audiophile party "All Our Friends. Paper Magazine describes him as the “reigning authority on the history of dance music in New York”.

                                                                                                                                                                                                                                                                                                            With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

                                                                                                                                                                                                                                                                                                            Memnon Sa

                                                                                                                                                                                                                                                                                                            World Serpent

                                                                                                                                                                                                                                                                                                              Brand new on the very intriguing label Holy Mountain, born from the Hackney recording studio of the same name.

                                                                                                                                                                                                                                                                                                              World Serpent is the fourth album from the label's owner, London producer and composer Misha Hering, under the Memnon Sa banner. It is released in partnership with specialist Metal record shop and label Crypt Of The Wizard.

                                                                                                                                                                                                                                                                                                              World Serpent is an album in the classic sense of the word, a 40 minute, psychedelic document of deep exploration, high drama and gleaming production. Misha Hering has used the last decade forming Memnon Sa into a psychomagical Black Metal and Prog studio project trawling forgotten lore and legend, using his Holy Mountain HQ to slowly grow his ritualistic membership to form an otherworldly orchestra, which this time features members of experimental art-pop group Virginia Wing, sludge veterans Ghold and Wren.

                                                                                                                                                                                                                                                                                                              Jehnny Beth

                                                                                                                                                                                                                                                                                                              To Love Is To Live

                                                                                                                                                                                                                                                                                                                Debut solo album from the Savages frontwoman Jehnny Beth. Her distinctive, dynamic vocals give the album a similar intensity to her work with Savages, but whereas Savages ploughed a very distinct post punk furrow, her solo work doesn’t just blur the genre boundaries, it stomps straight through, taking in everything from industrial noise, jazz and gothic pop.

                                                                                                                                                                                                                                                                                                                The album features collaborations with Joe Talbot (IDLES) and Irish actor and musician Cillian Murphy.

                                                                                                                                                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                Coloured LP Info: White vinyl.

                                                                                                                                                                                                                                                                                                                Liam Gallagher

                                                                                                                                                                                                                                                                                                                MTV Unplugged

                                                                                                                                                                                                                                                                                                                  Last summer Liam Gallagher joined the list of all-time greats (Paul McCartney, Page and Plant, Nirvana and many more) who have filmed a prestigious MTV Unplugged session. Having missed Oasis’s 1996 session through illness, the show at Hull’s City Hall found Liam fulfilling some unfinished business entirely on his own terms.

                                                                                                                                                                                                                                                                                                                  Now Liam is set to release the ‘MTV Unplugged’ live album of the show on April 24th.

                                                                                                                                                                                                                                                                                                                  The show’s electrifying atmosphere is palpable from the very beginning with a phenomenal reaction as Liam takes to the stage with ‘Wall of Glass’. Material from Liam’s solo career such as his personal favourite ‘Once’ and the joyous ‘Now That I’ve Found You’ resonates in this stripped-back format, with his vocal shining alongside a trio of backing singers and string arrangements performed by the 24-piece Urban Soul Orchestra.

                                                                                                                                                                                                                                                                                                                  Oasis guitarist Bonehead features on performances of ‘Some Might Say’, ‘Stand By Me’, ‘Cast No Shadow’ and Liam’s first ever live vocal performance of the ‘Definitely Maybe’ bonus track ‘Sad Song’. The show concludes on a crowd-pleasing high with an emotive take on the classic ‘Champagne Supernova’.

                                                                                                                                                                                                                                                                                                                  Liam launches the ‘MTV Unplugged’ album by sharing the new version of ‘Gone’, which was one of the strongest performances of the night. Stripped of the force of the studio recording, ‘Gone’ instead reveals new-found bombastic dynamics and an evocative cinematic atmosphere.

                                                                                                                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                  Coloured LP Info: Very limited two colour splatter vinyl.
                                                                                                                                                                                                                                                                                                                  Includes exclusive poster.

                                                                                                                                                                                                                                                                                                                  LP Info: Includes exclusive poster.

                                                                                                                                                                                                                                                                                                                  GoGo Penguin

                                                                                                                                                                                                                                                                                                                  GoGo Penguin

                                                                                                                                                                                                                                                                                                                    When a musical ensemble chooses to self-title an album mid-career, it usually signifies their conviction that they’ve struck upon the motherlode, hit the jackpot, stepped up and generally arrived at a point they’ve always striven for but never quite attained before.

                                                                                                                                                                                                                                                                                                                    Coming from GoGo Penguin at this stage in the game, it’s quite a bold statement: the instrumental trio from Manchester, England have fielded plaudits and rave reviews for inspiration and originality at every turn since 2013,when they settled on their dream line-up of Chris Illingworth (piano), Rob Turner (drums) and Nick Blacka (bass).

                                                                                                                                                                                                                                                                                                                    Fusing jazz, classical and electronic influences(amongst others) with a thirst for innovation, they’ve been garlanded as makers of one of the Mercury Prize album of the year (in ’14) and have enjoyed success on record and in the live arena matched by precious few vocal-free groups post-millennium.

                                                                                                                                                                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                    2xColoured LP Info: Indies exclusive double clear coloured vinyl.

                                                                                                                                                                                                                                                                                                                    Kaytranada

                                                                                                                                                                                                                                                                                                                    Bubba

                                                                                                                                                                                                                                                                                                                      Sophomore release on RCA Records from DJ & Producer Kaytranada. The critically acclaimed follow up to debut "99.9%", this is a 17 track album, which features collaborations with Pharrell Williams, Tinashe, Goldlink, Estelle, Kali Ushis & more... 

                                                                                                                                                                                                                                                                                                                      Orlando Weeks

                                                                                                                                                                                                                                                                                                                      A Quickening

                                                                                                                                                                                                                                                                                                                        As the birth of Orlando Weeks’ son drew near, he wanted to try to make sense of an experience that is both ordinary and extraordinary at the same time. The result is ‘A Quickening’, an album that tells the story from the point of view of a prospective father-to-be, a figure both vital to the story and yet also somewhat removed, in awe of what the mother goes through and often helpless to do anything about it.

                                                                                                                                                                                                                                                                                                                        “I was trying to find a course through something that happens all the time, but still feels exceptional,” Weeks says.

                                                                                                                                                                                                                                                                                                                        A baby is born every minute, and yet the experience of becoming a parent - and the way it promises to change your life - is unprecedented.

                                                                                                                                                                                                                                                                                                                        Weeks’ voice shimmers as it expresses feelings of love, fear and wonder that are overwhelming but still delicate. Drums trip, woodwind and brass can be heard, piano lines run in and out, vocals layer and guitars are few and far between. This is not the indie rock and roll that some may have predicted.You might think of Talk Talk. You might think of Robert Wyatt. You might think of Radiohead or Bon Iver. You might think of the wonder of Kate Bush. You might think of Lambchop’s late career electronic turn, replacing in that case Kurt Wagner’s Nashville-inflected fragments with Orlando’s chiming and pure delivery, served up by way of South London.

                                                                                                                                                                                                                                                                                                                        Many of those influences surge and flourish throughout the new single ‘Blood Sugar’. A mesmeric, all-enveloping layer of sound highlighted by choral vocal harmonies. The track includes the line “gone the bell that rung forever… at least as long as I can remember”, a reference to Big Ben which was under repair and had stopped chiming at the time of his son’s birth, Weeks commented; ‘’I couldn’t work out if its silence was a good omen or a bad one.’’ Stranger than that, for much of their time at hospital, Weeks and his partner found themselves in the very same room he was born in.

                                                                                                                                                                                                                                                                                                                        ‘A Quickening’ was created with the help of Weeks’ old friend Nic Nell, who produced, engineered and mixed the album. The pair collaborated on the music that accompanied Weeks’ 2012 graphic novel, ‘Young Colossus’. Nell also runs the label Algebra Records and makes music under the name Casually Here. The album also highlights select performances from members of Weeks’ live band: Caruso (drums on ‘Blame Or Love Or Nothing’ and ‘All The Things’), Sami El-Enany (piano on ‘Takes A Village’ and ‘Summer Clothes’), and Will Petherbridge (the freewheeling solo on ‘St Thomas’’).

                                                                                                                                                                                                                                                                                                                        In addition to its digital and streaming releases, it will also be available on three physical formats: heavyweight vinyl, CD packaged with a poster, and a limited edition clear deluxe vinyl which will include a signed and hand-finished print. The deluxe vinyl will only be available via Orlando Weeks’ Music Glue store and in select UK independent record stores.

                                                                                                                                                                                                                                                                                                                        Weeks spent much of his young life as the frontman of Ivor Novello wining band The Maccabees, going on to become a children’s book author in the wake of the band’s disbanding. His first book, ‘The Gritterman’ (2017), came with an accompanying soundtrack and was described by the Financial Times as recalling “Raymond Briggs at his darkest.”

                                                                                                                                                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                        Deluxe LP Info: Limited edition, heavyweight clear vinyl with a signed and hand finished print in a special PVC sleeve and download card.

                                                                                                                                                                                                                                                                                                                        Bibio

                                                                                                                                                                                                                                                                                                                        Sleep On The Wing

                                                                                                                                                                                                                                                                                                                          Bibio returns, just over a year on from his latest album Ribbons, with a new ten track EP titled Sleep On The Wing. The release follows a pattern Bibio has established in his work; releasing a follow up EP after an album exploring similar sonic ground. This release draws on a familiar range of influences from traditional folk, peaceful atmospheric soundscapes and field recordings from the natural world. Stephen Wilkinson (Bibio) once again demonstrates the breadth of his musicality, embracing a wide range of self-played instruments including the strings which gave Ribbons much of its flavour and features some new accouplements for good measure.

                                                                                                                                                                                                                                                                                                                          Pieced together over the course of last year, with a few exceptions stretching back into Bibio’s older repertoire, the Sleep On The Wing EP is a largely instrumental collection that exhibits deep atmospheric melodies as observations on rural escapism, reflection and melancholia. Recorded in Bibio’s home studio in the UK midlands countryside, the writing process for this latest EP starts in a similar place to most of his previous works, growing from a guitar riff into a richly textured soundscape one instrument at a time.

                                                                                                                                                                                                                                                                                                                          The sleeve artwork by notable illustrator Chris Wormell was developed by Bibio and Chris and lino-printed by Chris. Speaking about how the artwork happened, he explains: “It was an idea that came into my mind when thinking about the title. The bird - a swift - is a bird that apparently can sleep during flight and spends more of its life in flight than any other bird. It really is a creature of the air, the skies are its habitat. I wanted to have artwork that sees the world from the swift’s perspective. It was important to me that the landscape looked typically British, because the British rural landscape has been a never ending source of wonder for me, and the feeling that I try to induce in some of my music very much comes from this desire to really be at the heart of its unique qualities.”

                                                                                                                                                                                                                                                                                                                          As on Ribbons, the surrounding nature seeps into the studio and underlies the essence of his music as it unfurls. This new work offers an in-depth study into the instrumentation and feelings surrounding this past year, imbued with revisited works which seem as poignant as they did when they were first composed over a decade ago.

                                                                                                                                                                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                                                                                                                                                                          Ltd LP Info: 1LP in printed inner in gatefold outer sleeve, download card insert.

                                                                                                                                                                                                                                                                                                                          CD Info: CD in 6 panel digipack.

                                                                                                                                                                                                                                                                                                                          Black Devil

                                                                                                                                                                                                                                                                                                                          Lucifer Is A Flower

                                                                                                                                                                                                                                                                                                                            Lucifer Is A Flower is the final album from the legendary Black Devil. His story is as deep and strange as the music itself. His first album ‘Black Devil Disco Club’ is one of the most enigmatic electronic masterpieces ever made. So ahead of it’s time that no one could believe it was made in 1977 (released 1n 1978). Many thought it was a hoax and that the music was made by Aphex Twin or Luke Vibert but when Lo Recordings released the ‘28 After’ album in 2006, the truth was finally revealed.

                                                                                                                                                                                                                                                                                                                            Black Devil was the alter ego of Bernard Fevre, a French composer of electronic library music including the magnificent ‘Strange World Of Bernard Fevre’.

                                                                                                                                                                                                                                                                                                                            Bernard grew up and worked in Paris, and it was the African clubs and rhythms that inspired him to make the ‘Disco Club’ album. With only a small arsenal of electronic keyboards, a vocoder and looped conga drums he made music that transcends time.

                                                                                                                                                                                                                                                                                                                            Fast forward to 2020 and the final Black Devil release. ‘Lucifer Is A Flower’ is every bit as enigmatic, inventive and inspiring as it’s title suggests. A kaleidoscopic ride into the mind of a musical master. Beautifully packaged with design by Non Format that includes pictures of the devil as a young man, it’s a fitting tribute to a career that has spanned over 40 years of divine and diabolical genius.